Whittock, Nathaniel: The Art Of Drawing And Colouring, From Nature, Birds, Beasts, Fishes, And Insects: With Plain And Coloured Drawings, From Original Paintings By Morland, Vernet, Howet, Le Cave, &c. (London, 1830)

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over the whole. By looking at the copy, the student will perceive that
the lines vary in their forms in different parts of the body, waving
according to the protuberance of the surface over which it has to
pass, and always inclining downwards. Practice alone will give
facility in this style of drawing, but the difficulty will vanish after
a few trials, if the student commences the lines at one point,
letting them follow each other without crossing, which would in-
evitably spoil the whole. Commence in the male goat from the
ear. The very dark parts are touched with a black-lead pencil, taking
care to mark over or continue the lines formed with the hard pencil,
so that they may not cross each other; if they do, they of course form
small squares, an appearance which the coat of the animal never pre-
sents in nature.
Goats varv in their colour in different climates. The Welch sroats
are generally black and white, or fawn colour. If the drawing is to be
coloured, it will be advisable to lay 011 the shadows with a neutral tint,
formed with lake, indigo, and indian ink ; then to form the lines all
over the animal with the same tint, and afterwards to wash over with
the colour the animals are intended to appear.
The male goat in the copy is tinted all over with a light tint of
yellow ochre, the dark parts are indigo and indian ink; the latter
colour if used by itself would not appear sufficiently glossy and trans-
parent. The she goat is fawn colour, formed with a tint made by
mixing yellow ochre, indian red, and burnt sienna. The cliffs may