DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19953#0042
40
METHOD OF OUTLINE.
sentiments 'Of love, sympathy, pity or joy; while, in the
more fierce and stormy passions by which we are agitated,
the mouth and nose are called into action, and contribute
their full share in giving to these passions expression.
METHOD OF OUTLINE.
It being supposed that the pupil has now made himself
acquainted with the proportions which the different parts
of the figure bear to each other, and that he is about to
commence a drawing from a copy, he must first consider
the quantity of the surface or paper he intends it to
occupy, and making a mark for the top, and another for
the bottom of the work, he must endeavour to obtain the
general character of the subject, and without paying too
much attention to details; sketching as much as possible
in straight lines and angles, and leaving out some small
parts rather than putting too many in, or making them
too prominent.
In Plate XII., Fig. 1, these principles of the first
sketch are shown. The curved lines are produced upon
straight ones, the points and degree of curvature being
thus more easily determined. The eye is very likely to
be deceived by the roundness or fulness of the muscles,
and the outline frequently drawn as if it were swollen,
as in Plate XIII., Fig. 2. In making the curve, observe
METHOD OF OUTLINE.
sentiments 'Of love, sympathy, pity or joy; while, in the
more fierce and stormy passions by which we are agitated,
the mouth and nose are called into action, and contribute
their full share in giving to these passions expression.
METHOD OF OUTLINE.
It being supposed that the pupil has now made himself
acquainted with the proportions which the different parts
of the figure bear to each other, and that he is about to
commence a drawing from a copy, he must first consider
the quantity of the surface or paper he intends it to
occupy, and making a mark for the top, and another for
the bottom of the work, he must endeavour to obtain the
general character of the subject, and without paying too
much attention to details; sketching as much as possible
in straight lines and angles, and leaving out some small
parts rather than putting too many in, or making them
too prominent.
In Plate XII., Fig. 1, these principles of the first
sketch are shown. The curved lines are produced upon
straight ones, the points and degree of curvature being
thus more easily determined. The eye is very likely to
be deceived by the roundness or fulness of the muscles,
and the outline frequently drawn as if it were swollen,
as in Plate XIII., Fig. 2. In making the curve, observe