11G 



DRAW INC. 



Pnuliral 



Dram Ing. 



Drawing 

 from n*. 



In black 

 l*d or 



<halk. 



e.ible to any i\'.:". : .ture, to 



practical device ought toli.-uo :i reference, it is 

 only to In' 'co'iiimemled to tin 1 In-ginncr, \. 

 m.iv finl some advantage from it. 



In drawing from n.iturc, it is nccessarv to liogin by 

 fixing the boundaries of each side, which, in general, 

 ought not to extend farther than what can lie >onvcni- 

 cntly seen at one \iew, without turning the 1'ead. sub- 

 tuuiing an angle of aUiut <>0 degree-. I le \\ill thus be 

 able to regulate the proportion and quantity of the sub- 

 ject he menus to introduce, according to the si/e of his 

 paper; by dividing between those boundaries, and ob- 

 serving what lines or objects coincide with those points 

 and their subdivisions, he will easily find their places 

 iind relative distances ; and the heights of the -e\ end ob- 

 jects will be found, by proportioning them to their 

 breadth, or by regulating t hem by the situation of any 

 other object which may be on the same level ; for this 

 purpose it will be found of great .service to fix, as soon 

 as possible, the height of some long horizontal line, 

 the horizon itself, when it occurs, and to adapt the 

 height of the several objects, whether above or below 

 this line, according to the distance of the point requi- 

 red from it, compared with its own breadth, or that of 

 any other object already marked. When the places of 

 the several parts are thus found, for their forms in this 

 lir-t stage of the process are entirely out of the question, 

 the details may be entered into, always giving the priv 

 ference to the larger pajts, and keeping in view what 

 has been already said about the methods to be adopted 

 in making out the various minutia*. 



There is no part of landscape painting more neglect- 

 ed in general practice, and none where the artist has 

 a better opportunity of displaying his taste and correct- 

 ness, than in representing the beauty and variety which 

 nature exhibits in the foliage of trees. This will be 

 apparent, if we consider the works of Claude Lor- 

 raine, whether in his pictures or etchings, or even in 

 the fine engravings after him by Vivares and others, 

 we v ill mark that grace, beaut}-, and truth, which are 

 no where else to be found, and which place him in this 

 respect above all praise, and sufficiently shew what 

 may be done by the careful imitation of nature, guided 

 by sound judgment and good taste; while the great in- 

 feriority in this, point, from whatever cause it may have 

 arisen, of his pupil Swanevelt, and many of the most 

 eminent landscape painters, sufficiently shows both the 

 difficulty and high importance of this part of the art. 



The study of architecture, which, in itself considered, 

 is of the greatest importance to the landscape painter, 

 from the high tone and elevated character wnich its 

 judicious introduction gives to his works, is likewise a 

 useful auxiliary, in enabling him to give precision and 

 character to the angles and turnings of his buildings, 

 which, even to the mere laker of views, and the younger 

 practitioner, are qualities of some consideration, and 

 well worth the trouble of acquiring. 



When the student has attained a sufficient accuracy 

 of eye and facility of outline, he may proceed to the 

 shading of his drawings, either with black lead or black 

 chalk. As those delicate transitions and modulations 

 of light and shadow, which are so necessary to the cor- 

 rect representation of the human figure, do not occur 

 in landscape, he may perform this operation with more 

 boldness and freedom. Instead of that scrupulous at- 

 tention t.. the smoothness of his surface, by blending 

 into one tender and even tint the touches by which his 

 shadows are produced, the lines may be kept separate 

 or not, according to the depth of shadow or effect which 



4 



p .-' 



the quality of .urf:(c may require. ! 



the lines will not be of much use, as 



Tving th 



practi-.-d by tile old masters in their etchings, will af- 

 ford more instruction in this |x>int than all ilia' 

 said on the subject. In general, it may be said, that 

 the lines which comjwise the shadow-, should lie in the 

 direction of the object itself, ih.-it i. t,i say. th.it in a 

 IH'rjH'iidiciilar wall, or similar object, the lines should 

 be perpendicular : in an inclined o'-jeit, the line, should 

 incline; in cylindrical or spherical object-, a tow i r, a 

 column, or a ball, they should take a cu;\c direction. 

 Perpendicular objects may also be shaded with horizontal 

 lines, and that either wholly, or, for the -ake of greater 

 richness of effect, alternately with perpendicular ones. 

 When the sides of an object are so situated with respect 

 to the point of sight, that, instead of being horizontal, 

 they converge to their several vanishing points, the lines 

 of the shading will follow the same direction as the ob- 

 jects themselves. In shading buildings, or indeed any 

 object v herein accuracy and precision are so essential, 

 of whatever scale it may be, no more of a shade should 

 l>e attempted than can be conveniently done by the mo- 

 tion of the fingers and thumb, while the hand rests 

 steadily on the paper ; and the joinings of those parts, 

 which must be done with a careful freedom, if we may 

 use the expression, will give a certain degree of rich- 

 ness and variety to the appearance, which could not be 

 so well expressed in any other way ; but in such ob- 

 jects as have not a form so well defined, particularly 

 when they are large, and require a smooth and flat tint, 

 such as the sky, hills, &c. the shades may be done by 

 the motion of the hand or the wrist, keeping the arm 

 steady, and with an oblique line, which is most con- 

 venient for this position of the hand. Plate CTXXXVI. 

 will illustrate further what has been said in this branch 

 of the practice of drawing. 



Fig. 1. represents the gable of a house, so placed with rr VI-L- 

 regard to the spectator, (that is parallel to the ground < < \\\\ i. 

 line,) as not to be affected in its form by its perspective Kig. 1. 

 situation. The vertical lines a, b, are first drawn, and 

 the point.- at n and b, whereon the roof is to be placed, 

 which are both of the same height, are marked in their 

 proper places, in order to give the two sides of the roof 

 the same degree of inclination. The space between u 

 and 6 is divided into two equal parts, which gives the 

 point over which the apex of the angle is to be placed. 



Fig. 2. is the same object, seen in perspective. The Fi.;. 2. 

 points a and b, instead of being of the same height as 

 in the other figure, converge to a vanishing point, so that 

 the two portions of the occult line a b, from a to c, and 

 from b to c, though in themselves equal to each other, 

 are now by their perspective situation considerably 

 changed, both in their relative height and distance from 

 each other. The point b is lower than a, and the space 

 between b and c being further off, and consequently seen 

 under a smaller angle, is smaller than that from a to c. 

 The perspective centre c will be found by producing 

 the vertical lines a and l> to any height, as at c, from 

 which point a line will be drawn to the vanishing point 

 f. The intersection of the line ef, at the point , will 

 give the line eg of the same perspective length, and pa- 

 rallel to</6, wliicli will represent two sides of an oblong 

 square; the vertical lines at and lig will give the remain- 

 ing two. In order to find the centre of the line al>, ovi r 

 which the apex of the angle of the roof is to be placed, 

 diagonal lines g a, and e'b are to be drawn, the intersec- 

 tion of which will give the point /;, through which the 

 vertical line Ic will be drawn, which divide* the line 







