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abject, as they appear to terminate against the back ground ;the outline, as its name implies, takes in all the parts of thebody. The interior parts are marked by lines, if such bedistinct on the body, and the different inclinations of thesurface is defined by depth of colour, in proportion to theinclination.
In fanciful objects, whatever the figure may be, the generalform should be first sketched out slightly, that what is foundto be amiss may be more easily removed, and corrections moreeasily made. Estimate as nearly as you can the principalpoints of the original, and fix dots at proportional distances,disposed at equal apparent angles on your paper ; then drawyour lines carefully to them, beginning at the upper part,and working either from the right to the left, or in the con-trary direction, according to their tendency downwards.Put in the divisions first, and when these are nearly right,mark in the smaller parts ; then, having got your work alto-gether, examine it scrupulously, rubbing it gently with apiece of bread, in order to render the lines more obscure :revise and correct the whole as often as it may be foundnecessary. Compare all the parts of the copy with theoriginal, in every direction, first horizontally and then verti-cally, from a given point, which may be supposed to be thecentre of the picture.
Beginners should make their drawings of the same size asthe original, in order to exercise the eye in measuring withexactness : after some practice, however, it will be better tovary the size from the original, in order to acquire the habitof estimating distances, that, when combined, will formparts, similar to the whole, as also to the whole mass orgeneral contour.
After the outlines are finished, the learner may proceed tothe shadows ; the first lesson should be simple, only indi-cating the principal projections. The simplest method offorming these is, by repeated lines nearly parallel to the out-line, and as he advances with more shades, these lines shouldbe crossed by other equidistant lines. This manner ofsketching constitutes that peculiar manner of drawing calledhatching, a mode very well calculated to give freedom ofhand in any style of drawing. The chief things to be at-tended to are, that the lines conform as much as possible tothe original, bearing all their inflections in the same ratio ;the intersections should not be too violent, nor the lines sostrong as to have the appearance of net-work.
In architectural drawing, the shadows are made out bywashing or tinting the paper with Indian ink, sepia, orbister, laid on with a camel-hair pencil : this may be done intwo different ways ; the one is by laying down the shades asnearly in their places as possible, with tints sufficiently dark,and softening off the edges with a clean pencil and water, andwhen dry, the process may be repeated again,, as often as maybe found necessary ; the other is by working with very lighttints at first, in blotches placed near each other, then blendingthese by a faint wash over the whole, and when nearly dry,strengthening them by filling up the interstices with otherblotches ; thus, by repeated blotches, the surface will acquirethe degree of tint required in the various parts. This modeis called stippling, and in the hand of an artist is perhaps thebest, at least for finished drawings. In the shadows of any-thing projecting from a surface, we shall, for the sake ofexample, suppose a pole projecting from the surface of a wall,at a considerable distance from it; the outline of the shadownext to the foot of the pole will be very dark and definite,but in proceeding towards the extremity, the edge becomesmore penumbral, and at last, in a very extended shadow, ishardly definite. All shadows are darker nearer to the body,than those which are more remote ; attached columns and
:0lU' I,n f
pilasters will throw a stronger shadow than insulate^ ^ 0 fupon the wall behind, and the projections of the .fined upt,ninsulated columns will be darker, and more dehtheir edges, than those which are placed at a greater ^ gV/ )from the wall, and, again, the middle part of thewill be darker than the edges. pa raH e
The shadow of a plane figure falling upon a P a J* e t ivl' 10 ' 1to it, will form a figure similar and equal to trn tothrows it, as the shadow of all lines on a plane, P ^ pro'these lines, will also be parallel to the same lines w ^ye,ject them. Besides what has been already l unte u idii>o 9 ’there is another method, which is excellent for ®tb eparticularly when small, viz. to use very little i . a ,]e apencil ; 1 " ’ " * n
moulding:
let us, for' example, suppose we were to ^ tb !lttake the camel-hair pencil with so l'tt e .
cannot run, or that it will dry the instant it P u poOthe paper, and run it the whole length of the moulding- A), ethat part which requires to be the darkest ; then rep e orprocess in the same manner, by making the tint bro f. Vtl' 0to spread farther over ; repeat in this manner, by the
last tint spread over each edge of the preceding, keep 1 ® 1]t jledges of every tint as straight and parallel as poss»W e , aS tothe moulding has acquired its full variety of tints, %, iC e-represent all the various inclinations of the origin aI * oV erIf any part appear too light, it is only necessary t° S q { ,that part again, touching only the part that is too bgthe learner may begin the reverse way, by making 4 jjjitatints first, and proceed to make narrower and narroweach time. j n at
In shadowing a cylinder of considerable width, ^ S )a pe
the line of demarcation of light and shade, where K n »
irom the luminary would touch the curved sur , n£ rth 0
straight line of contact, and having gone the whole > gCe eA
this line with a tint, soften the edges with water.
in the same manner the second time with a br^a e Jg e9
covering the edges of the former, and washing oft ", tint,
as before, thus continually spreading each repe a plan 0
until you come to the line of light, viz., wl j ere „ v lind 0r ’
extended from the luminary to the axis of the J jjfldef'" - - - - - of the cy*, t j,e
.-UnnOl
ut
included in the
Then from } vou ^ cut the surface ol l “'; -» ,
cylinder, lay a lighUffif 6 ] 6 ^ 6 ° f . the re P vesentat ^ 3 it c:
he put on and Ac, ln , t c ose to the line, as narrow alay a broadertinf “ ed ^ e of * next to the line o ^
ner, next to the ,. next and soften the edge in h n til
you come 4 Jn f %htJ P roceed in th, ' S *•”£&*
that the depth of WUh the lme of hgh ,- ’’
the parts wlnVl, colour in receding from the bne 0 oft
°r of an eaual , re P resen t equal distances, should be 1 ‘ j-gltf,
the w«ashes m„t S K ee -,. In washing towards the... cashes must be lighter and lighter, as too vouch 0 t „ e
■nreserved ’ Voear t0 Atthat P ar
• r^rrfl&V”
will destroy the delicacy necessary to be P*® to w ~ alierht nart. If. after all. anv part should a Pr * «ai
b'ghtp ar t if
]i ght, the defect If A’ an T partWith very ];ttl e ink ^ be ffi ade up by tinting -- .
concerning the man 10 t le Pencil. For other infoW''" .f g r
the nrilelZZZ ° f P ^ rhl S ^ we ^
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end, for cutt; an edged tool, made sharp £
e( %e, the edge of .? P lSlori into the wood, along a str JtW
f?w without raZ} n lT aTe or templet, in order to en»
t'nies used instead Wood - A chisel or Brmf tsj (be
drawing-knife is useful^ drawin § knife - Inthe shoulders of tf ' ul ,n rebating across the gram,
nons. grooving across the fibres. „ {e ot
m ansion partment ot , f 0 r
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mans ion, or nnhi , ’ a P ril >dpal apanm--.
company to wifi d eman r Iwuse > t0 which it l3 0fl i
-- • t0 ,withdraw after dinner, and in which drS >’
Tn small housed