


Figs. 22 and 23 are pen-and-ink exercises, similar to Figs. 25 and 26, except that the drawings are not transferred, the pen drawings being made directly on the linen paper on which the soft pencil sketches were made.
In Fig. 22, the dog is drawn by means of two or more nearly parallel lines (and occasional closely placed dots) to represent the single broad lines made by the soft pencil. The pencil lines are then erased, leaving the peculiarly soft and pleasing effect shown. In this exercise it is advisable to use a new, finely pointed pen. In Figs. 23 and 24 the drawings are started the same as in Fig. 22, except that closely placed and carefully modulated dots are used to represent the pencil lines. When finished, erase the pencil lines. The faces

in the lower part of Fig. 25 are stippled as in Fig 23. The result in each case is an effect similar to the original drawing. Drawings thus made are valuable chiefly for their permanence and adaptability in reproduction for printing purposes.


Exercises in Ornamental Pen Drawing, shown in Figs. B and E (Figs. 26 and 27), are much less complex than would appear at first glance. The method of producing these examples of confusion in decorative design is as follows:
Make a drawing on thin, rough, linen paper of the motif in Fig. A. Then transfer in group form one transfer over the other.
The pencil transfers will appear as at B, only the spaces will be dark. Then outline with ink but do not cross the dark spaces. When the ink is dry erase the pencil lines and the design will appear as in B.
As a preliminary exercise to the design, Fig. E, make a pencil drawing of the unit Fig. C and outline with ink. Erase pencil lines and the unit design D will appear. The design E is a repetition of the unit D, the only difference being that when the pencil transfers from C are made care must be taken not to cross with pen lines any of the dark transfer lines.