DOI Page / Citation link:
https://doi.org/10.11588/diglit.19388#0017
ART OF DESIGNING. 9
what is thought insurmountable may be conquered by repeated trials; and the won-
der will be, that it should ever have appeared in so discouraging a light.
It will be found extremely advantageous to hold the port crayon, or other
instrument, something more than two inches from the bottom; for freedom is the very
essence of design.
Begin rather with parts than a whole figure.
An attempt to draw the figure of a man by one who is unable to mark the outline
of a head, will be unsuccessful, and such an effort instead of applause will certainly
meet with contempt.
Proceed, therefore, with designing the different features of the face, and each of
them in different positions; and when these can be performed with accuracy, it will
be proper to begin with a whole head.
The examples of the oval for drawing the face and head in Plate I. should now
be carefully considered, and Fig. XIV. in that plate, is an example of a head accord
iug to the most exact proportion. The oval is divided by a perpendicular line from
top to bottom, and thai line into four equal parts : the upper division describes the
space from the top of the head to the lowest hair upon the forehead; the next
division passes between the eye-brows and eye-lids, and not through the eyes, as
has been erroneously taught; from thence to the bottom of the third division is the
length of the nosB; and the fourth contains the mouth and chin: this last is again
divided into threeequal parts; the first of which shews the space from the bottom
of the nose to the viddle of the mouth, the second contains the under lip and the
space between that a>d the chin, and the chin fills the third part of the lower division
of the face : the length0f the eye is reckoned one fifth part of the breadth of the face
which is also the breach of the nose from the extremity of each nostril, arid the
mouth is nearly of the ^xae measure: the ear is of the same length with the nose.
Observe, therefore, tcDiaCje every feature properly: let the nose be set directly
under the centre of the fort^d^ an(j the middle of the mouth exactly under that
of the nose; place the eyes uDn a ijne? that there may appear no distortion, and
be careful that the eyes and m(,th are parallel to each other.
Of three quarter faces and rofiles there are many fine examples in this book, and
therefore little more need be sai 0f them. It has been sometimes recommended
to provide a piece of box turned , the shape of an egg, to mark off the several
divisions upon it, and, by turning it xrious wayS to observe the different appearance
of the lines; but it would be much b*er to try the same experiment with a small
plaster head, which may be more easily rocured, and will certainly answer the pur-
pose much better.
The student having frequently and ca,fui]y designed the head and its parts, may
now turn his attention to the other extremity of the human body, which are, the hands
and feet; these have ever been esteemed ^difficult part of design; and various
r
what is thought insurmountable may be conquered by repeated trials; and the won-
der will be, that it should ever have appeared in so discouraging a light.
It will be found extremely advantageous to hold the port crayon, or other
instrument, something more than two inches from the bottom; for freedom is the very
essence of design.
Begin rather with parts than a whole figure.
An attempt to draw the figure of a man by one who is unable to mark the outline
of a head, will be unsuccessful, and such an effort instead of applause will certainly
meet with contempt.
Proceed, therefore, with designing the different features of the face, and each of
them in different positions; and when these can be performed with accuracy, it will
be proper to begin with a whole head.
The examples of the oval for drawing the face and head in Plate I. should now
be carefully considered, and Fig. XIV. in that plate, is an example of a head accord
iug to the most exact proportion. The oval is divided by a perpendicular line from
top to bottom, and thai line into four equal parts : the upper division describes the
space from the top of the head to the lowest hair upon the forehead; the next
division passes between the eye-brows and eye-lids, and not through the eyes, as
has been erroneously taught; from thence to the bottom of the third division is the
length of the nosB; and the fourth contains the mouth and chin: this last is again
divided into threeequal parts; the first of which shews the space from the bottom
of the nose to the viddle of the mouth, the second contains the under lip and the
space between that a>d the chin, and the chin fills the third part of the lower division
of the face : the length0f the eye is reckoned one fifth part of the breadth of the face
which is also the breach of the nose from the extremity of each nostril, arid the
mouth is nearly of the ^xae measure: the ear is of the same length with the nose.
Observe, therefore, tcDiaCje every feature properly: let the nose be set directly
under the centre of the fort^d^ an(j the middle of the mouth exactly under that
of the nose; place the eyes uDn a ijne? that there may appear no distortion, and
be careful that the eyes and m(,th are parallel to each other.
Of three quarter faces and rofiles there are many fine examples in this book, and
therefore little more need be sai 0f them. It has been sometimes recommended
to provide a piece of box turned , the shape of an egg, to mark off the several
divisions upon it, and, by turning it xrious wayS to observe the different appearance
of the lines; but it would be much b*er to try the same experiment with a small
plaster head, which may be more easily rocured, and will certainly answer the pur-
pose much better.
The student having frequently and ca,fui]y designed the head and its parts, may
now turn his attention to the other extremity of the human body, which are, the hands
and feet; these have ever been esteemed ^difficult part of design; and various
r