-
22. Letter II, 104: Foliage for two reasons... always accesible... leading or governing lines""
Stephen Farthing
-
09. Letter I, Exercise VI: Consider the dark boughs of the tree as dark rivers""
Stephen Farthing
-
04. Letter I, Exercise I: Try to fill in that square with crossed lines""
Stephen Farthing
-
27. Letter II, 127: You may think we have said enough about the tree already""
Stephen Farthing
-
21. Letter I, Exercise X, continued: A perfect artist habitually sees masses not edges""
Stephen Farthing
-
08. Letter I, Exercise V: To be able to draw any form at once""
Stephen Farthing
-
15. Letter I, Exercise VIII: Following the spots which fall into the folds of the skin""
Stephen Farthing
-
23. Letter I, 105: The idea and main purpose in every branch are to carry all its child brances well out to the air and light""
Stephen Farthing
-
30. Letter III, 193: The law of principality""
Stephen Farthing
-
11. Letter I, Exercise VI, continued: You cannot do too many of these""
Stephen Farthing
-
16. Letter I, Exercise X Put on a wash of colour, prepared very pale... then another wash""
Stephen Farthing
-
31. Letter III, 210: Rembrandt's elephant""
Stephen Farthing
-
26. Letter II, 122: Avoid studies where one thing seen is through another""
Stephen Farthing
-
20. Letter I, Exercise X, continued: The perfect way of drawing is with shade and without line""
Stephen Farthing
-
12. Letter I, Exercise VII: When you have done one square proceed to do another""
Stephen Farthing
-
01. The Title Page of the June 22nd 1857 Smith Elder & Co. of London, edition
Stephen Farthing
-
17. Letter I, Exercise X: Draw first only two or three leaves""
Stephen Farthing
-
07. Letter I, Exercise IV: You cannot get the same dark power with pencil as with ink""
Stephen Farthing
-
14. Letter I, Exercise VIII: Spots that follow the folds of printed stuff""
Stephen Farthing
-
06. Letter I, Exercise III: When your eye gets keen and true - you will see gradation in everything in nature""
Stephen Farthing
-
25. Letter II, 112: Copying photographs and unpacking nudes""
Stephen Farthing
-
19. Letter I, Exercise X: You need not copy touch for touch... Rembrandt is often too loose and vague""
Stephen Farthing
-
28. Letter II, 104: So that the moment a touch is monotonous, it must also be false""
Stephen Farthing
-
03. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""
Stephen Farthing
-
05. Letter I, Exercise II: The pen should, as it were, walk slowly over the ground""
Stephen Farthing
-
10. Letter I, Exercise VI, continued: The brush is often more convenient for laying on masses of tints and shades""
Stephen Farthing
-
18. Letter I, Exercise X, continued: And some leaves seen with the edge turned towards you""
Stephen Farthing
-
29. Letter II, 142: Ripple from a wild ducks breast""
Stephen Farthing
-
24. Letter II, 108: That leaf is the main one that bough is the guilding one""
Stephen Farthing
-
13. Letter I, Exercise VIII: If you can draw a stone, you can draw anything""
Stephen Farthing
-
02. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""
Stephen Farthing
