ger is that the absorbing
interest in his academic studies may take up his whole attention, to the
neglect of the instinctive qualities that he should possess the
possession of which alone will entitle him to be an artist.

VII

THE STUDY OF DRAWING

We have seen that there are two extreme points of view from which the
representation of form can be approached, that of outline directly
related to the mental idea of form with its touch association on the one
hand, and that of mass connected directly with the visual picture on the
retina on the other.

Now, between these two extreme points of view there are an infinite
variety of styles combining them both and leaning more to the one side
or the other, as the case may be. But it is advisable for the student to
study both separately, for there are different things to be learnt and
different expressive qualities in nature to be studied in both.

From the study of outline drawing the eye is trained to accurate
observation and learns the expressive value of a line. And the hand is
also trained to definite statement, the student being led on by degrees
from simple outlines to approach the full realisation of form in all the
complexity of light and shade.

But at the same time he should study mass drawing with paint from the
purely visual point of view, in order to be introduced to the important
study of tone values and the expression of form by means of planes. And
so by degrees he will learn accurately to observe and portray the tone
masses (their shapes and values) to which all visual appearances can be
reduced; and he will gradually arrive at the full realisation of form--a
realisation that will bring him to a point somewhat similar to that
arrived at from the opposite point of view of an outline to which has
been added light and shade, &c.

But unless both points of view are studied, the student's work will be
incomplete. If form be studied only from the outline point of view, and
what have been called sculptor's drawings alone attempted, the student
will lack knowledge of the tone and atmosphere that always envelop form
in nature. And also he will be poorly equipped when he comes to exchange
the pencil for a brush and endeavours to express himself in paint.

And if his studies be only from the mass point of view, the training of
his eye to the accurate observation of all the subtleties of contours
and the construction of form will be neglected. And he will