and you must work as fast as possible. Dip the brush in the lightest tone of diluted ink, have it well charged with the fluid, and in swift strokes paint C. Without stopping, take up the next lightest tone on the brush and sweep in B and D, then the darker, A, and finish with E in pure ink. Fold the paper immediately, and, holding it down flat on the table with the left hand, press with the right; rub the paper all over again and again, being sure to cover the entire surface in order to print the mountains on the lower portion of the paper. The study will then be finished with the exception of the sailing-vessel, which may be indicated with a few strokes. Bring the brush to a fine point and trace in ink the lines of Fig. 246. First make the central vertical line, then the slanting line on the right-hand side which joins the mast a short distance from the top, from the same point extend two lines down on the left. Fig. 247 is the hull of the vessel, and the straight line crossing it a short distance from the top denotes the narrow space to be left white. Fig. 248 shows the complete outline of the craft, intentionally made as simple as possible, to enable any girl to introduce the boat into the sketch without difficulty. As is seen in Fig.
Fig. 249. 244, the boat is filled in with black and duplicates itself in the shadow reflected on the water, but the shadow must be made with the brush; it cannot be printed from the boat. The chrysalis of the
Ink Butterfly
(Fig. 249) was made of two or three ink-blots and a splash of ink from a paint-brush. This chrysalis did
Fig. 250. not in the least resemble a real one, but when the paper was folded along the edge of the ink a butterfly appeared.
On soft-finish paper write any word you choose; then, while the ink is wet, fold the paper, and upon opening it you will find
Fig. 251.