CHAMBERS'S INFORMATION FOR THE PEOPLE. 



shading, when the indications become less 

 marked, until they finally disappear in the 

 shade. 



Fig. 6. 



This gradation of texture is very important, as 

 much so as gradation of light or shade. Uni- 

 formity of any quality is unpleasing. 



In all tinting, whether in the lower lights or in 

 the absolute shadows, the lines should be as soft 

 as possible. There are no lines seen in nature ; 

 and when they are made too obvious in the 

 drawing, they become offensive. The best way 

 is to cut the point of the pencil somewhat like 

 that of a chisel, and use the broad side for the 

 tints ; by using a sharp point, the lines become 

 too clearly visible, and the effect is scratchy. 



The lines should be zigzag, as in the annexed 

 figure, and closely run together; and as some 



Fig. 7- 



experience is required before this can be done 

 with freedom, it is worth while to practise tinting 

 by itself. The pupil should first try the tints flat, 

 and then graduated, taking care, in working the 

 pencil from side to side, to press equally, leaving 

 no dots or marks at the ends of the lines. In 

 making graduated tints, it is always best to begin 

 at the darkest part, and allow the tint to lighten 

 gradually, until it becomes so light as to be 

 scarcely perceptible. By beginning thus at the 

 darkest part, more command is obtained over the 

 effect desired than by the reverse method. By 

 beginning at the light, the pencil is apt to start 

 rather abruptly, making an indication ; and, 

 besides, it is scarcely possible for a beginner to be 

 sure that, in going over a certain space, the tint 

 0tt 



will be of the exact strength required when t 

 gradation is concluded. 



When the masses of tint are large, the point 

 the pencil should project about three inches .fro: 

 the finger ; and when very light, as in skies, it 

 should be held nearly at the end, so as to put as 

 little of the weight of hand on it as possible. 



VEGETATION. 



It frequently occurs in drawings that vegetation 

 of some kind forms a feature, requiring a distinc- 

 tive mode of treatment and a training of the hand 

 suited to the peculiarity of character. Thus, moss, 

 grass, herbage, and trees require each a different 

 style of touch. 



With a view to acquiring facility in the repre- 

 sentation of grass, it is advisable to practise a 

 lesson such as that indicated in fig. 8. It simply 

 consists in making a ring of touches, each resem- 

 bling a blade of grass. These should be practised, 

 first in one direction, then in the other, so as to 

 give facility both ways ; it is also useful to begin 

 firmly, allowing the lines to become gradually 

 fainter as the circle is completed. 



This lesson should be practised until facility is 

 attained ; if once acquired, it will give a certain 

 amount of readiness, that will render subsequent 

 lessons comparatively easy. 



n 



Fig. 8. 



When a large mass of grass occurs in any por- 

 tion of a drawing, the outline should be expressed 

 first ; the centre is then to be filled up by short 

 grassy touches branching from the outline, each 

 touch ending in still shorter markings, and these 

 softened off with oblong dots. 



TREES. 



The stems of trees are cylindrical, and of course 

 are expressed by the characteristic light and 

 shade peculiar to that form, as in the pillar, fig. 4. 

 The bark of some is more or less corrugated, as 

 in the fir, the oak, elm, ash, plane, and others. 

 This is not indicated at least, not to a very great 

 extent in the light, from the same reasons given 

 in the remarks on fig. 6 in relation to rough cylin- 

 drical surfaces. It is seen most decided between 

 the high light and the beginning of the shadow, 

 which is a defined line. As a general rule, all 

 those portions at right angles to the rays of light 

 indicate texture least, and those at 45 degrees 

 shew it strongest. 



These corrugations or roughnesses are indicated 

 by short lines, varying among themselves, as in 

 fig. 9, and becoming shorter, and thinner, and 

 more separated, as they approach the high light. 



The stem or trunk is generally a little wider at 

 the root than it is a few feet higher up, having so 

 far a tapering effect ; but after this, it continues in 

 most cases the same thickness, until the branches 

 begin to abstract a portion of its substance, when 

 it becomes thinner in proportion. Each suc- 

 cessive branch takes away a further portion, until 

 it is so far diminished as to be lost among them. 



