The text explains the process of copying and understanding the proportions of complete figures. It emphasizes the importance of observing and accurately sketching the model, focusing on proper alignment and proportional relationships. Finally, it discusses refining the drawing by enhancing details, character, shadows, and light.
Principles
Included in No. 24, they are engraved by the same Mr. Pasquier, following the designs of the famous Bouchardon, and Messrs. Lemoine, Boucher, and Natoire; three of the most skillful painters of our modern school, whose names alone are worthy of praise.
After these repeated studies, the student will copy drawings from academies or complete figures; however, before doing so, he must learn to understand general proportions. When starting his drawing, he will focus on capturing the outline or the movement of the figure that serves as his model, sketching it lightly with a pencil. He will observe on this model the parts that correspond vertically and horizontally, in order to place each one in its place, in relation to the others. Assisted by the proportions he already knows, he will align himself with those of the drawing he copies; that is, to the reciprocal proportions and the relation of all the parts with the entire figure. Finally, when he believes to be sure of all these things, he will strengthen the contours of his figure, adding all the refinements of detail, the character, and the lightness of the original. He will indicate the external and apparent forms, caused by the internal positioning of the muscles, the mass of shadows and light. This is what is called bringing a figure together or outlining it. Then he will finish his drawing, that is, he will shade it, as we have said above, by observing the comparison of shadows with the half-tones and reflections of the original drawing.
One must start by lightly establishing all the masses of shadow, in order to gradually develop them.