probably would turn in a little after long years of weary plodding.
It is amusing to play with one's fancy, to bring out our colour-box and make a fresh drawing, tinting clothes, hair, and face.
Put the 'old lady' against a plain background, a wall, for instance, and begin by sketching the whole figure (as we sketched Kathleen as herself). That is, the simple angles, the big curves, then the smaller shapes of head, face, arms, hands, shawl, apron, feet; lastly, the details of hair, folds, features, fingers.
If you decide to colour your picture of the market woman, choose pleasing colours, tints that will blend pleasantly.
An old French peasant woman would be dressed probably in greys and blues, whereas a gipsy woman would have a highly coloured handkerchief and shawl.
Jack might dress up as a shepherd (with a long cloak or plaid across his shoulder, and a staff in his hand, and his knee on a rock) scanning the rough pasture ground for sheep that have strayed.
But beware!—draperies, cloaks, and plaids are very misleading.
We are inclined to 'lose' the drawing of a leg, arm, or figure when we are trying to sketch draperies. The folds deceive the eye. The fall of a cloak may hide the position of a foot or an arm. If such is the case, then remove the drapery, make a note of the particular object about which you have doubts, and replace.
Should you prefer to leave the folds untouched because they are happily arranged, take a walk round your model and look at the hidden object from the opposite side. Never hesitate to survey the thing that you are drawing from a different angle. It is a common fault to worry over a detail,
