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LIGHT AND SHADE.
chalk and darker than Italian, but does not equal its delicacy and softness : it is made of three degrees of depth.
That Italian chalk is best which does not split, and it must be cut to a point by resting it on the end of the first finger and scraping it backwards. It may be made hard by keeping it in a dry place or by heating it, and soft by placing it in a damp place or in salt.
White chalk is used for the lights on tinted paper.
India-rubber will not erase chalk. Bread which has been baked one day is best adapted for the purpose. In rubbing out large tints it may be used dry, but when required for taking out black spots or lines, a piece must be pressed hard between the fingers until it can be moulded into a point, and by pressing this on the spot and lifting it again the object will be attained without affecting the surrounding parts.
Plate 4 is given to show the manner in which shade is re- presented by a multiplicity of lines.
Let the lines be at an obtuse angle with each other and only crossed at the ends, as in fig. 1, in order that when finished it may have a vibrating effect, and indicate variety and transparency. If they are more crossed they will lose this end and only serve to agitate and confuse, as in fig. 2. The light spaces may then be filled up by stippling, and if necessary the dark spots touched out with bread, as in fig. 8. If the object to be drawn is flat the shading may be thus carried on throughout. (Plate 3, figs. 1 & 3.) If however its surface be round the lines must be rounded also and the ends of each line lighter than the middle, as in figs. 4 & 5 and Plate 2, fig. 5.
