f intricate design,
presenting positive shadows. Just so much of such a design should
be rendered as not to darken the object below its proper relative
value as a whole. In this faculty of suggesting things without
literally rendering them consists the subtlety of pen drawing.

It may be said, therefore, that large light areas resulting from the
necessary elimination of values are characteristic of pen drawing.
The degree of such elimination depends, of course, upon the character
of the subject, this being entirely a matter of relation. The more
black there is in a drawing the greater the number of values that can
be represented. Generally speaking, three or four are all that can be
managed, and the beginner had better get along with three,--black,
half-tone, and white.

[Illustration: FIG. 28 REGINALD BIRCH]

[Side note: _Various Color-Schemes_]

While it is true that every subject is likely to contain some motive
or suggestion for its appropriate color-scheme, it still holds that,
many times, and especially in those cases where the introduction
of foreground features at considerable scale is necessary for the
interest of the picture, an artificial arrangement has to be devised.
It is well, therefore, to be acquainted with the possibilities of
certain color combinations. The most brilliant effect in black
and white drawing is that obtained by placing the prominent black
against a white area surrounded by gray. The white shows whiter
because of the gray around it, so that the contrast of the black
against it is extremely vigorous and telling. This may be said to
be the illustrator's _tour de force_. We have it illustrated by
Mr. Reginald Birch's drawing, Fig. 28. Observe how the contrast
of black and white is framed in by the gray made up of the sky,
the left side of the building, the horse, and the knight. In the
drawing by Mr. Pennell, Fig. 29, we have the same scheme of color.
Notice how the trees are darkest just where they are required to
tell most strongly against the white in the centre of the picture.
An admirable illustration of the effectiveness of this color-scheme
is shown in the "Becket" poster by the "Beggarstaff Brothers,"
Fig. 69. Another scheme is to have the principal black in the gray
area, as in the Vierge drawing, Fig. 26 and in Rico's sketch, Fig.
11.

[Illustration: FIG. 29 JOSEPH PENNELL]

[Illustration: FIG. 30 B. G. GOODHUE]

[Illustration: FIG. 31 JOSEPH PENNELL]

Still another and