d shapes.

Always have plenty of sketching materials on hand. You will lose many
a good effect which will pass while you are getting your kit ready.

In sketching, avoid details. When you want them, make a study of them.
In a sketch they only interfere with frankness of expression. One or
two details for the sake of accent only, may be admitted.

Make a frame with your hand, or, better, cut a square hole in a card,
and look through it. Decide what is the essence of it, what is vital
to the effect, and do that; concentrate on that. Put in what you need
for the conveying of that, and leave out everything else.

=Work Solidly.=--Work in body color, and lay on your paint fully and
freely. In getting an effect of light, don't be afraid of contrast
either of value or of color. Paint loosely; get the vibration which
results from half-mixed color. Don't flatten out the tone. Load the
color if you want to. In twenty years you will wonder to see how
smooth it has become.

Freedom and breadth give life to a sketch. Don't work close to your
work. Don't bend over it. Use plenty of color, large brushes, and
strike from the shoulder.

CHAPTER XXVII

THE STUDY

The qualities which make a good study are the reverse of those which
make a good sketch. In the sketch all is sacrificed to the effect, or
to the one thing which is its purpose. The study is what its name
implies, and its purpose is not one thing, but many. In a study you
put in everything which may be valuable. You store it with facts. You
leave out nothing which you wish to put in. It is all material. You
can take and leave in using it afterwards, as you could from nature.
Of course every study has some main intention, but you must take the
trouble to give everything that goes to the making of that.

A study is less of a picture than a sketch is. For unity of effect is
vital to both a sketch and a picture. But this quality is of no
essential value in a study--unless it be a study of unity. For you can
make a _study_ of anything, from a foreground weed to a detailed
interior, from a bit of pebble to a cavalry charge.

But in a study of one thing you concentrate on that thing, you
deliberately and carefully study everything in it, while in a sketch
you work only for general effect. The study is the storehouse of facts
to the painter. By it he assures himself of the literal truths he
needs, collecting t