pattern of a certain balance and
consistency (No. 1, p. 177[f096a]).

[Illustration (f096a): Relief in Pattern Design by Means of Simple
Linear Contrasts (1)]

With the more varied and complex floral form, but treated in a very
abstract way, placing the daisies in a line, horizontally, and reversing
the sprig for the alternate row, we have another motive, which is
connected and steadied as well as relieved by the suggestion of grass
blades in groups of three slightly radiated vertical strokes (No. 2,
p. 177[f096b]). A pattern of two elements, again, may be formed in a
still more simple way by linear contrast, as in No. 3, where the
pyramidal trees are formed by a continuous serpentine stroke of the pen
terminating in a spiral stem. The diagonal arrangement of the trees
produces a chequer, the intervals of which can be varied by the
contrasting black masses of the birds.

[Illustration (f096b): Relief in Pattern Design by Means of Simple
Linear Contrasts (2), (3)]

In graphic drawing, lines to express forms in the relief of light and
shade are often needed to give additional force even where no great
degree of realism is desired. A tint formed by horizontal lines is
sufficient to relieve a face from the background and give it solidity,
while local colour may be given to the hair, and at the same time serve
to relieve the leaves of a wreath encircling the head (see illustration,
p. 178[f097a]).

[Illustration (f097a): Relief by Adding Shading Lines to Outline.]

The rich effect of clustered apples growing among their leaves could
hardly be suggested without the use of lines expressive of light and
shade, the interstices of the deepest shade running into solid black (p.
178[f097a]). In adding lines in this kind of way to give relief or extra
richness or force, the draughtsman is really designing a system of lines
upon his outline basis, which may have quite as decorative a quality as
the outline itself. At the same time nothing is more characteristic of
the artist than the way in which such lines are used, and of course the
choice of direction and arrangement of such lines will make all the
difference in the effect of the drawing.

[Diagonal Shading]

Where the object is to express the figure in broad masses of light and
shade, the use of a series of diagonal lines is an effective, and
probably the most ready and rapid, method when working with the pen (see