[Illustration:  FIG. 11 MARTIN RICO]

[Size note:  Methods of Tone-Making]

I have shown various methods of making a tone in Fig. 12.  It will be observed that Rico’s shadow, in Fig. 11, is made up of a combination of “B” and “C,” except that he uses “B” horizontally, and makes the line heavy and dragging.  The clear, crisp shadows of Vierge are also worthy of study for the simplicity of method.  This is beautifully illustrated in the detail, Fig. 13.  It would be impossible to suggest atmosphere more vibrating with sunlight; a result due to the transparency of the shadows, the lines of which are sharp and clean, with never a suggestion of cross-hatch.  Notice how the lines of the architectural shadows are stopped abruptly at times, giving an emphasis which adds to the brilliancy of the effect.  The drawing of the buildings on the canal, by Martin Rico, Fig. 14, ought also to be carefully studied in this connection.  Observe how the shadow-lines in this drawing, as in that previously mentioned, are made to suggest the direction of the sunlight, which is high in the heavens.  An example of all that is refined and excellent in pen technique is the drawing by Mr. Alfred Brennan, Fig. 15.  The student would do well to study this carefully for its marvellous beauty of line.  There is little hatching, and yet the tones are deep and rich.  The wall tone will be found to be made up similarly to “A” and “H” in Fig. 12.  The tone “B” in the same Figure is made up of lines which are thin at the ends and big in the middle, fitting into each other irregularly, and imparting a texture somewhat different from that obtained by the abrupt ending of the strokes of “A.”  This method 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]