The matter of Textures is very important, and the student should learn to differentiate them as much as possible.  This is done, as I have already said, by differences in the size and character of the line, and in the closeness or openness of the rendering.  Observe the variety of textures in the drawing of the sculptor by Dantan, Fig. 21.  The coat is rendered by such a cross-hatch as “N” in Fig. 10, made horizontally and with heavy lines.  In the trousers the lines do not cross but fit in together.  This is an excellent example for study, as is also the portrait by Raffaelli, Fig. 22.  The textures in the latter drawing are wonderfully well conveved,—­the hard, bony face, the stubby beard, and the woolen cap with its tassel in silhouette.  For the expression of texture with the least effort the drawings of Vierge are incomparable.  The architectural drawing by Mr. Gregg in Fig. 50 is well worth careful study in this connection, as are all of Herbert Railton’s admirable drawings of old English houses. (I recommend the study of Mr. Railton’s work with a good deal of reservation, however.  While it is admirable in respect of textures and fascinating in its color, the values are likely to be most unreal, and the mannerisms are so pronounced and so tiresome that I regard it as much inferior to that of Mr. Pennell, whose architecture always appears, at least, to have been honestly drawn on the spot.)

[Illustration:  FIG. 22 J. F. RAFFAELLI]

The hats in Fig. 10 are merely suggestions to the student in the study of elementary combinations of line in expressing textures.

[Side note:  Drawing for Reproduction]

As the mechanical processes of Reproduction have much to do with determining pen methods they become important factors for consideration.  While their waywardness and inflexibility are the cause of no little distress to the illustrator, the limitations of processes cannot be said, on the whole, to make for inferior standards in drawing, as will be seen by the following rules which they impose, and for which a strict regard will be found most advisable.

First:  Make each line clear and distinct.  Do not patch up a weak line or leave one which has been broken or blurred by rubbing, for however harmless or even interesting it may seem in your original it will almost certainly be neither in the reproduction.  When you make mistakes, erase the offensive part completely, or, if you are working on Bristol-board and the area of unsatisfactoriness be considerable, paste a fresh piece of paper over it and redraw.

Second:  Keep your work open.  Aim for economy of line.  If a shadow can be rendered with twenty strokes do not crowd in forty, as you will endanger its transparency.  Remember that in reproduction the lines tend to thicken and so to crowd out the light between them.  This is so distressingly true of newspaper reproduction that in drawings for this purpose the lines have to be generally very thin, sharp, and well apart.  The above rule should be particularly regarded in all cases where the drawing is to be subject to much reduction.  The degree of reduction of which pen drawings are susceptible is not, as is commonly supposed, subject to rule.  It all depends on the scale of the technique.