FIGURE AND OBJECT DRAWING.
IN executing the copies here given, and, indeed, in all other drawings which are to be shaded, the outlines must first be put in before any attempt to shade is made. The pupil should endeavor to produce the proper degree of shade at one operation, without having occasion to go over or darken it afterwards. This retouching spoils the effect of clearness and spirit which shading at one operation is calculated to give, and which all drawings should have. The drawings in Figs. 1 and 2 will be very easily put in. The outline of Fig. 3 should be drawn in the manner heretofore explained, the shading put in by bold strokes from top to bottom, because if done at two operations a shadow would result, by which the effect would be spoiled; a few cross-strokes may be next put in, which will give a little roundness to the sketch. In Fig. 4, the nearest part of the oval is to be drawn considerably stronger, so as to bring it forward. Figs. 5 and 6 are examples in which the ellipse is distinguishable. In copying Fig. 7, a nice broken outline should first be obtained; the shading being simple needs no explanation. The outline of Fig. 8 is to be drawn as formerly; the indented parts of the leaf to be put in slightly, and afterwards the stronger shadow, which throws forward the curled edge of the leaf. In copying the annexed sketch of a grindstone, to get the outline correctly the framework should be drawn first, carefully observing the relative proportions of the parts, in order to give an idea of perspective.[4] Having done this, an ellipse may be drawn to represent the stone, part of this to be rubbed out afterwards; in shading the drawing, the nearer parts should be made darker than those distant; this causes the latter to recede, having the appearance of distance. In Fig. 10, we give the representation of an old gate; it is so simple that it needs no explanation. Fig. 11, which is the representation of a familiar object, is treated under a very simple effect of light and shade, the shaded parts bringing forward the light ones; this effect is called relief. It is of the utmost importance that the pupil should have a clear knowledge of the mode of producing this effect. We would recommend her to try the experiment of placing simple objects so as to relieve each other, and to sketch them in this manner; this will enable her very speedily to understand the method of attaining the effect. In Fig. 12, the same effect is displayed, only reversed; a mixture of light and shade throwing back the other end, which is in half tint. In Fig. 13, which is the representation of a fuchsia-leaf, the outline must be put in in the manner heretofore explained; the shading is similar to that in Fig. 8. After copying this, we would recommend the pupil to get a similar leaf, and place it in various positions, so that the light and shade will be variously disposed. This will afford excellent practice, and will accustom the pupil to draw or sketch from nature. In Fig. 14, which is the representation of a rural stile, the pupil will find the principle of relief shown in Figs. 11 and 12 again displayed; the shading behind the stumps throwing the light parts forward, and the shaded sides of these causing the back part to recede.
