DRAWING. 
hence to the bottom of the chin. But this 
proportion is not constant ; those features, 
in different men,, being very often different 
as to length and shape. In a well-propor- 
tioned face, however, they are nearly right. 
To direct you, therefore, in forming a 
perfect face, your first business is to draw a 
complete oval, see the Plate iig. I. in the 
middle of which from the top to the bottom, 
draw a perpendicular line; and through the 
centre, or middle of this line, draw another, 
directly across from one side to the other of 
your oval. On these two lines all the fea- 
tures of the face are to be drawn, as follows. 
Divide your perpendicular line into four 
equal parts : the lirst must be allotted 
to the hair of the head ; the second is from 
the top of the forehead to the top of the 
nose, between the eyebrows ; the third is 
from thence to the bottom of the nose ; and 
the fourth includes the lips and chin. The 
line across the perpendicular one, or the 
breadth of the face, is always supposed to 
be the length of live eyes; you must there- 
fore divide it into five equal parts, and place 
the eyes upon it so as to leave exactly the 
length, of one eye betwixt them. This is to 
be understood only of a full front face; for 
if it turns to either side, then the distances 
are to be lessened on that side which turns 
from you, less or more, in proportion to its 
turning. The top of the ear is to rise pa- 
raded to the eyebrows, at the end of the 
diameter or cross line, and the bottom of it 
must be equal to the bottom of the nose ; 
the nostrils ought not to come out farther 
than the corner of the eye in any face ; and 
the middle of the mouth must always be 
placed upon the perpendicular line. The 
mouth, when shut, is as large as an eye. 
The following is an ingenious device, 
which perhaps may somewhat assist the 
young practitioner, in forming the face ac- 
cording to its different turnings, and in pla- 
cing the features properly thereon. Procure 
a piece of smooth wood, turned for the pur- 
pose, in the shape of an egg, which is nearly 
the shape of the human head ; draw a line 
lengthways quite round it, as in the last 
fig. and divide this line into two equal parts 
by another line drawn directly across it at 
right angles. The features being drawn on 
these two lines, according to the rules de- 
livered above, will produce a fore-right face. 
Turn the oval a small matter from the left 
hand to the right, and the perpendicular 
will appear bent like a bow, as you see in 
tig. 2. ; upon which the particular features 
are to be drawn, as in tig. 3. always observ- 
ing in what manner the nose projects beyond 
the round of the oval. The same must be 
observed, if you turn the oval from the right 
hand to the left, as in fig. 4. and it you in- 
cline the oval downwards and to the right, 
the lines of the cross will appear as in fig. 
5. and the features drawn on them as in fig. 
6. If you turn it upwards, reclining to the 
left, the lines of the cross will appear as in 
fig. 7. and a face drawn on them as in fig. 
•8. A great variety of faces may be shewn 
by this oval, according as you incline, re- 
cline, or turn it, more or less. 
But those figures which come sideways 
are to be drawn by means of a perpendicu- 
lar, as in fig. 9. upon which the forehead, 
nose, mouth, and chin, are to be drawn as 
you see in fig. 10. 
V.OL. I. 
ft is to be observed, that if the face be fat, 
the cheeks will seem to swell ; if lean, the 
jaw-bones will stick out, and the checks fall 
in ; but if it be neither too fat nor too lean, 
it will be nearly round. 
Touch the features lightly, where the eyes, 
nose, mouth, and! chin, should stand: then 
begin to draw them more exactly, and so 
proceed till you have finished the face ; after 
which draw the hair, beard, and shadows 
about it. You are to consider all those 
chief touches which give life to a face, and 
that discover the disposition of the mind : 
thus the mouth extended, and the corners 
turning a little up, shews a smiling counte- 
nance, &c. You must take care that the 
shadows are not made too dark where 
they should be light, because afterwards 
they cannot be rendered more light : and 
remember, that they are to be more faint 
and light in a fair, than in a swarthy com- 
plexion. 
Of drawing mixed figures . — In order to 
draw the form of any beast, or bird, you must 
be well acquainted, as has been remarked, 
with its shape and actions, without which 
you will never perform any thing excellent 
in, this way; and whatever beast you draw, 
you must be sure to give a sketch of the 
iandscape of the country natural to that beast. 
In draw ing birds, the feathers, beginning 
at the head very small, must fall backwards 
one w'ay in live ranks, still increasing till 
finished. 
Insects, as flies, bees, wasps, grasshoppers, 
worms, and such-like, are drawn with great 
ease, provided you, for the first time, have 
the original before your eyes. 
In drawing a flower, begin from the rose- 
tuft, or wart in the middle, as in a rose or ma- 
rigold with the yellow tuft; which being 
made, draw lines equally divided from thence 
to the greatest compass or extent of the 
fl»wer. Tliey may be drawn either fully 
open, or in the bud ; the leaves may be first 
drawn rudely, afterwards giving them their 
veins, or jaggedness. 
Of drawing landscapes, buildings, fyc . — 
All true drawing consists in nicely measuring 
the distances of each part of your piece by 
the eye. In order to facilitate this, you are 
to imagine in your mind that the piece you 
copy is divided into squares : as for example ; 
suppose or imagine a perpendicular and an 
horizontal line crossing each other in the cen- 
tre of the picture you are to copy: then 
suppose also two such lines crossing your 
own copy. Observe in the original what 
parts of the design those lines intersect, and 
let them fall on the same parts of the sup- 
posed lines in your copy. If you are to 
draw a landscape from nature, take your sta- 
tion on a rising ground, where you may have 
a iarge horizon, and mark your tablet into 
three divisions downwards, from the top to 
the bottom ; and divide in your own mind 
the landscape you are to take into three divi- 
sions also. Then turn your face directly op- 
posite to the middle of the horizontal line, 
keeping your body fixed, and draw what is 
directly before your eyes upon the middle 
division of your tablet: then turn your head, 
but not your body, to the left hand, and de- 
lineate what you view there, joining it pro- 
perly to what you had done before. Lastly, 
do the same by what is to be seen on your 
right hand, laying down every thing exactly, 
5.a r 
both with respect to distance and proportion. 
Make the nearest objects in your piece the 
highest, and those that are further off t© 
shoot away lower and lower, till they come 
almost level with the line of the horizon ; 
lessening every thing proporlionably to its 
distance, and observing also, to make your 
objects fainter and less distinct the faither 
they are removed from your eye. Make all* 
your lights and shades tall one way ; and let 
every thing have its proper motion, as trees 
shaken by the wind, the small boughs bend- 
ing more, and the large ones less; water agi- 
tated by the wind, and dashing against ships 
or boats, or falling from a precipice upon 
rocks and stones, and spirting up again into 
the air, and sprinkling all about: clouds also 
in the air, now gathered with the winds, now 
violently' condensed into hail, rain, and the 
like; always remembering that whatever 
motions are caused by the wind must all be 
made the same way. 
Let the work imitate the season it is in- 
tended to represent : as, if you intend it 
for a winter-piece, represent the felling of 
w'oods, sliding upon the ice, fowling, hunt- 
ing, &c. making the trees every where naked, 
or laden with snow or hoar-frost ; the earth 
bare ; the air thick or heavy ; the water 
frozen, with carts passing over it, &c. 
Let every site have its proper adjuncts, or 
additional graces, as the farm-house, wind- 
mill, water-mill, woods, flocks of sheep, herds, 
of cattle, pilgrims, ruins of temples, castles 
and monuments, with a thousand such other 
things proper to particular subjects. 
Of mechanical means for copping dr an k 
ings . — There are various methods by whiefe- 
those who are ignorant of the art of drawing 
may copy very accurately the outlines of pic- 
tures, prints, and drawings ; and these iner 
thods are often useful to those who can draw, 
and to engravers, when either great expedi- 
tion, or great accuracy, is required ; though 
none of them should ever be used by one 
who is learning to draw. 
Tracing against the light . — II old the draw- 
ing you wish to copy against one of the panes 
of the window ; or have a pane of glass put in 
a frame, and fitted up like a music-stand, 
with a candle behind it. Lay your paper 
over the drawing, and you will 'see all the 
lines of the original distinctly through it, by 
which means you can easily trace them with 
a pen, or black-lead pencil. 
To make tracing-paper .— Mix together 
equal parts of oil of turpentine and drying- 
oil, and with a rag rub it evenly over some 
fan or tissue-paper, or any other very thin 
paper. Hang it by to dry for a day or two, 
and it will be fit for use. Lay tins over the 
print or drawing you want to copy, and you 
will see every line distinctly through, so that 
you can go over it with the black-lead 
pencil. If you wish to do it in ink, you 
must mix a little ox’s gall with the ink," ta 
make the paper take it, which it would not 
otherwise do on account of the Oil. 
To make camp-paper . — Take some hard 
soap, mix it with lamp-black; make it into 
the consistence of a jelly with water ; with 
this, brush over one side of your paper, agd 
let it dry. When you use it, put it betw een 
two sheets of clean paper, with its black side 
downwards ; and with a pin, or stick w ith a 
sharp point, draw' or write what you please 
upon the clean paper ; and where the tracer 
