Artists \ FARTHING, Stephen, 1950-

29. Letter II, 142: Ripple from a wild ducks breast""

Drawing
30. Letter III, 193: The law of principality""

Drawing
09. Letter I, Exercise VI: Consider the dark boughs of the tree as dark rivers""

Drawing
21. Letter I, Exercise X, continued: A perfect artist habitually sees masses not edges""

Drawing
28. Letter II, 104: So that the moment a touch is monotonous, it must also be false""

Drawing
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""

Drawing
22. Letter II, 104: Foliage for two reasons... always accesible... leading or governing lines""

Drawing
26. Letter II, 122: Avoid studies where one thing seen is through another""

Drawing
24. Letter II, 108: That leaf is the main one that bough is the guilding one""

Drawing
10. Letter I, Exercise VI, continued: The brush is often more convenient for laying on masses of tints and shades""

Drawing
01. The Title Page of the June 22nd 1857 Smith Elder & Co. of London, edition

Drawing
08. Letter I, Exercise V: To be able to draw any form at once""

Drawing
02. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""

Drawing
18. Letter I, Exercise X, continued: And some leaves seen with the edge turned towards you""

Drawing
07. Letter I, Exercise IV: You cannot get the same dark power with pencil as with ink""

Drawing
06. Letter I, Exercise III: When your eye gets keen and true - you will see gradation in everything in nature""

Drawing
27. Letter II, 127: You may think we have said enough about the tree already""

Drawing
11. Letter I, Exercise VI, continued: You cannot do too many of these""

Drawing
16. Letter I, Exercise X Put on a wash of colour, prepared very pale... then another wash""

Drawing
19. Letter I, Exercise X: You need not copy touch for touch... Rembrandt is often too loose and vague""

Drawing
03. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""

Drawing
04. Letter I, Exercise I: Try to fill in that square with crossed lines""

Drawing
25. Letter II, 112: Copying photographs and unpacking nudes""

Drawing
05. Letter I, Exercise II: The pen should, as it were, walk slowly over the ground""

Drawing
15. Letter I, Exercise VIII: Following the spots which fall into the folds of the skin""

Drawing
17. Letter I, Exercise X: Draw first only two or three leaves""

Drawing
14. Letter I, Exercise VIII: Spots that follow the folds of printed stuff""

Drawing
20. Letter I, Exercise X, continued: The perfect way of drawing is with shade and without line""

Drawing
13. Letter I, Exercise VIII: If you can draw a stone, you can draw anything""

Drawing
31. Letter III, 210: Rembrandt's elephant""

Drawing
12. Letter I, Exercise VII: When you have done one square proceed to do another""

Drawing

The University of Auckland Art Collection

Artists \ FARTHING, Stephen, 1950-

29. Letter II, 142: Ripple from a wild ducks breast""

30. Letter III, 193: The law of principality""

09. Letter I, Exercise VI: Consider the dark boughs of the tree as dark rivers""

21. Letter I, Exercise X, continued: A perfect artist habitually sees masses not edges""

28. Letter II, 104: So that the moment a touch is monotonous, it must also be false""

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""

22. Letter II, 104: Foliage for two reasons... always accesible... leading or governing lines""

26. Letter II, 122: Avoid studies where one thing seen is through another""

24. Letter II, 108: That leaf is the main one that bough is the guilding one""

10. Letter I, Exercise VI, continued: The brush is often more convenient for laying on masses of tints and shades""

01. The Title Page of the June 22nd 1857 Smith Elder & Co. of London, edition

08. Letter I, Exercise V: To be able to draw any form at once""

02. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""

18. Letter I, Exercise X, continued: And some leaves seen with the edge turned towards you""

07. Letter I, Exercise IV: You cannot get the same dark power with pencil as with ink""

06. Letter I, Exercise III: When your eye gets keen and true - you will see gradation in everything in nature""

27. Letter II, 127: You may think we have said enough about the tree already""

11. Letter I, Exercise VI, continued: You cannot do too many of these""

16. Letter I, Exercise X Put on a wash of colour, prepared very pale... then another wash""

19. Letter I, Exercise X: You need not copy touch for touch... Rembrandt is often too loose and vague""

03. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""

04. Letter I, Exercise I: Try to fill in that square with crossed lines""

25. Letter II, 112: Copying photographs and unpacking nudes""

05. Letter I, Exercise II: The pen should, as it were, walk slowly over the ground""

15. Letter I, Exercise VIII: Following the spots which fall into the folds of the skin""

17. Letter I, Exercise X: Draw first only two or three leaves""

14. Letter I, Exercise VIII: Spots that follow the folds of printed stuff""

20. Letter I, Exercise X, continued: The perfect way of drawing is with shade and without line""

13. Letter I, Exercise VIII: If you can draw a stone, you can draw anything""

31. Letter III, 210: Rembrandt's elephant""

12. Letter I, Exercise VII: When you have done one square proceed to do another""