CHAPTER III
Drawing Ourselves and Others
WHEN we first try to draw each other it is best to choose fairly easy positions. Put your small brother into an exaggerated attitude—for example, rushing toward you with arms outspread, his chin in the air. You will very soon get tired and discouraged; worse still, so will he, and the probabilities are that his first posing will be his last.
So choose an easy position. Firstly for his sake, secondly for yours. It does not pay to be too selfish about these things, and posing, after all is said and done, is very monotonous work. Queer aches and pains develop in hands, knees, and feet. Extended arms holding banners or grasping trusty swords are apt to get heavy as lead. So I offer it to you as an invaluable principle, consider the feelings of your model.
By 'an easy pose' one that represents a simple position is meant. If we begin by trying to draw some one with body huddled together, legs crossed, neck twisted, and eyes gazing into ours, we shall soon be very confused.
Stand your brother upright, with his arms to his side; or put your sister on a chair with her hands in her lap and her eyes looking before her; or plump the baby down on a cushion on the floor and draw him sideways (he won't stay there, but that is a detail). Choose, in a word, easy positions.
It is a very encouraging reflection that all people aspire to become artists are more or less in the same boat. We land on the same rocks, reefs, and shore, we battle with the same currents, tides, and storms. We should, therefore, be ready with a helping hand whenever it is required by others.
