Another method of judging tone drawing is our old method of half closing the eyes.  This, by lowering the tone and widening the focus, enables you to correct the work more easily.

In tone drawing there is not only the shape of the masses to be considered, but their values—­that is, their position in an imagined scale from dark to light.  The relation of the different tones in this way—­the values, as it is called—­is an extremely important matter in painting.  But it more properly belongs to the other department of the subject, namely Colour, and this needs a volume to itself.  But something more will be said on this subject when treating of Rhythm.

We saw, in speaking of line drawing, how the character of a line was found by observing its flatnesses and its relation to straight lines.  In the same way #the character of modelling is found by observing its planes#.  So that in building up a complicated piece of form, like a head or figure, the planes (or flat tones) should be sought for everywhere.  As a carver in stone blocks out his work in square surfaces, the modelling of a figure or any complex surface that is being studied should be set out in planes of tone, painting in the first instance the larger ones, and then, to these, adding the smaller; when it will be seen that the roundnesses have, with a little fusing of edges here and there, been arrived at.  Good modelling is full of these planes subtly fused together.  Nothing is so characteristic of bad modelling as “gross roundnesses.”  The surface of a sphere is the surface with the least character, like the curve of a circle, and the one most to be avoided in good modelling.

In the search for form the knowledge of anatomy, and particularly the bony structures, is of the utmost importance.  During the rage for realism and naturalism many hard things were said about the study of anatomy.  And certainly, were it to be used to overstep the modesty of nature in these respects and to be paraded to the exclusion of the charm and character of life, it would be as well left alone.  But if we are to make a drawing that shall express something concrete, we must know something of its structure, whatever it is.  In the case of the human figure it is impossible properly to understand its action and draw it in a way that shall give a powerful impression without a knowledge of the mechanics of its construction.  But I hardly think the case for anatomy needs much stating at the present time.  Never let anatomical knowledge tempt you into exaggerated statements of internal structure, unless such exaggeration helps the particular thing you wish to express.  In drawing a figure in violent action it might, for instance, be essential to the drawing, whereas in drawing a figure at rest or a portrait, it would certainly be out of place.

[Illustration:  Plate XXVI.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES