ith leaf
forms and try to express the character of oak and beech, lime and
chestnut leaves, for instance, by means of outline. Probably at first
we shall feel dissatisfied with our outline as not being full enough: it
may look meagre in quality and small in definition of form. This
probably arises from not allowing enough space--from setting the
outline too much within the boundary of the form. To correct this one
cannot do better than block in the form of the object we are drawing
(leaf, flower, or figure) with a full brush in black silhouette, placing
the object against the light or white paper, so that its true boundary
may be seen uninterfered with by surface markings or shadows, and,
concentrating our attention upon the _edge_, follow it as carefully as
possible with the solid black. Then, if we compare the result with our
outline, it will help to show where it has failed; and the practice of
thus blocking in with the brush in solid silhouette will tend to
encourage a larger style of drawing, since good outline means good
perception of mass; and as a general principle in drawing, it may be
recommended to place one's outline _outside_ the silhouette boundary of
the form rather than within it; that is to say, when the figure or
object is relieved in light against dark, as the line in that case
defines the edge against the background. When the figure or object
appears as dark upon a light ground, however, the outline should be
within the silhouette, obviously, or its delicate boundary is lost.

[Illustration (f010a): Silhouette of Beech Leaves and Line Rendering of
the Same.]

[Linear Expression of Movement]

Another important attribute of line is its power of expressing or
suggesting _movement_. By a law of inseparable association, undulating
lines approaching the horizontal, or leading down to it, are connected
with the sense of repose; whereas broken curves and rectangular lines
always suggest action and unrest, or the resistance to force of some
kind.

[Illustration (f010b): Lines of Movement]

The recurrence of a series of lines in the same direction in a kind of
crescendo or wave-like movement suggests continuous pressure of force in
the same direction, as in this series of instantaneous actions of a man
bowling, where the line drawn through or touching the highest points in
each figure takes the line of the curve of a wave. The wave-line,
indeed, may be said not