disposition of these lines—in some cases all straight, in some all curved, and in others straight and curved united—that makes up the representation of the object before us. Their lengths, their positions, their curvatures or bendings, and the manner in which they are connected with each other, combine to represent the various forms which nature and art so abundantly furnish. The question then narrows itself to the consideration—how are we to treat these lines?
We will begin by a caution, and direct the attention of the student to the pernicious and unsatisfactory way which many pursue when drawing a line. They begin, we will say, at the top (Fig. 5), a, and make a series of continuous scratches until they have reached the supposed end at b. Now here, at the outset of our instructions, let us endeavour to impress upon the student that such a mode of procedure is fatal to anything like success in drawing. They who follow this practice depend upon the advantage of being able to rub out their failures, and try again and again, with very creditable perseverance, until they arrive at something like the line they wish for; but when the subject is a complex one—that is, one made up of innumerable lines and curves—and this scratching and rubbing-out process is repeated, it cannot be surprising if we should see the unfortunate beginner, labouring under despair and excitement, throw the whole aside in disgust, being fully persuaded in his own mind that he will never be able to make any progress whatever. They who follow this plan generally say drawing is exceedingly difficult, and that it requires genius or natural talent to enable any one to succeed. We therefore earnestly desire to impress upon all who hope to draw well not to allow themselves to fall into a method which we must again call most pernicious and unsatisfactory. To draw a single line requires the same care and judgment as a combination of any number of lines; each line must be drawn cleanly, and with a knowledge beforehand of its proper position. The same principle that regulates one regulates the whole; it is only a repetition of that principle according to the number of lines in the drawing. We wish particularly to impress this idea upon the mind of the student.
To draw a line at random, without a previous arrangement, trusting more to good luck than to skill for its being correct, and leaving out all consideration or inquiry as to its fitness until it is drawn, is the most discouraging practice that can be followed. Let the student make up his mind, before he attempts to draw the line, where it is to begin, and where it is to end. Take a single line for an example (Fig. 6). Let it be supposed it is to begin at a and end at b; make a point where it is to begin and another where it is to end, and follow this practice invariably, whatever the subject may be, and whatever may be the number of lines that compose it. If the line be too long to draw at once without leaving off, mark any number of points in the direction between the two points a and b, and mark those points first which are nearest the extremes (the order of the letters in Fig. 6 will explain this), ending with those near the centre. When these points are properly placed so as to be in a straight direction, join a to c by one continued and carefully drawn line that is, without leaving off (observing what has been already said about the position of the pencil); then draw a line from c to e, from e to d, and from d to b, as in Fig. 7. By this process of marking in the distances where there is a combination of lines, we overcome one, if not the greatest, difficulty in free-hand drawing. There are other helps for placing lines correctly, all of which will be noticed in their due course. This method of drawing a line must be practised over and over again until it is accomplished. Then in the same way draw lines in a horizontal position, as in Figs. 8 and 9; then again inclined lines, as in Figs. 10 and 11, 12 and 13.
As we have said that all objects are to be represented by straight and curved lines, we will present a simple combination of these lines as an illustration of our system, when the utility of placing points to mark the positions and distances will be evident, for by this process we obtain that which one word will express, the arrangement of the drawing. It is this arrangement of the places where the lines are to be drawn that we would earnestly impress upon the learner the necessity of repeatedly practising, for upon this will depend the power of producing a correct and satisfactory drawing.
Figs. 14 and 15 may appear to be only a piece of scribble, yet they contain all that is necessary for the purpose of illustrating our meaning. First, then, observe the position of a with regard to b (Fig. 14), and their distance from each other, and place points to correspond, as a and b in Fig. 15; and also the positions of the other characteristic points respectively—l with regard to a being in a direct line with a and b, c with regard to l and a; also d perpendicular with c, and so on; e and g on the same level, e being perpendicularly under l, i under f, and k somewhat below the position of i under g. When all these characteristic points and distances are determined, then, as in the drawing of a simple line (as before explained), join these points by lines straight and curved as in the example, Fig. 14, producing the result as in Fig. 15. Respecting the importance of this fundamental principle, we cannot too earnestly impress it upon the mind of the pupil, and recommend him to practise it frequently.
