DRAWING. 
Hair-pencilSi The Chinese who use the 
Indian-ink for writing, with a brush, make 
tiiern very excellent for drawing, with white 
hair drawn through a reed ; but those are 
difficult to procure, and camel’s hair insert- 
ed in various sized quills are substituted, 
which are tried by slightly wetting them, 
if they form a point without separating, 
they are fit for use. 
Chalks. It is common to sketch the out- 
lines of figures witli charcoal made from the 
willow, previous to the use of the chalk, as 
whatever errors may be committed with 
this material are easily eftaced by the fea- 
thers from the wing of a duck or goose. 
Wliite chalk, for drawing, is harder than 
the common chalk, and pipe clay will make 
a good substitute. 
Black chalk, is a hard fossil substance, cut 
into the shape of slate pencils, and used in 
steel or brass port-crayons, and with the 
white is constantly preferred in the model 
room of the Royal Academy, the professors 
of which, consider it the best material for 
drawing from plaster figures or the life, 
red chalk is but little used at present. The 
French chalk is softer than the Italian. 
Stumps made of soft leather, or paper 
rolled into cylinders, and pointed, are neces- 
sary for blending the lights and shades. 
Thus prepared, the student must confine 
himself to the copying of single subjects, 
and by no means attempt groupes of ob- 
jects, as the eye, more rapid than thought, 
wilt wander over them, and confound his 
ideas, not yet taught the faculty of discri- 
mination ; to attain this faculty, it is abso- 
lutely necessary to advance progressively, 
commencing with the geometrical figures of 
arches, circles, ovals, cones, cylinders, and 
squares, which, except the latter, have an evi- 
dent resemblance to many of the forms of 
nature, and accurately attain the shading 
which produces their rotundity, convexity, 
angles, and most remote parts from the eye. 
Grapes detached from, or adhering in clus- 
ters to the stalk, and many other fruits 
with their leaves, furnish excellent hints 
for the acquiring of graceful turns, and the 
art of placing justly, strong, direct, and re- 
flected lights. Those require no rules or 
directions whatever, even in the colouring, 
as the tints may be composed from the ori- 
ginals. Trees should also be drawn singly, 
carefully observing the nature of the bark, 
the characteristics of the trunk, the parti- 
cular ramifications of the branches, the 
form of the leaves, and their appearance in 
the aggregate, so that au observer shall, 
upon the first inspection of the drawing, 
pronounce whether it is an oak, an elm, an 
ash, or a poplar. 
Animals may be the next object of the 
learner’s attention, a knowledge of the 
forms of which will be best obtained by 
examining the most approved drawings and 
prints, copying them and comparing them 
with living subjects, carefully avoiding in 
future such errors as may be discovered ; 
he may then proceed to the human figure, 
commencing his labours with drawing the 
eye, mouth, nose, feet, hands, &c. sepa- 
rately, till he is perfect, when the whole 
figure may be attempted. The copying of 
inanimate substances requires but few di- 
rections, as they lay fixed, and may be 
placed in any position ; but it is far other- 
wise in drawing from animals or man, for 
which reason an accurate knowledge of the 
true shape of the bones, the disposition of 
the muscles, and the exact relative propor- 
tions of the different parts of the body 
must absolutely be acquired ; nor is this all 
that is necessary, motion continually va- 
rying the appearance of the muscles, the 
student must learn from living subjects 
every swell or depression in them which is 
not the consequence of unnatural distor- 
tion ; as there are certain limits to their 
motion, he should be capable of ascertain- 
ing those limits correctly from remem- 
brance. It having pleased the divinity to 
grant the human race the most graceful 
variety of curved forms throughout the ex- 
terior of their frames, and each being sub- 
ject to sudden and unexpected changes, we 
may safely assert the artist has a most dif- 
ficult task in his attempts to delineate 
them ; in order to do so successfully, it 
would be well for him to imitate the parts 
already mentioned from good drawings, 
with black lead or black chalk, on either of 
the papers before recommended, endea- 
vouring to give a close resemblance of the 
outlines with charcoal, and then shading 
with the greatest care, after the original, in 
parallel lines of greater or less strength, ac- 
cording with the curve to be expressed, 
those to be intersected by others forming 
lozenge intervals ; this mechanical part of 
the art of shading will be better explained 
by the drawing copied from, than by any 
directions, and much trouble will be saved 
by using the middle tint paper, but it 
should be remembered, that though black 
chalk can be used upon w'hite paper, blaek- 
lead must be confined to it. T’he shadows 
are sometimes softened olf by the stump, 
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