arance_ of a figure
or any object in full natural light and shade with the pen or other
point, he could do so without using outline at all, but by simply
observing this principle and defining the boundaries of light on dark or
half-tone in their proper masses and relations. The pen sketch of the
man with the hoe (p. 188[f103a]) is intended to illustrate this method.

[Illustration (f103a): Relief by Means of Light and Shade Alone, in
Pen-drawing Without Outline.]

There is also the method of representing form in relief by means of
working with white line only upon a dark ground, the modelling and
planes of surface being entirely expressed in this way (as in A, p.
189[f103b]). This may be termed drawing by means of _light_, and may be
contrasted with the opposite method of working by means of black line
only on a light ground, or drawing by means of _shade_ (as in B, p.
189[f103b]).

[Illustration (f103b): Relief of Form: (A) By White Line Only on Dark
Ground, and (B) By Black Line Only on Light Ground.]

Yet another method, and one in which the effect of relief can be
obtained more readily and rapidly, perhaps, is by working on a
half-toned paper, drawing in the form with pencil, chalk, or brush,
blocking in the darker shadows and heightening the highest lights with
touches of white. These white touches, however, should be strictly
limited to the highest lights. This method is represented by the
half-tone blocks used in this book, those which were taken from drawings
made on brown paper and touched with white.

[The Principle of the Photograph]

The definition of form by means of light is strictly the principle of
the photograph, which comprehends and illustrates its complementary of
relief by means of shade, and I think it is due to the influence of the
photograph that modern black-and-white artists have so often worked
on these principles. The drawings of Frederick Walker and Charles Keene
may be referred to as examples. I shall, however, hope to return to this
branch of the subject later.

[Relief in Architectural Mouldings]

So far we have been considering the relief of form by means of line. We
now come to what may be termed the relief of form by actual form and
plane, or modelling in actual light and shade, as in architecture and
sculptors' and carvers' work. Then relief is gained by the contrast of
actually different planes,