[Illustration:  FIG. 6 B. G. GOODHUE]

[Illustration:  FIG. 7 HERBERT RAILTON]

[Side note:  Variety of Line]

The second requisite is Variety of Line,—­not merely variety of size and direction, but, since each line ought to exhibit a feeling for the particular texture which it is contributing to express, variety of character.  Mr. Gibson’s manner of placing very delicate gray lines against a series of heavy black strokes exemplifies some of the possibilities of such variety.  Observe, in Fig. 6, what significance is imparted to the heavy lines on the roof of the little foreground building by the foil of delicate gray lines in the sky and surrounding roofs.  This conjunction was employed early by Mr. Herbert Railton, who has made a beautiful use of it in his quaint architectural subjects.  Mr. Railton’s technique is remarkable also for the varied direction of line and its expression of texture.  Note this characteristic in his drawing of buttresses, Fig. 7.

[Illustration:  FIG. 8 B. G. GOODHUE]

[Illustration:  FIG. 9 C. D. M.]

[Illustration:  FIG. 10 C. D. M.]

[Side note:  Economy of Method]

The third element of good technique is Economy and Directness of Method.  A tone should not be built up of a lot of meaningless strokes.  Each line ought, sensibly and directly, to contribute to the ultimate result.  The old mechanical process of constructing tones by cross-hatching is now almost obsolete.  It is still employed by modern pen draughtsmen, but it is only one of many resources, and is used with nice discrimination.  At times a cross-hatch is very desirable and very effective,—­as, for example, in affording a subdued background for figures having small, high lights.  A very pretty use of it is seen in the tower of Mr. Goodhue’s drawing, Fig. 8.  Observe here how the intimate treatment of the roofs is enhanced and relieved by the foil of closely-knit hatch on the tower-wall, and how effective is the little area of it at the base of the spire.  The cross-hatch also affords a satisfactory method of obtaining deep, quiet shadows.  See the archway “B” in Fig. 9.  On the whole, however, the student is advised to accustom himself to a very sparing use of this expedient.  Compare the two effects in Fig. 9, Some examples of good and bad cross-hatching are illustrated in Fig. 10.  Those marked “I” and “J” may be set down as bad, being too coarse.  The only satisfactory cross-hatch at a large scale would seem to be that shown in “N,” where lines cross at a sharp angle; and this variety is effectively employed by figure illustrators.  Perhaps no better argument against the necessity for thus building up tones could be adduced than the little drawing by Martin Rico, shown in Fig. 11.  Notice what a beautiful texture he gives to the shadow where it falls on the street, how it differs from that on the walls, how deep and closely knit it all is, and yet that there is absolutely no cross-hatching.  Remark, also, how the textures of the walls and roof and sky are obtained.  The student would do well to copy such a drawing as this, or a portion of it, at least, on a larger scale, as much can be learned from it.