Smith, Thomas [Editor]: The Art Of Drawing In Its Various Branches: Exemplified In A Course Of Twenty-Eight progressive Lessons, Calculated To Afford Those Who Are Unacquainted With The Art, The Means Of Acquiring A Competent Knowledge Without The Aid Of A Master ; Being The Only Work Of The Kind In Which The Principles Of Effect Are Explained In A Clear, Methodical, And At The Same Time Familiar Style. Illustrated With Coloured Designs And Numerous Wood Engravings (London, 1827)

82

ON FIGURE DRAWING.

From the point of the shoulder to the pit between the
two collar bones, one face.

The foot is one-sixth the length of the figure.

o o

The length of the face and hands ought to be equal.

In drawing children, the whole length ought to be equal
to five heads, whereof the head and trunk take three,
whilst the thighs and legs take the other two.

O O

In drawing a man and woman, the principal differences
will be in the relative breadth of the shoulders and
hips, which in the woman will be very nearly the
same breadth, the hips being very little narrower than
the shoulder, whilst in the man the latter are con-
siderably broader than the former.

In drawing a full face, the diameter across the eves is

O ' s/

equal to five lengths of an eye.

The distance between the eyes is equal to one eye.

The breadth of the nostrils, one eye.

The length of the mouth, two eyes.

The above rules the student will find extremely service-
able in correcting the first rough outline of a figure,- by
these rules he can also determine where the knee, foot,
Src. of any figure ought to be placed after he has sketched
the head.

In drawing from plaster casts it is the custom to
use grey paper, on which the figure is finished, with
black and white chalk, making use of soft willow char-
coal to sketch in the first outline* . Chalk drawings

* Charcoal is used in preference to chalk on account of the
facility with which it is effaced if incorrect: the student must