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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more thick and strong in the shade ; it is this method that gives such
strength and brilliancy to the etchings os Howet, srom whose works
this subject is selected. The parts os the lion which appear more
smooth are formed with short spirited touches, with a moderately
hard pencil. The pupils os the eyes must be kept dark, and the white
eyeball made to project, to give lise and spirit to the whole.
After drawing the head os the lion there will be little dissiculty in
producing the boar's head. The long hair proceeds srom the upper
jaw, and though not so long, is wavy like that upon the head os the
lion. The bristles on the scull and back of the boar are sormed with
a dark pencil; the touch made very heavy when the pencil is sirst
applied to the drawing, and the force decreasing as it comes to the
end, so that the line may terminate in a point.
Is the animals are to be coloured there will be little necessity sor
working them up with pencil. The light shadows upon the lion may
be drawn with sepia, and the light masses tinted with yellow ochre,
mixed with a little madder brown; the lines sorming the long hair
must be produced with sepia, used nearly dry, and laid on with a
strong yet ssexible sable pencil.
The wild boar sorms a strong contrast to the lion in colour as well as
in form ; it is tinted with a reddish neutral tint, sormed with indigo,
indian ink, and Venetian red: the markings os the hairs are the
same colour, used darker. Artists have, in many instances, methods