has been added light and shade, colour, aerial perspective, &c., may
eventually approximate to the perfect visual appearance. And inversely,
representations approached from the point of view of pure vision, the
mosaic of colour on the retina, if pushed far enough, may satisfy the
mental perception of form with its touch associations. And of course the
two points of view are intimately connected. You cannot put an accurate
outline round an object without observing the shape it occupies in the
field of vision. And it is difficult to consider the "mosaic of colour
forms" without being very conscious of the objective significance of the
colour masses portrayed. But they present two entirely different and
opposite points of view from which the representation of objects can be
approached. In considering the subject of drawing I think it necessary
to make this division of the subject, and both methods of form
expression should be studied by the student. Let us call the first
method Line Drawing and the second Mass Drawing. Most modern drawing is
a mixture of both these points of view, but they should be studied
separately if confusion is to be avoided. If the student neglects line
drawing, his work will lack the expressive significance of form that
only a feeling for lines seems to have the secret of conveying; while,
if he neglects mass drawing, he will be poorly equipped when he comes to
express form with a brush full of paint to work with.




IV

LINE DRAWING