In this series of articles, the first of which appeared in the February issue of 1921, the art of Pencil Sketching is being presented. We have discussed in previous issues, materials and their manner of handling; the study of technique, leading to simple developments of parts of a subject; a study in the handling of strokes; followed by a discussion of the center of interest, an important factor in pencil sketching.

I know you will pardon the long intermission between articles. For you all know that any director of a city system has his hands full in the early part of the school year, and during the summer is engaged in some line of art activity. I hope so anyway, for during the vacation one should store up energy and ideas with their play for the next school year.

that the strokes must represent. With proper emphasis in mind, apply the flat gray tones with a 2H pencil, Fig. 2, Plate A.

The darker tones should then be added with the HB

pencil, keeping in mind the fact that the work should be done simply, suggesting character of surfaces but omitting all detail. Fig. 3, Plate A.

The blacks in and about the center of interest (2B or 3B pencil) are then to be placed with the utmost care in order to get the strongest contrasts of light and dark and the sharpest details about the focus point. Fig. 4, Plate A.

Plate B illustrates a sketch rendered from dark values to light values, "A Street in Caudebec." Fig. 1

I desire to suggest two methods of working, namely from light to dark, as in Plate A; and from dark to light, as in Plate B. I show two methods because you will find it to your advantage to work in both ways, adopting the method you think best for the subject selected.

As you watch the vast panorama of subjects to sketch, there are parts of your panorama that are more interesting than other parts. Selection, then, of subject, is of utmost importance, well worth plenty of time and thought as to the best vantage point and the hour which the sun makes its happiest play upon your subject. All this must be carefully planned and thought out before a line is drawn on paper.

After your selection has been made, the next thing is to search for its center of interest. This interest point is surrounded by the larger masses of darks, which catch your eye immediately. In succession the smaller and less interesting lighter masses which enhance the larger masses and the interest point is discovered.

In Plate A, the first method of working is illustrated, that of working from light tones to dark tones.

Once the subject is selected, draw lightly with a pencil the main or construction lines of the sketch. These lines should be kept as light as possible since they are to become a part of the finished sketch. Be careful to give the correct perspective drawing to the leading lines and outline of masses.

The selection of the center of interest, or focus point, must always be kept in mind and placed near the center, so that the leading lines of the picture will carry the eye toward this focus point, Fig. 1, Plate A.

At this stage examine the subject thoughtfully. note the direction of planes and the texture of material

near black as possible, were next located in the opening at the end of the street, with such dark grey masses as would lead to the black mass. Fig. 2. It is important to obtain the greatest contrasts of light and dark at this center of interest.

Fig. 3 shows the drawing of the dark masses with the HB pencil and the light masses with 3H pencil, noting the direction of strokes and texture of material, as in the shingles, bricks, cement and stone.

In Fig. 4 the sketch is to grow about the center of interest, detail being accented about this central zone, but gradually breaking into mass and line as the sketch grows away from the focus point. All lines and directions of strokes in the larger masses tend toward the center of interest and assist the eye to this focal point. Lines and masses are accented here and there by darks which relieves the eyes from jumping too quickly to the interest point--by gradually leading into the picture.

The page of notebook sketches shows a variety in subject and the rendering of many different strokes to show texture. Small sketches of this nature make excellent beginning sketches, since they are made quickly, are not labored and offer a record of a subject quickly drawn in a pocket notebook. One cannot fail, in using a notebook for quick sketches, to learn that simplicity and directness of handling, with strong contrasts at the center of interest make for the successful sketch. All of these sketches have strong interest points and in the Back Yard sketch a variety of strokes is shown to give different textures to materials drawn.

The sketch of the Russell House is an example of working from light to dark. This house built in the old New England period, with its many additions and quaint stone wall overgrown with bushes offers an interesting sketch to pencil draughtsmen.