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.You seldom seeany shadows in Holbein's drawings; he seems to have put his sitters near a wide window, close against which he worked.Selectalso a background as near the tone of the highest light on the object to be drawn as possible.This will show up clearly the contour.In the case of a portrait drawing, a newspaper hung behind the head answers very well and is always easily obtained.The tone of itcan be varied by the distance at which it is placed from the head, and by the angle at which it is turned away from or towards thelight.Don't burden a line drawing with heavy half tones and shadows; keep them light.The beauty that is the particular province of linedrawing is the beauty of contours, and this is marred by heavy light and shade.Great draughtsmen use only just enough to expressthe form, but never to attempt the expression of tone.Think of the half tones as part of the lights and not as part of the shadows.There are many different methods of drawing in line, and a student of any originality will find one that suits his temperament.ButI will try and illustrate one that is at any rate logical, and that may serve as a fair type of line drawing generally.101The appearance of an object is first considered as a series of contours, some forming the boundaries of the form against thebackground, and others the boundaries of the subordinate forms within these bounding lines.The light and shade and differencesof local colour (like the lips, eyebrows, and eyes in a head) are considered together as tones of varying degrees of lightness anddarkness, and suggested by means of lines drawn parallel across the drawing from left to right, and from below upwards, or viceversa, darker and closer together when depth is wanted, and fainter and further apart where delicacy is demanded, and varying inthickness when gradation is needed.This rule of parallel shading is broken only when strongly marked forms, such as the swinglines of hair, a prominent bone or straining muscles, &c., demand it.This parallel shading gives a great beauty of surface andfleshiness to a drawing.The lines following, as it were, the direction of the light across the object rather than the form, give a unitythat has a great charm.It is more suited to drawings where extreme delicacy of form is desired, and is usually used in silver pointwork, a medium capable of the utmost refinement.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (44 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Plate XX.STUDY FOR THE FIGURE OF LOVE IN THE PICTURE "LOVE LEAVING PSYCHE" ILLUSTRATING A METHOD OFDRAWINGThe lines of shading following a convenient parallel direction unless prominent forms demand otherwise.In this method the lines of shading not being much varied in direction or curved at all, a minimum amount of that "form stimulus"is conveyed.The curving of the lines in shading adds considerably to the force of the relief, and suggests much stronger modelling.In the case of foreshortened effects, where the forms are seen at their fullest, arching one over the other, some curvature in thelines of shading is of considerable advantage in adding to the foreshortened look.102Lines drawn down the forms give an appearance of great strength and toughness, a tense look.And this quality is very useful insuggesting such things as joints and sinews, rocks, hard ground, or gnarled tree-trunks, &c.In figure drawing it is an interestingquality to use sparingly, with the shading done on the across-the-form principle; and to suggest a difference of texture or astraining of the form.Lines of shading drawn in every direction, crossing each other and resolving themselves into tone effects,suggest atmosphere and the absence of surface form.This is more often used in the backgrounds of pen and ink work and isseldom necessary in pencil or chalk drawing, as they are more concerned with form than atmosphere.Pen and ink is more oftenused for elaborate pictorial effects in illustration work, owing to the ease with which it can be reproduced and printed; and it ishere that one more often finds this muddled quality of line spots being used to fill up interstices and make the tone even
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