With these explanations we will now proceed to the drawing itself, and here it is necessary to give a very strong caution at the outset; this is, always bear in mind that whatever marks you burn on your wood must absolutely remain there. There is no way of rubbing out, and to erase with a knife is to spoil the surface of your wood, as you cannot draw properly over a scratched surface. For this reason also you can only copy either your own or other people's drawings in burnt wood-work. Having selected your copy first draw a careful pencil outline from it on the wood plaque. We will here, for example, say it is the drawing of the child's head reproduced. Heat a small tool sufficiently to mark a very light brown line on the wood (to ascertain heat keep a small piece of waste wood by your side), then carefully go over the outline of the head and mark in all the features. Now with soft india-rubber erase all pencil marks from the parts you have burnt, and make a fresh pencil indication of the shape of your shadows, and proceed slowly and carefully with the hot tool to build up coat by coat from the lightest to the darkest these same shadows, never forgetting that lights cannot be applied afterwards, but must be left out. A darker shade can always be added, but a light never. Now once more remove your pencil-marks and proceed to draw in your figure in the same manner as above described. Next comes the background to be lightly sketched in by the hot irons; and, after this, all pencil-marks may be removed and the picture carefully worked up tone by tone from the copy. [Illustration: FRIVOLITY. (_Burnt wood drawing in ebony frame, by E. M. Jessop._)] In holding the tools (the handles of which may be covered with cork, or some non-conductor), it is necessary to remember that they should never be used to make pen-like strokes, but more of a pastel effect must be sought, as the soft-blurred appearance produced by gently drawing them along the wood gives the effect of old carved ivory, which is one of the chief charms of a fine burnt wood drawing. For instance, in the drawing of "Sunset over the Sea," I spent many hours in simply drawing a heated chisel slowly along the wood from end to end until I got the yellowish tone which now goes so well with its green oak frame. Here and there a white light had to be left. Its position was indicated to me by a pencil outline. For this drawing I had no sketch, it being entirely executed from memory. The main difficulty was to get the flat tones, without which it is impossible to indicate atmosphere and distance. In the "Summer Idyll," given on the opposite page which is in size some thirty-six by ten inches, a great deal of the background effect was produced by using a small gas flame. This has to be done very slowly and carefully, as one is apt, if at all careless, to burn too deeply into the surface.