72 



THE POPULAE EDUCATOR 



LESSONS IN DRAWING. XVI. 



POBEGEOUNDS HIGH LIGHTS-SETTING DRAWINGS, ETC. 



IN continuation of our remarks upon Foregrounds, we introduce 

 in this lesson a group of dock-leaves. In the drawing, Fig. 108, 

 we have shown how the principles we endeavoured to explain in 

 the last lesson are to be carried out. The leaf in front repre- 

 sents in itself a summary of our observations. Notice the pro- 

 jecting part receiving the highest light ; the dark cast shadow 

 underneath being the strongest in the drawing. Notice, also, the 

 cast shadow across the leaf (caused by the one on the left, which 

 throws the under-leaf back, and brings out the one in light), 

 commencing strongly near the high light, and gradually becoming 



will give additional character and truthfulness. It may not be 

 necessary that these stems should be completed in the finished 

 drawing, as probably their whole extent may not be seen ; but 

 the slight indication of their whereabouts may be useful for the 

 purpose of adjusting the foliage according to the class of tree 

 to be represented. This process is to be followed throughout 

 the whole drawing. This, which we will call the first stage, must 

 be done faintly, so that, with india-rubber or, what is better 

 for the softer kinds of paper, bread-crumbs these marks may, 

 be weakened when the second stage is ready for commencement. 

 In this portion of the work there must be no indecision, par- 

 ticulars must be entered into, especially those upon which the 

 light falls. Amongst these will be found many that owe 



Fig. 108, 





lower in tone as it recedes ; this, together with the manner of 

 drawing the curved lines on the surfaces of the leaves, tends to 

 give the perspective, and consequently assists in this way to 

 determine the size of the leaf. Examples of this kind can be 

 so easily obtained from Nature, that we prefer to leave the pupil 

 to select them for himself, advising him to preserve them for 

 use as we have recommended, and, when drawing from them, to 

 allow his mind to recur to the previous remarks upon the prin- 

 ciples we have laid before him, which apply not only to the 

 drawing of a simple weed or dock-leaf, but have their never- 

 failing influence upon all subjects admissible in art. In the 

 drawing of trees and the larger kinds of shrubs, we must urge 

 the practice of being particularly careful of the outline, the first 

 process of which must be confined to the general proportions 

 and positions of the parts in light ; and, at the same time, where 

 it is possible, trace by a faint line the course of the stems, which 



prominence to sharp, clear terminations ; and the distinctness 

 of their forms will be in proportion to the amount of light which 

 falls upon them. The stems previously and slightly traced may 

 now receive in those parts in sight all the forcible and distinctive 

 qualities they demand, even to the peculiarities observable upon 

 the bark. At all times avoid a multiplicity of lines when one 

 only will be sufficient. When we see, as we frequently do in the 

 early attempts of beginners, a number of lines of all lengths and 

 thicknesses muddled together, we can only attribute the practice 

 to doubt and uncertainty; they are waiting to see the effect 

 before they can make up their minds as to the one right line 

 required. Such a proceeding indicates weakness, and creates 

 confusion. If we were to extend our instructions beyond the 

 single subject of a tree, and include the whole landscape generally, 

 we could only repeat what has been said before, as our remarks 

 are equally anplicable to distances and mountains, where it 



