ow side that will entirely
alter and complicate the effect. Or one may draw in a wide, diffused
light, such as is found in the open air on a grey day; in which case
there will be little or no shadow, the modelling depending entirely on
degrees of light and half tone.

In studying the principles of simple light and shade it is advisable to
draw from objects of one local colour, such as white casts. In
parti-coloured objects the problem is complicated by the different tones
of the local colour. In line drawing it is as well to take as little
notice as possible of these variations which disturb the contemplation
of pure form and do not belong to the particular province of form
expression with which drawing is concerned.

Although one has selected a strong half light and half shade effect to
illustrate the general principles of light and shade, it is not
advisable in making line drawings to select such a position. A point of
view with a fairly wide light at your back is the best. In this position
little shadow will be seen, most of the forms being expressed by the
play of light and half tone. The contours, as they are turned away from
the light, will naturally be darker, and against a light background your
subject has an appearance with dark edges that is easily expressed by a
line drawing. Strong light and shade effects should be left for mass
drawing. You seldom see any shadows in Holbein's drawings; he seems to
have put his sitters near a wide window, close against which he worked.
Select also a background as near the tone of the highest light on the
object to be drawn as possible. This will show up clearly the contour.
In the case of a portrait drawing, a newspaper hung behind the head
answers very well and is always easily obtained. The tone of it can be
varied by the distance at which it is placed from the head, and by the
angle at which it is turned away from or towards the light.

Don't burden a line drawing with heavy half tones and shadows; keep them
light. The beauty that is the particular province of line drawing is the
beauty of contours, and this is marred by heavy light and shade. Great
draughtsmen use only just enough to express the form, but never to
attempt the expression of tone. Think of the half tones as part of the
lights and not as part of the shadows.

There are many different methods of drawing in line, and a student of
any originality will find one that suits his temperament. But I will try
and