Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pages to give; although it may be necessary to make a greater call upon the intelligence of the student than these Victorian methods attempted.

It was not until some time after having passed through the course of training in two of our chief schools of art that the author got any idea of what drawing really meant. What was taught was the faithful copying of a series of objects, beginning with the simplest forms, such as cubes, cones, cylinders, &c. (an excellent system to begin with at present in danger of some neglect), after which more complicated objects in plaster of Paris were attempted, and finally copies of the human head and figure posed in suspended animation and supported by blocks, &c. In so far as this was accurately done, all this mechanical training of eye and hand was excellent; but it was not enough. And when with an eye trained to the closest mechanical viaccuracy the author visited the galleries of the Continent and studied the drawings of the old masters, it soon became apparent that either his or their ideas of drawing were all wrong. Very few drawings could be found sufficiently "like the model" to obtain the prize at either of the great schools he had attended. Luckily there was just enough modesty left for him to realise that possibly they were in some mysterious way right and his own training in some way lacking. And so he set to work to try and climb the long uphill road that separates mechanically accurate drawing from artistically accurate drawing.

The Practice and Science of Drawing

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