Method for Learning

These two papers are fixed together at the edges with three or four pins, or with small copper clips, or wooden clamps (which are nothing more than small half-split sticks that, by clamping along their split edge, prevent the two papers from slipping against each other and becoming disorganized). Once the papers are fixed in this way, they are placed against the window panes, or against a transparent mirror exposed to daylight, or laid on a table, or on a specially designed stand with a smaller opening than the mirror, with a lit candle behind. By placing the two papers slightly closer together in this manner, you can see all the lines of the original underneath in daylight, which you trace on white paper, following the contours with a pencil of charcoal or graphite. After the entire outline is traced, you clean it up, and then erase the initial lines by gently rubbing with a white cloth or a piece of stale bread.

This method provides the convenience of being able to use it as often as you like without damaging the original drawing, and allows you to copy it in reverse if needed; simply flip the original drawing and place it under the white paper with the drawing side facing the glass. This is the way engravers can trace from the drawing they need to engrave, transferring it accurately to their plate, when the print must be in the same direction as the original. However, generally, they do not take this much trouble; and when the original is of little significance, they rub it with a bit of oil or varnish to make it transparent.

Translation Notes:
- "fusain": This term means charcoal, often used in art for drawing or sketching.
- "planche": Refers to a plate or board, typically used in engraving or printing contexts.