thod is also employed by Brennan, and is a very effective one.
A good example of the use of this character of line (unknitted,
however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular
line "C" has good possibilities for texture, and the wavy character
of "D" is most effective in the rendering of shadows, giving a
certain vibration to the atmosphere. "E" and "F" suggest a freer
method of rendering a tone; while "G" shows a scribbling line that
is sometimes employed to advantage. The very interesting texture of
the coat, Fig. 17, is made with a horizontal line having a similar
return stroke, as may be noticed where the rendering ends. There are
times when an irresponsible sort of line is positively desirable,--say
for rough foreground suggestion or for freeing the picture at the
edges.

[Illustration: FIG. 12 C. D. M.]

[Illustration: FIG. 13 DANIEL VIERGE]

[Illustration: FIG. 14 MARTIN RICO]

[Illustration: FIG. 15 ALFRED BRENNAN]

[Illustration: FIG. 16 LESLIE WILLSON]

[Size note: _Outline_]

I have invariably found that what presents the chief difficulty
to the student of pen and ink is the management of the Outline.
When it is realized that, by mere outline, one may express the
texture of a coat or a tree or a wall without any rendering whatever,
it will be seen that nothing in pen drawing is really of so much
importance. Notice, for example, the wonderful drawing of the dog
in Fig. 34. Again, if a connected line had been used to define
the corners of Railton's buttresses in Fig. 7 all the texture,
would have been destroyed. Instead of this he has used a broken
outline, sometimes omitting it altogether for a considerable space.
On the ledges, too, the lines are broken. In Rico's drawing, Fig.
11, all the outlines may be observed to have a break here and there.
This broken line is particularly effective in out-door subjects,
as it helps to suggest sunlit atmosphere as well as texture.

[Illustration: FIG. 17 DRAWING FROM A PHOTOGRAPH]

Architectural outlines, however, are not particularly subtle; it
is when we come to render anything with vague boundaries, such as
foliage or clouds for example, that the chief difficulties are
encountered. Foliage is an important element of landscape drawing
and deserves more than passing consideration. To make a successful
rendering of a tree in pen and ink the tree must be first well drawn
in pencil. It is absolutely impossible to obtain such a charming
eff