“Where the real trouble comes in is where to make a start and where to leave off. Everything depends upon a good beginning. When planning our general composition we must feel our way with long lines, seeing first only the big and fundamental things and arriving at the necessary detail last, never forgetting the darkest accents in the subject, which should be among the first objects to note. Our touch should be free and suggestive, and this can come only from knowledge and the correct pressure of the pencil, held as I have explained. Every subject is good if we render our impressions of it clearly and strongly. The slightest sketch can be strong if it suggests the artist’s emotions to others, and the strongest drawing weak if it leaves them cold.”