_Blocking-in._--We may conceive of the general shape of our elm by looking at it with half closed eyes. It appears in silhouette. Now imagine lines joining its outermost points; this will give the general mass or shape of our tree. Now if we represent the outermost points contained in these lines by sketching lightly these "blocking-in" lines, as they are called, we obtain the general shape of the elm (Fig. 212). We must emphasize the fact that these blocking-in lines are to be sketched in lightly by holding the pencil near the blunt end, using a free-arm motion. Now before going farther we again test these new points to see if they occupy their correct positions in relation to the height and width. Do not, however, transfer the measurements from the pencil to the paper. This test is only to obtain the proportion of one dimension to another. Having tested these smaller dimensions we may draw lightly the main branches. After having indicated their general direction and character of growth, we may indicate some of the smaller branches and twigs (Fig. 213). All this work should be carried out without erasing; all corrections should be made by slightly darker lines. Let us now sharpen our pencils to a good point and go over the drawing with a fine dark line, carefully studying the character and spirit of the tree. Now erase the lighter and superfluous lines, as the dark lines remain distinct enough to indicate our drawing. _Lining-in._--We may now take our pencil nearer the point and proceed to line-in the drawing, going over it with a definite, consistent line. If desirable, we may accent and bring out certain parts of the tree more strongly than others by darker or shade lines and short, strong markings called accents. These are especially effective at the junction and underside of branches, and where one wishes to give the object a nearer appearance. A soft, broad, grey line may be obtained by using a softer pencil (B) and the drawing given variety by breaking lines here and there. We should be cautious in using them, however; but lack of space does not permit further discussion of the subject of accented outlines. [Illustration: _Fig. 215. The outline drawing complete, and the first pencil marks erased._] Allow the pupils to make short ten- or fifteen-minute "time sketches" of trees. In these it is the spirit and general effect of the tree that we must strive for. Above all, we must allow our little draughtsmen to give their own interpretation of the tree. A helpful suggestion as to proportion, etc., would be in place, but we must allow their individuality to have as much play as possible. The suggestions given on these pages are necessary for the beginner. Some of them are hard facts; but it lies with the teacher to develop the æsthetic and artistic qualities lying dormant in the pupil, ready to be moulded and started in the right direction.