392 



THE POPULAK EDUCATOR. 



LESSONS IN DRAWING. XXII. 



THE HUMAN FIGURE (continued). 



WE now propose to give our pupils some practical instruction 

 in the method of drawing the figure, and hope that from the 

 directions given in former lessons on this portion of our subject 

 they will be prepared to accompany us with full confidence as 

 ve proceed. They will perceive that all we have said through- 

 out this course respecting the treatment of curved lines, dis- 

 tances, and especially the angles formed by the meeting of lines, 

 whetlier curved or straight, have a particular importance here. 

 The rules of proportion, and the anatomical knowledge pre- 

 viously acquired, must now be called into service ; and we 

 trust that the principles we have given upon the theory of 

 the figure will have been carefully studied, so that the con- 

 fidence hoped for may be well supported by the knowledge 

 obtained; afterwards we feel assured the road will be easy, 

 and the practice pleasant. We have found from experience 

 that the readiest way for beginners to understand quickly 

 Low the arrangement of curved lines in conjunction may be 



F . 133. \ 



the forehead in the other, with reference to the angles formed 

 by all these lines respectively. Although we are at present 

 attempting only a profile, yet with some additional remarks 

 (to be made presently), this method of commencing the out- 

 line may be applied to any other view of the face, full or 

 three-quarters. We will, then, begin from a, and mark in the 

 distance to b, observing the inclination ; join these two points 

 by a straight line ; from b drop a perpendicular line to /, 

 arrange the distance fe, and join be by a straight line ; from 

 a mark the distance and inclination ac. It will be noticed 

 that the nose rises in the middle at d ; observe the distance 

 of d from b, and also from e, and how far it departs from the 

 straight line b e ; join b d and d e by other straight lines ; 

 treat the points g, h, and all other extremities of lines, in the 

 same way. When the whole is satisfactorily arranged, faint 

 it, and carefully, with the points and lines as guides, draw the 

 contours of each curve through the points, as in Fig. 134. 

 We recommend our pupils to copy this example three or four 

 times, and then apply these principles of working to Fig. 135. 

 It will be quite unnecessary to repeat the details of this pro. 



Fig. 135. 



best effected, is to treat them, whilst arranging the drawing, 

 first as straight lines, or as a succession of straight lines in the 

 course of the curve, with reference to their lengths, and tp the 

 extent and flexure of the curve. Observe how the curved lines 

 in Fig. 134 are first represented by straight lines in Fig. 133. 



Now, although the object of the pupil is to make a finished 

 drawing as in Fig. 134, yet he must first put it together as 

 shown in Fig. 133. By this method he will not only obtain a 

 close resemblance to the general contour of the line, but also he 

 will more clearly understand the character and intention of the 

 curves in connection with each other, as well as then* positions, 

 letting alone the labour saved, and the facility it ensures. Here 

 is the first, and probably the most important step in the executive 

 part of the drawing, wherein most of the difficulties are found 

 that so frequently discourage beginners, and cause them to 

 break down at the outset. Now, to prevent the occurrence of 

 anything so disheartening, let us dwell upon this for a few 

 moments, and endeavour, with minute explanation on our 

 part, and the close attention of our pupils, to go through 

 the construction of the subject (Fig. 133). It is advisable 

 generally to commence from the bridge of the nose, for when 

 the position of this part of the face is settled, we can then 

 better determine the lino of the nose in one direction, and 



cess for each figure, as we trust there can be no difficulty 3 

 the pupil will be particular in placing a point to determine every 

 angle as he proceeds or, in another sense, whenever the outline 

 alters its course and on no account attempt the drawing 

 until this scaffolding of straight lines is completed. The ad- 

 vantage of this method of arranging the drawing will be evi- 

 dent aiter very little practice. In studying the contours of 

 the curves, almost the same remarks we made upon a former 

 occasion (Lesson XII.), respecting the management of half- 

 tints, and the amount of ability and observation necessary in 

 order to do them justice, are applicable here. Our present 

 subject relates to form, the lesson we refer to relates to colour, 

 and light, and shade ; yet the same degree of perception and 

 due appreciation of the delicacy of tone and tint is required 

 with respect to the delicacy of form. The slightest move- 

 ment of a muscle changes the outline, and although it raa^ 

 be even so trivial that the uneducated eye may not perceive 

 it, yet it is the aim and desire of the true artist to mark the- 

 fact, and introduce those changes in the outline which are 

 known to be subject to laws depending upon the movements 

 of the body, and the disposition and manner in which the 

 muscles approach or overlap each other. He who can realise 

 the changes in the contour of the body and its parts, and 



