Exercise 2

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_ EXERCISE II

As this exercise in shading is very tiresome, it will be well to vary it by proceeding with another at the same time. The power of shading rightly depends mainly on _lightness_ of hand and _keenness_ of sight; but there are other qualities required in drawing, dependent not merely on lightness, but steadiness of hand; and the eye, to be perfect in its power, must be made _accurate_ as well as keen, and not only see shrewdly, but measure justly.

Possess yourself, therefore, of any cheap work on botany containing _outline_ plates of leaves and flowers, it does not matter whether bad or good: "Baxter's British Flowering Plants" is quite good enough. Copy any of the simplest outlines, first with a soft pencil, following it, by the eye, as nearly as you can; if it does not look right in proportions, rub out and correct it, always by the eye, till you think it is right: when you have got it to your mind, lay tracing-paper on the book, on this paper trace the outline you have been copying, and apply it to your own; and having thus ascertained the faults, correct them all patiently, till you have got it as nearly accurate as may be. Work with a very soft pencil, and do not rub out so hard[200] as to spoil the surface of your paper; never mind how _dirty_ the paper gets, but do not roughen it; and let the false outlines alone where they do not really interfere with the true one. It is a good thing to accustom yourself to hew and shape your drawing out of a dirty piece of paper. When you have got it as right as you can, take a quill pen, not very fine at the point; rest your hand on a book about an inch and a half thick, so as to hold the pen long; and go over your pencil outline with ink, raising your pen point as seldom as possible, and never leaning more heavily on one part of the line than on another. In most outline drawings of the present day, parts of the curves are thickened to give an effect of shade; all such outlines are bad, but they will serve well enough for your exercises, provided you do not imitate this character: it is better, however, if you can, to choose a book of pure outlines. It does not in the least matter whether your pen outline be thin or thick; but it matters greatly that it should be _equal_, not heavier in one place than in another. The power to be obtained is that of drawing an even line slowly and in any direction; all _dashing_ lines, or approximations to penmanship, are bad. The pen should, as it were, walk slowly over the ground, and you should be able at any moment to stop it, or to turn it in any other direction, like a well-managed horse.

Footnote 200:

Stale crumb of bread is better, if you are making a delicate drawing, than India-rubber, for it disturbs the surface of the paper less: but it crumbles about the room and makes a mess; and, besides, you waste the good bread, which is wrong; and your drawing will not for a long while be worth the crumbs. So use India-rubber very lightly; or, if heavily pressing it only, not passing it over the paper, and leave what pencil marks that will not come away so, without minding them. In a finished drawing the uneffaced penciling is often serviceable, helping the general tone, and enabling you to take out little bright lights.

 

As soon as you can copy every curve _slowly_ and accurately, you have made satisfactory progress; but you will find the difficulty is in the _slowness_. It is easy to draw what appears to be a good line with a sweep of the hand, or with what is called freedom;[201] the real difficulty and masterliness is in never letting the hand _be_ free, but keeping it under entire control at every part of the line.

Footnote 201:

What is usually so much sought after under the term "freedom" is the character of the drawing of a great master in a hurry, whose hand is so thoroughly disciplined, that when pressed for time he can let it fly as it will, and it will not go far wrong. But the hand of a great master at real _work_ is _never_ free: its swiftest dash is under perfect government. Paul Veronese or Tintoret could pause within a hair's breadth of any appointed mark, in their fastest touches; and follow, within a hair's breadth, the previously intended curve. You must never, therefore, aim at freedom. It is not required of your drawing that it should be free, but that it should be _right_: in time you will be able to do right easily, and then your work will be free in the best sense; but there is no merit in doing _wrong_ easily.

These remarks, however, do not apply to the lines used in shading, which, it will be remembered, are to be made as _quickly_ as possible. The reason of this is, that the quicker a line is drawn, the lighter it is at the ends, and therefore the more easily joined with other lines, and concealed by them; the object in perfect shading being to conceal the lines as much as possible.

And observe, in this exercise, the object is more to get firmness of hand than accuracy of eye for outline; for there are no outlines in Nature, and the ordinary student is sure to draw them falsely if he draws them at all. Do not, therefore, be discouraged if you find mistakes continue to occur in your outlines; be content at present if you find your hand gaining command over the curves. _

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Read previous: Exercise 1

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