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PENCIL PICTURES

PENCIL PICTURES A

Guide

Their Pleasing Arrangement

THEODORE KAUTZKY

PUBLISHED BY REINHOLD PUBLISHING CORPORATION

NEW YORK

ARCHI.

TECTURE BOOK ROOM

REINHOLD PUBLISHING CORPORATION New

York, U.S.A.

Printed and Bannd

in the

United States of Atnerica

TABLE OF CONTENTS INTRODUCTION

PRELIMINARY THOUGHTS Plate:

The Landscape— Balance

vs.

Symmetry

PICTURE SYNTHESIS Plate: Balance— Angular and

Curved Forms

VALUE ARRANGEMENT

Plate: Foreground, Middleground, Background

PLANNING Plates:

PICTURE

The Beach— Center

of Interest

Beach Scene

SEACOAST REFLECTIONS Plates:

Along the Coast— Perspective

Rocky

Inlet

THEFISHINGPORT Plates: Boats and

In the

Water

Harbor

THE USE OF CONTRAST

Plates: Line Opposition— Gulls

Fish Pier

COMPELLING THE EYE Plates:

More Waterfront

Topics

Gulls and Shadows

THE VILLAGE SCENE

Plates: Tree-Lined Street

Cottages in Sunshine

THE CHANGING SUN Plates: Light Direction— Shadows

New England

Vista

TABLE OF CONTENTS THE WINTER Plates:

Snowy

L A

DSC APE

Contrasts

Country Church

THEFARMGROUP Plates: Balancing

The

(Continued)

Formsâ&#x20AC;&#x201D; Details

Sheltering Tree

ROLLING COUNTRY

Plates: Curving Patterns

Roadside Farm

THEHILLFARM Plates: Nature's

Moods

Vermont Farmhouse

INTHE FOREST Plates:

Woodland

The

Silhouettes

Birch Grove

MOUNTAIN SCENERY Plates:

Rugged Forms Castellated Crag

THELOFTY PEAKS Plates: Alpine Heights

High

Sierra

INTRODUCTION Like every other

many

very

artist,

have been asked by

lay persons, draftsmen, students, and

them how to go about making attractive pictures. Most of my questioners already know something about drawing and some amateurs to

tell

them have developed

wielding the pencil or brush. Yet they are

excellent technical skill

they

down before a blank sheet make a picture that really

of paper

sit

try to

inherent sense of what

right.

all

when

troubled by the difficulty they encounter

and

satisfies their

Perhaps they have

lect

and arrange the things found in nature

that will

There

make them appeal

rhythm,

ance,

pictures.

Upon how intelligently they are

depends the excellence of the Naturally, with the pencil

fess

inferior to water colors

this process

does not give them what

do about

them

like to set

productive

would

like to help. I

from the

free

give

so that they will

they want to

quality of

limitations of re-

and

line

know what

and

book

do with

The

make

pictures that have the

devoted

an exposition of a particular tech-

complete range of textures and values

attainable through the use of broad strokes,

with a this

wedge-shaped

flat,

point.

made

demonstrated

of finished sketches in which the tex-

tures of the

common

trees

were

materials of building and

number

the rendition of a

of different types of

am assuming

that the reader has already attained ficiency in the use

that he

may now

more important namely, the

some pro-

and control of the pencil

concentrate his attention on a

part of an artist's stock in trade;

ability to

combine and put together

the elements of subject matter in such a

make pleasing

way

as to

pictures of whatever he chooses

draw.

The

thing

would like

it is

to the average person that this

addressed.

illustrations of this

book are of two kinds.

that will be described hereafter.

to teach

here

how to

se-

Each Lesson

how

Plate analyzes a picture and shows

been put together, both

as to the

has

arrangement of

the pattern in line and the balancing of the principal light

and dark values.

Each Lesson Plate

also gives several additional

small picture arrangements

made with

the same

or similar elements. In the whole collection there is

a great variety of subject matter, ranging

the seaside and waterfront to the hill

and

wharves

trees; with houses, boats, barns,

as the

aim

and

elements out of which landscapes

are built up. In

from

and moun-

country of the interior; with rivers, roads,

rocks,

making the

show how there

everywhere and how the

illustrations is

was

picture material

by selecting them to suit his

artist can,

the essentials and rearranging

purpose, grasp and convey the real truth and

beauty others

however,

There are seventeen of what may be called Lesson Plates and fourteen carefully studied Picture

tain

illustrated.

In presenting this second book,

technique with a series of lesson sheets and

number

belief,

Plates in which have been applied the principles

nique of drawing with the graphite pencil, where-

making of

learn to do as well with the pencil as he can with

the brush, and

light to

book, "Pencil Broadsides," to

the

that the pencil, in the hands of a true artist,

the

good design.

In my first my efforts

oils in

other means. Certainly, the average person can

the subject matter nature provides in such abun-

dance

art.

medium somehow

this

and

would

them command over

arrangement of pattern of

shadow

makes

worthy works of

are limited to black

hold their own against pictures made by any

art, to

believe

which many people pro-

capable of producing really fine results that can

it.

these people

It is

a limitation

applied

results.

know

they are really seeking, but they do not

what

artists.

all

These principles can be learned and applied by anyone who is in earnest about wanting to make

leaving anything out or changing the position or

Somehow,

tastes.

contrast, etc., that are followed

they see before them, as a camera does, without

view includes.

normal

dther consciously or instinctively by

and white,

their

to all

are certain principles of proportion, bal-

been taught to reproduce correctly on paper what

form of any of the objects

so that

the resulting pictures will have those qualities

in the scene that lies

may enjoy

it.

before

him

so that

So, with this objective, let us

work together,

seriously, to

make

pictures.

PRELIMINARY THOUGHTS In making any kind of a picture, obviously the first

thing to be done

Most

much

for

undulating, but you are conscious of the it

difficult.

You

however,

will,

difficulty in arriving at a pleas-

you give the matter

at first

size of the

will be decided

paper you

You

use.

are

likely to find available sketch pads in the proportion of 9 to

which

12,

less

thought. Perhaps

you by the

flat

that

antly proportioned one little

be perfectly

and rectangles have

an infinite variety of possible shapes, which makes

not have too

may

to establish its dimensions.

pictures are rectangular

the problem sound

the distance. It

the page size of this

book. In any case, you will not go far

wrong

fact

recedes toward the horizon. Various things

contribute to this effectâ&#x20AC;&#x201D; color tions,

and value grada-

diminishing sizes of familiar objects such

and the converging of actually parallel

as trees,

lines as they lead

away from you. The most pow-

erful of these factors in producing an

depth

in a picture

eflFect

the last mentioned.

tree-

lined road or the banks of a stream, whether they

be straight or winding, lead the eye into the distance as nothing else will do.

The

artist

makes

you accept this proportion at first. As you develop greater sensitivity to proportion, you can re-

will

fine the dimensions of your pictures to suit your

server's eye into the center of interest he has

taste.

The

do with

it,

nature of the subject has something to of course,

and most landscapes

into a rectangle placed horizontally, with

Most landscapes

of this horizon it

sides

the river or the road carry your eye into the distance.

important, particularly where

With few

exceptions,

circumstances be placed

the case.

the top

picture, as indicated in

satisfactory results

somewhat

picture, as in

sketches 2, 4, and 6.

the vertical axis

also to be

how awkward

place the center of interest in the middle and

placed.

same

with similar

The two

size

trees

elements symmetrically

and the two

and value only succeed

picture a deadly static quality which

and lacking

this

book and

The

may

be used in either the

clouds, too, are arranged in

receding planes over your head, and look carefully at the sky you will see this

you

how

will

often

receding "S" shaped arrangement occurs. In

sketch 2,

have used

make

the sky go back

into the distance as well as to help lead the eye to

avoided. Sketch 3 shows

use of this device, as

make more and more pictures of your own. In general, the "S" shaped element is a more subtle and satisfactory way of producing the illusion of depth in a picture. It avoids the monotony of the straight line and

below or above the center of the

flank

make good

converging sides of

you proceed through

land or the sky.

are always achieved with the horizon

Symmetry about

can

6, the

midway between

The most

opposite.

commonly

You

will be seen as

and

should never under such

and the bottom of your sketch

Observe how,

fit

meets the sky. Theplacing

dominates the picture,

as the focus of his picture.

its

take in both earth and sky: in

distant land

planned

to do; lead the ob-

in sketches 4, 5,

other words, they have a horizon at eye-level,

where the

do what he wants them

well

proportion of about 3 to 4.

in the

use of this fact by placing such things where they

in interest. It

hills of the

the silhouetted house and tree. I

have referred several times to the "center of

in-

Every picture should have a principal where the most interesting element

terest."

point of focus

or combination of elements should be placed.

For

giving the

best results, as suggested above, this point should

unpleasing

occur somewhat to one side of the vertical axis and

balance, not

sym-

either above or

below the geometrical center of

metry, which you are seeking. If you will analyze

the enclosing rectangle.

the scenes which delight you most in nature, you

has been done in sketches 2, 4, 5, and 6, and also in all of the pictures shown hereafter in this book.

will discover that

them

it is

always balance that gives

their admirable quality.

a special case of balance

and

Symmetry

but the most skilful and finished

As you look out

only

best let alone by all

away before your eyes

picture

will notice

how

this

look for this center of interest in every

you

see that attracts

you and observe how

the artist has used the devices I have mentioned

artists.

across the landscape in nature,

the earth stretches

Learn

You

into

here as well as some others to compel the observer's

eye to go where he wanted

to go.

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THE LANDSCAPE-BALANCE

VS.

SYMMETRY

PICTURE SYNTHESIS Balance has been emphasized as one of the prin-

any

cipal desiderata in

picture. It

must be present

some extent the

mind

learn, the subject matter, as such,

elements or contains It

may

One

be attained it

always

you proceed.

of the useful things to Icnow

that a small

By is

you can control to upon the observer. This

selection of the subject effect

psychological

important

matter.

making

in picture

Actually, you

as-

the arrangement

of the elements into a

be used to balance a large area of dark or light

wish to

that would otherwise overweight the picture

looks well because of the arrangement of

its

own

direction.

For example,

in sketch

op-

call

and dark

so.

areas, of

will

not nearly so

spot of dark against light or light against dark can

mood.

the type and, in turn, something of the

made up of a few simple many and complex forms. in various ways— but only by

whether the picture

keeping

types. Obviously, the subject matter determines

pattern— a design,

you

really well designed picture

its

forms and

its

light

lines, into a

its

properly placed against

well balanced and interesting ensemble. Thus,

the large area of sky, has kept the heavy weight

the abstraction, so-called, which containslio rec-

posite, the small gull,

from creating an unshown diagrammatically

of the dark rocks at the left

balanced

effect.

in sketch 2.

This

In sketch 3, the comparatively small

mass of the telephone poles serves to counterbalance the large dark mass of the house and

shadow. Often, when you look

may have

a feeling that

direction or another. If

at a picture,

overheavy

its

you one

you look carefully, you

can usually find a place where the introduction of

some small

intense spot of dark or light can

restore the balance.

The beginner must

ognizable objects, art.

may

be a satisfying work of

But we are not concerned with abstractions

here; only naturalistic pictures, which are intel-

average person the world over.

ligible to the

Returning now, for the moment, your attention

called to the

way

to sketch in

lines of the design pattern cause the eye to

the center of interest— the

little

which the go

house, near but

not at the middle of the picture. Although the

house

scale, all

the left

nearer the eye and

seem

lines

its

Even

larger

converge upon the

he put the most interesting element at his center

shadow leads the eye where it is wanted. There are some strong horizontals, however, which would carry the eye away to the right if they were not interrupted

of interest, but he must

by the vertical telephone poles, introduced for

his pictures,

consider carefully, as he plans

what elements he

and where they are

going to include

to be placed.

fill

Not only must

the rest of the picture

with other supporting elements, each of which

must be balanced by something else.

the result will depend on are

else,

somewhere

Decision after decision must be made, and

how

intelligently they

made. After a good degree of proficiency has

smaller building.

The

that reason.

the

small pole at the

left

not only

helps to assure us of the reality of the telephone line but

carefully placed to help frame the

center of interest, to continue the line of the fore-

ground

roof,

and

to break

up the sky

area.

been attained, he will have learned to decide

In sketch 5, though the forms are rounded, the

automatically or instinctively what to include

underlying principles are the same.

The

and where— and what

barn

to leave out.

Some pictures, when analyzed, turn made up mostly of straight lines and

the center of interest, the eye

out to be

by the

rectilinear

and held there by the strong contrast

forms. Others are built out of curves and rounded

lines of the fence

little

led to

and the curving road in

value of

the white silhouette against the dark hill.

The

telephone poles not only keep the eye from es-

the latter type as contrasted with the preceding

caping to the left but their crossbeams serve as

ones on this page. There

a balancing accent for the

forms. Sketch 5, and

tended that one

its

analysis, 6,

show one

no implication

better than

another— just

matter of pointing out the difference. noting, however, that there

ence in the

mood produced by

in-

It is

heavy dark of the

hill.

It is

fun to analyze thus a picture already drawn.

worth

It is

more fun

to plan other pictures so that they

something but be

a certain differ-

will not only depict

each of the two

and have good design.

balance

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BALANCE-ANGULAR AND CURVED FORMS

VALUE ARRANGEMENT Most landscape pictures consistâ&#x20AC;&#x201D; to use the terms often heard among artistsâ&#x20AC;&#x201D;of a foreground, a middleground, and a background. While the by these

relative areas occupied

ginner cannot go far wrong about equal. There ever, and

good

varies, the be-

he makes them

no rule about

this,

found

pictures will be

howwhich

the proportions of these three areas are in practically

Most

pictures also contain three principal values,

or grades of darkness and light. Particularly

your eyes

looking

blue tone, or possibly a mass of clouds.

Its

In sketch 5, the sun the foreground

them, you

may be low

in the

shadow of a

in the

sky so that

behind

hill

the observer while the sunshine lights up the

beyond the house. Here, we may im-

hillside

agine that the sky

and we make

so.

actually gray with cloud

The

the possibilities

last of

appears in sketch 6, with a stormy sky beyond the hill which

every possible relationship.

you half

in full sunshine,

while a cloud

shadow grays down the foreground.

You have undoubtedly tions in nature

seen

from time

of these condi-

all

to time, but

have prob-

can see the light areas, the dark areas, and the

ably not stopped to analyze the six possibilities

medium

or gray areas. All variations from these

in this

seem

merge

one or the other. For pur-

into

poses of analysis, therefore,

we may assume

that

In the sketches across the page,

distance.

them

have shown the

combinations of these values as ar-

bitrarily assigned to foreground,

and

This

not the

middleground,

way you

will find

divided in all pictures, of course, but the

device produces a set of six possible ways to

make

simple and often pleasing designs. In nature you will find

them

times of the year

all at different

or day, given the right lighting conditions.

one can say that one

mind

planning your pictures and

better than another for

you do you will find that you will have greater control over the effects

the three are all there are.

six possible

them

way. Hereafter, you will probably keep

you wish

to produce.

Please do not assume, from what

have

said,

ways values are divided As suggested above, there are many

that these are the only in pictures.

other ways in which the three main values can

may

be interestingly distributed in patterns that

may

be beautifully complex. Darks

foreground and background; lights

ground and distance; grays and

so on.

You

be in both in

middle-

in all three divisions

will learn to arrange

them with

greater variety as you proceed.

the picture you intend to make, but, just as with

In most of the Picture Plates to follow,

the type of forms depicted, your choice will in-

indicated at small scale the division of the three

mood

have

them to some cases I have shown the same subject as it would be with values changed about. It is good training for you to experiment with little sektches like

the morning or late in the afternoon with the

these so that you can gain understanding and

fluence the

In sketch

principal values as I have conceived

produced.

opposite, a cloud

shadow may have

fallen over the foreground, yet the sky

and the it

hill is re-ceiving

a gray tone. In sketch 2,

hillside

enough

to give

perhaps early

it is

completely in shadow.

bright and there

bright

enough sunshine

The

what you undertake

control over

times you will find that you can

The

conditions in

mak-

appear gray against the dark

it,

pictures. In

make

sky which might indicate an approaching thunderstorm. Next to

again

lighting up the foreground brilliantly and hill

the best design for

sky

sketch 3 suggest the sun behind the observer,

wooded

reflected light to

the foreground count as gray.

ing the

give

in sketch 4,

again have a

draw.

make

Many more

by reversing the value relafrom what you actually see before you.

satisfactory picture

tionships

But

must be done with

full consciousness that

the reversed values are possible in nature different conditions.

what you draw or

under

There must be truth

will fail to satisfy the eye.

brightly lighted foreground, this time silhouet-

So never miss a chance to study and analyze

ted strongly against the hill over which there

nature as you go about your travels through the

a cloud shadow.

The

sky

rendered gray

which may be the black-and-white interpretation

country and even along the path you follow daily on your

way

and from work or play.

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FOREGROUND, M

D D LEGRO U N D

BACKGROUND

PLANNING A PICTURE Now we

come

the planning and carrying

through of a finished pencil picture. Let us

sume

that

attracted

by the picturesque quality of a

assume that the sun

coming from that

many which we

shadow which

inforced by a gray

things on and near the beach out of

to lead to the center of interest.

can easily build up an interesting design. There

and boats and

wood, and pools of water

left

tide,

also will help

The

rocks ex-

tending horizontally will also have some good

dark surfaces where they are

bits of drift-

by the

direction.

This assumption gives us a good dark area, re-

light-

house we see along the shore. There are

are likely to be rocks

fullest

use of the receding line of rocks at the right,

as-

and that we are

are at the beach

make

of the principal values. In order to

and

shadow.

Even

in-

movement

crease the strength of this horizontal

choose from which to

we assume a good dark value for the sea beyond. The shadow sides of the boats, balanced by some

sketch the lighthouse does not include all of the

dark foliage introduced to silhouette the light-

we want to use in the finished picture, we observe and remember their characteristics. After we have laid out our bounding rectangle, we select a high horizon level so that we can

house and accentuate

various seaside cottages or small buildings. if

the point of view

things

include

more of the beach than

of the sky.

our principal dark values. Grays are next to be indicated

itself,

little to

Now

dle of the rectangle.

shadow

the

them

solidity.

We also

make remem-

sides of the buildings gray,

bering that they contain reflected light from the

the right of the mid-

we begin

and with them we model the forms

of the rocks to give

then place the principal object of interest, the lighthouse

importance, complete

its

beach. This gives us our value diagram at 2.

to introduce

can

now proceed

to lay out the final sketch

and elements that will lead the eye toward the lighthouse. Some rocks receding away from us along the landward side of the beach, some

given us our plan of action.

more rocks jutting out

angles to the

within the range of each principal value, allow-

shore near the lighthouse, a pool of water near

ing for the play of reflected light from the beach

at full size,

lines

the high tide mark, a

at right

row of old

to contribute to

aground

piles thrust into

eye control,

â&#x20AC;&#x201D; these

Most

boats, the

notice,

this

also define the details of the stakes,

of grass and driftwood

needed. In doing this

entire design.

however, that the

it.

and put

where we

in a

feel

few

they are

may make

Nothing should be added

does not have a function in the picture.

give

stop

him only the

3, 4,

and

S, I

essentials that

our that

The im-

agination of the observer will-fill in the gaps.

outward movement, we put a big mass of

bits

are always conscious

of the contribution each item

horizon and the horizontal line of rocks tend to lead out of the picture as well as into

mooring

of the lines thus introduced converge on

this

the shadows and for the slight grays in the

are used to

the object of our principal attention, which

what we want.

light areas.

at strategic points

build our linear diagram as in sketch

Working

larger scale allows us to modulate the surfaces

the sands to provide mooring posts, with a couple of boats conveniently

following the diagrams which have

convey our

idea.

have suggested some other beach

rock at the left to terminate the ledge, and to

scenes, following the

make

up the design by means of line and value arrange-

things sure

turn one of the

into a sailboat, with a vertical

the horizon.

Now we

little craft

the left of the picture, so

playing

and we are within our rights around

to contribute

what they can

the water's edge; at

ground rock and

and plausible moving them to

is some bathers 4 an old pictur-

esque hulk half buried in the sands;

introduce a small

house on the right for the lighthouse keeper to live in. All these things are natural

principles of building

ment. At 3 the center of interest

mast cutting across

have perhaps too much

same

its

at 5 a fore-

reflection in a puddle. In all

three the line arrangement leads the eye and

holds

our design.

from escaping;

in all three the

arranged to give the greatest contrast

Our diagram now looks like the sketch at 1. The next step is to decide upon the arrangement

values are

the vital

point as well as to balance each other and keep the center of gravity where

it is

wanted.

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SEACOAST REFLECTIONS Now we

same

will try another scene along the shore,

with a fishing boat as the principal item of interest.

sail

already lowered as the

moored

see the boat,

depends on the

waters.

the shore and looking

down on

center of interest a in

rocky

bit

the scene, so

little to

the right of center

These two strong

and

well to prac-

gain versatility.

in.

see drawings which

fail

convince, just because the reflections are awkard-

drawn or

outward

and

incorrectly interpreted. In sketches

4, opposite, I

have sketched

a couple of

scenes in which the reflections play an important

would, however, carry the eye

to the left

in relation to

It is

both the interest and the realism of your pictures.

Often, however,

promontory

lines leading

at several sizes to

Properly drawn, reflections can add greatly to

beyond so that they will enframe the focussing point.

your picture

the water, the question of reflections enters

to sketch in the

of shore with the low-lying

drawing

less

In drawing boats and other objects on or beside

decide to place the

our rectangular frame and

tice

land away from

choose a high horizon.

size of

much

you must put

of detail

the size of your pencil strokes.

about tidy-

ing things up after their day's work on deep

We are standing on high

The amount

detail.

midstream, one

men move

picture can be accomplished with

away, so we decide to have a strong counter

part.

movement toward

made to seem very real, almost wet, in fact. Now, everyone knows something about the laws

this

the boat in the form of a

from the

pier, jutting out

rocks.

we emphasize

counter movement,

little

strengthen the

of optics

little

point of rocks hooking around the cove beyond

the pier.

low lying

seen

island, off shore, also helps

plan

in line

now

looks like sketch

to yahie^distnbution,

a firm base, a light

it,

and

gray

form the upper enclosure. We some strong lights in the foregroundjtg_break_ ^-ttp'tts'solidity, and imagine the sun coming from behind us and shining upon the rocks to give us distance to

there

Refer

play to our fancy in putting

little

reflections in the

The

some small

to go.

phasize or subdue

its

you

it.

lengthening out the reflections, extend-

tilt

one way or another. in

the matter of perspective.

As you

varying angles, depending on

how

far out

from shore or near

many more

little

wavelets in a given ver-

distance far away than will

have

put

will

will close by,

down more

little

zigs

and

zags for the more distant reflections than you do 5, I

a smaller size than to

and currents, or by the pas-

them towards the observer, and breaking up

take in

should be used to em-

it.

where you are standing. Thus your glance

tical

This

effect of tides

you are looking

importance.

final plate that follows.

or adjacent to

away you are looking. A given angle of vision radiating from your eye will include more or less of the water's surface according as to whether

of contrast

At the bottom of the facing page, sketch

drawn the same scene

far

skill in delineation.

The degree

in each part of the picture

image of

Seldom, how-

the surface of water in nature unbroken

down on

craft

every form should be calculated to lead the eye it

look across the water you are of course looking

direction of every stroke, the position of

where you want

When

exactly like

upon

Here comes

in details as before.

water will give you ample

opportunity to exercise your

ever,

waves

at final size,

grassy growth over the rocks above the tide mark,

and

objects

ing

the stream, patches of

flat

and unrufiled

straight lines into zig-zags as the surfaces of the

work

boat house on the pier,

moored alongside and

absolutely

effect of

scheme but giving greater

sticking to the general

surface of the

This roughening of the water surface has the

to sketch 2.

can proceed to

The

sage of boats or birds or other things through

for

From

familiar with reflections as

mirror, at least.

acts just as a horizontal mirror.

by the

allow

this opportunity.

all are

by ripples or small waves caused by the wind or

middleground to afford a sharp contrast for our boat which will silhouette against

and

a mirror, reflecting a faithful inverted

decide on a dark fore-

'ground to give our picture

their use, the surface of the water

water

to close off the temptation for the eye to escape.

Our

have

for those near at hand.

the

show how the

have done precisely that

these two little sketches

kept

and the water surface

proper receding perspective thei^eby.

S>S« tl^f!!^;*^.

..-•iSSr*-''-'-^'

ALONG THE CO AS T- P E R S P E CTI VE

svife

I ST'

THE FISHING PORT fascinating and picturesque draw and the waterfront of any seaor lakeside town is full of interest for the

Boats are always

subjects to

some

side

do a sketch

upon

wharf and look out across the water

other piers where shipping of various types

Our

tied up.

attention

looking craft

did

make

you look sharply you can find them

decide

trouble. I

what

going to leave

did change and for what

You should know enough by this time to for yourself. Of course some of the changes

consisted simply of putting in greater detail and

modulating values

the next wharf, where they

much

to figure out

reason.

caught by two business-

and

without

you

slight but important changes in boosting the

scale,

We are here undertaking in a busy fishing harbor. We stand

aspiring picture maker. to

the full size job. As a matter of fact,

to define the forms.

present a sparkling silhouette against the shim-

Many people have difficulty in drawing boats con-

mering waters farther

vincingly.

way

Across the

out,

and against the

sky.

They either produce awkward and unmake them fail to sit properly on

true shapes or

another dock, with a cluster of

myself, used to have this trouble

miscellaneous ships grouped alongside.

the water.

We decide to make the two fishing boats the prin-

until

subjectâ&#x20AC;&#x201D; the nearer one the most important,

trick.

In sketch 3, here,

cipal

with the other giving placing

them

support.

see that

slightly to the left of center

you would

will

means of leading the eye and we

also see that

see

and learned a

have indicated

looking right

a boat as

down on

would appear from the

little

top of

These

side.

views you practically never use. Usually a boat

be able to use the group of boats beyond as a

including the end of the pier upon which

and

thought more about

will be

viewed from an angle and looking slightly

downwards.

we stand

have shown one

in this position too.

we will have a strong foreground element to hold down the right side of the picture and prevent any escape for the eye in that direction. The project-

the top edge of the hull, followed around, reduces

ing ends of the two piles which act as mooring

that the

posts

form

Our scheme

of principal lines

If it

now

movement

ing the

set

a little lighter

This makes the diagram

Just for fun,

make our

final

drawing.

By doing

this

them

time to

the study

in position or

same

have indicated with

to follow the direction

on the water should be

the boat itself j in other words,

might disturb the

lines in reflec-

drawing

essential horizon-

counteract this effect (see

we have only

across all the verticals

to follow nature

and

in-

and changing the emphasis

of line direction. Strips of this sort are visible on

in-

When we have finished with made

that in the

troduce some narrow strips of light value, cutting

the surface of any harbor. Observe that

can perhaps see some slight changes

value that can be

all in

sketch 4)

can verify

and experiment with the

troduction of details.

made

reflection

tality of the scene.

our earlier judgment about the placing of the different elements

Note

tions along a waterfront, the effect of

the bottom

B should be greater than A. Where there are too many vertical

about half the size of

have done one

of the page, sketch 5.

The

at least as tall as

as in sketch 2.

this

sketch of the boat

convincing.

third gray will be

might be interesting

preliminary study

the ends.

rounded form of the hull and will make your boat

make the nearest boat and The other boat we will and will balance it by making

used for the pier buildings and the more distant ships.

way from

this figure eight, therefore,

simple matter to complete the boat, and

the sides. If they are

a little

and

highest points

of imaginary ribs they will help to express the

reflection the darkest.

make

draw

will first

figure eight,

at the

arrows the direction of the strokes used to model

up by the mooring posts

the pier end about equal.

little

back to the center of interest.

For values we decide

you

will look real. Easy, isn't

Note how the group of boats

in sketch 1.

bowed

stem and stern occur

on the side of the eight,

a little to avoid

the pier to the right stops the eye from follow-

and turns

its

them

tilt

well as to divide the picture more in-

terestingly.

shown

diagram, we discover that

little

itself to a flat, slightly

powerful barrier. Though they are

actually vertical, stiffness as

Dissecting this

not

advantage

made them

parallel,

together and narrower as they recede.

and that they are

have closer

<.^

»«

BOATS AND WATER

o M < X h

THE USE OF CONTRAST Standing on the

one day

fish pier

town, we notice a striking scene. a great

dark triangle of

sail

level.

Some white

It is

low

and

tide

One we

belonging to a fishing

of the

gulls flying around in the sun-

as they soar to and fro looking for scraps of

The

food.

place so that

wing

its

way we

the

The break

drawing

that way.

the sharp edge of the

sail

the right, and a

where we can

neighboring pier to the

we break

see the fish house on

left

and some

in other places

and leave

Gulls occur so often as incidentals

and

sails

edge

its

small patches of light to increase the

little to

put

almost in the center of our picture but a

softens

when we

birds suggests a sketch.

sail

the juicy black strokes to render the whole

and suggests sparkling sunshine,

sail will

and we

see things in nature

the canvas and the graceful, brightly lighted

take up our position where the

the edge

tip crosses

Notice that where this occurs the wing

sail.

are telling no lies in

contrast between the bold dark area of

We consider care-

relative positions of our gulls.

light against the sail but dark against the sky.

That

light silhouette themselves sharply against the sail

and

fully the size

projects up into our eye

moored alongside

boat

introducing appropriate detail.

in a little seaside

tures that

it is

worth while

few

effect.

in seaside pic-

time to

to take a little

rigging beyond our boat on the right. This will

watch them soaring and darting about and alight-

give us two balancing elements with plenty of

ing on the rocks or on boats or upon the water.

directional lines that can be accented to lead the

They

eye into the center of interest.

which we stand

The

pier

upon

suitable for a foreground,

are masters of flight

supreme grace and

its

positions they

be ready to insert

dory lying upon

a chance to

over

in front of

it,

we see move it get added interest and so our sail in a position that will, we

have our plan

the diagram, sketch

agonal of the

sail

all nicely

arranged

and rigging on the other

spars to

it.

downward from

of focus.

The

the

sail at

would

plenty of other gulls around and

structure,

gulls and

we can arrange

its

them un-

the picture

balancing grays around

ground.

Now we

almost dictated for us: the middle, with three

and a light sky and fore-

any

with contrast and I

have so far

except to refer to

of several

kindsâ&#x20AC;&#x201D; of value, of

They

and

interest

artist

feel

line,

increase or de-

throughout your

tures, according as they are sharp or delicate.

as usual, in

from

we proceeded to analyze

importance. Contrasts in black-and-white

crease emphasis

choose. In working up the

drawing we use our ingenuity,

of size, of shape, of spirit.

can go to work on our half-size

or final, whichever final

we were making. Yet you must have

work may be

you may

to deal

have noticed

in passing, as

Our

sail in

supposed

said nothing about

time to time

felt its

value arrangement

uses, but as

evenly and give them various soaring positions. the intensely dark

fact

you can draw them, thereafter,

This chapter

We do not put in too

are careful to space

Note

double S-curve of the

position, sight unseen.

are

glance, step by step, in a wavering but inevitable

many

a little,

when drawing them from memory. If you will remember their fundamental proportions and

them so that they, too, will guide the observer's course to our chosen center.

wing

and

aid

where the prolonged

There

in relation

It is fair

wings when you see them head-on. This

gull against

intersect.

compact bodies.

also the bracket-shaped

the right into the point

precisely the point

spar and roof plane

tremendous wing-spread

their

the illusion of being longer than they are.

side are also useful

We decide to place a white

Note

rather than the opposite, since in flight they give

break up the verticality of the masts and lead

the eye

will

as the principal subject in sketch 4.

safe to exaggerate the length of

di-

well counteracted by the sloping

roof of the fish house in opposition to

you

in the air so that

used some

to the size of their

as in

with our strong upward

assume

indicated a few in sketch 3, opposite, and have

think, help our design.

Now we

can memorize

them in some of your drawings without waiting for them to come and pose. I have

presumably hauled up for

over to one side, but

You

and j ot down some of the interesting characteristic

edges vanishing away from us towards our picture.

calking or repairs,

and move about with

precision.

pic-

The

always using contrasts to help make you

what he

felt as

set

down

his impressions.

LINE OPPOSITION-GULLS

COMPELLING THE EYE At the

seeming

risk of

the seaside,

am going to

devote one more

son to a waterfront subject. In

some

incorporate

which will merge with the

prolong unduly our stay

of the things

it,

mooring posts

les-

enough

will try to

we have

ground

already

at the center as

We will take as our picture material a very famous

In rendering our final,

it is

known

far

Massachusetts— so

and wide among

black and white— but there

and

thus that

variety and interest of pattern

Even

solidity.

can

We par-

and

be precise

the piles along the pier were evenly

we would

make them so, for it would monotonous. Rather, we try to space them

spaced,

be too

are working with

a rich

with their sharp and expressive silhouettes.

We will say nothing

so that they

not

have an irregular rhythm.

suppress one where

range of values

even

comes behind the gulls and

would break up their pattern. I have made two little sketches opposite of some piling along a stone pier and under a wooden one. In both of these I have deliberately departed from regularity in the spacing. For whatever reason, it is lacking in interest to show evenly spaced objects

forms and patterns

a treasury of geometrical

we have opportunity

model our forms and give them

one picture of this subject and there are some who have made many. Its attraction is that it is picturesque from every point of view and that the atmospheric and lighting effects are constantly

well as to express their form.

ticularly study our gull formations to achieve

at least

here about the color, for

hold attention

to help

our shadowed areas, for

or sketcher

varying with sun and season.

fore-

think well about the play of reflected light within

fa-

artists

Motif Number One. Practically every painter who ever came to Rockport has done

strong

The

rocks, bathed in bright sunshine, will take

touched upon before.

that

which

will be gray also,

some good dark shadow

mous

house on top. The

for their outlying position.

learned and perhaps discuss a few points not

fishing pier in Rockport,

fish

here to reward the searcher after beauty.

We happen to choose today a view from down on the rocks near the base of the pier. We are intrigued by the strong, dark, receding shadow side of the pier as a background for the ever-present

make patterns against it with their Our problem— if we have a problem— is to

gulls which

running across your picture, or any substantial

wings.

part of

prevent the powerful vanishing lines of this pier

you

from forcing the eye always out at the left side of our picture. But we have countering influences.

know

First, the rocks

right.

Then

the fish house, topside, with

used

flection in the water, can be

picture pretty firmly. It vertical piles

its

dominance over the tendency

mooring

any escape.

parts

Now we

they will compel us

tant

choose to

with trees

its

Anyway,

is still

shown

in the little

off into

it is

woods,

can do the same thing

as will

be shown later.)

satisfying pictorially to shift

between the

light seen

down from

have made them

the sky, undu-

(You

made the

pose. Notice that I have

all

spaces of distant

piles all different. I could

the same, and

how deadly

value, as

would have been, even had it been true! You must have learned by this time that the

will give

artist

the most brilliant silhouette for our birds, and to

shade

in a

can group our gulls so that

diagram, where

a pile-supported landing,

these and other details around to serve your pur-

as a final barrier to

make our deepest dark

you

you can advantageously use the more dispiles, which are in full shadow, to silhouette

the foreground piles.

latingly, to the spot of our intended climax.

artistic license:

as at 4,

can introduce a couple

on that side

the original geometric per-

Use your

When looking through

many

and destroy

eye. Finally, lest there

to the left,

piles

many

where the course of time has worn

have one, of course!

re-

weighty

aided by the

bound to draw exactly what an instance for you

in such

perfectly well that you have often seen

fection of spacing.

along the pierside, which break the

long sloping edge into

as a

not

you

down and broken up

to the

element which anchors the middle of the

vertical

movement

You are

similar scenes

along the shore can be used to

build up a strong up-sloping

it.

see before

gray toward the end of the

continually uses

common

sense in arrang-

ing his lines, values, forms, and contrasts

he thinks before drawing.

pier,

You

— and

can do likewise!