Look well at the model first; try and be moved by something in the form that you feel is fine or interesting, and try and see in your mind’s eye what sort of drawing you mean to do before touching your paper.  In school studies be always unflinchingly honest to the impression the model gives you, but dismiss the camera idea of truth from your mind.  Instead of converting yourself into a mechanical instrument for the copying of what is before you, let your drawing be an expression of truth perceived intelligently.

Be extremely careful about the first few strokes you put on your paper:  the quality of your drawing is often decided in these early stages.  If they are vital and expressive, you have started along lines you can develop, and have some hope of doing a good drawing.  If they are feeble and poor, the chances are greatly against your getting anything good built upon them.  If your start has been bad, pull yourself together, turn your paper over and start afresh, trying to seize upon the big, significant lines and swings in your subject at once.  Remember it is much easier to put down a statement correctly than to correct a wrong one; so out with the whole part if you are convinced it is wrong.  Train yourself to make direct, accurate statements in your drawings, and don’t waste time trying to manoeuvre a bad drawing into a good one.  Stop as soon as you feel you have gone wrong and correct the work in its early stages, instead of rushing on upon a wrong foundation in the vague hope that it will all come right in the end.  When out walking, if you find you have taken a wrong road you do not, if you are wise, go on in the hope that the wrong way will lead to the right one, but you turn round and go back to the point at which you left the right road.  It is very much the same in drawing and painting.  As soon as you become aware that you have got upon the wrong track, stop and rub out your work until an earlier stage that was right is reached, and start along again from this point.  As your eye gets trained you will more quickly perceive when you have done a wrong stroke, and be able to correct it before having gone very far along the wrong road.

Do not work too long without giving your eye a little rest; a few moments will be quite sufficient.  If things won’t come, stop a minute; the eye often gets fatigued very quickly and refuses to see truly, but soon revives if rested a minute or two.

Do not go labouring at a drawing when your mind is not working; you are not doing any good, and probably are spoiling any good you have already done.  Pull yourself together, and ask what it is you are trying to express, and having got this idea firmly fixed in your mind, go for your drawing with the determination that it shall express it.