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THE ART OF DRAWING IN LEAD PENCIL * « M «

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CORNELL UNIVERSITY LIBRARY

Given in memory of Professor James Owen Mahoney

CORNELL UNIVERSIT/

iiiiiniPii

3

1924 074 492 475

DATE DUE

^ JO

"Vv^-

PRINTED

IN U.S.A.

THE ART OF DRAWING IN LEAD PENCIL

FRONTISPIECE.

(^f-m,MiSr^,

^-\

GUNFIRE AT DAWN.

By J

S.

THE ART OF

DRAWING

IN

LEAD PENCIL Br

JASPER lAssociate of the

SALWEY %oyal

Institute

of

British <iArchitects.

LONDON B.

T. 94,

BATSFORD, LTD. HIGH HOLBORN

To

Made and

printed in Great Britain

PREFACE The is

presentation of this booli in the form in which

the result, in the

first

of

place,

an

it

now appears

idea, conceived

some ten

years ago, of writing a treatise on the methods of obtaining a particular

some sense

quality,

with

the

fragmentary notes, put down

of

colour,

in

lead

pencil

drawing.

From

first

working out pictures that

of writing a

this

in

book which would urge the attention

lovers of pictorial art to the great

work

—a

charm and

medium which had been

appreciated.

The book,

student alike, in that to be the laws

and

in the course of

medium, the idea developed into

I

I

so

far

of

all

versatility of pencil

little

understood

or

hope, will be of assistance to artist and

have endeavoured to

set

down what seem

rules of the technique of pencil work, together

with the principles upon which the methods of building up a highly finished drawing must be based. will

not only achieve

the

objects

It is

hoped that the book

mentioned above, but also

provide a course of instruction which will enable the art student,

who may

ha^'e little experience of

drawing

in lead pencil, to take

up this medium, and, by working on the lines suggested, find in it a means of expression for both the simplest and the highest aims Those of the illustrations bearing the initials " J. S." of art. are reproductions of drawings which have been especially prepared

book by the author whilst the drawings by old masters as well as present day artists which are included have been for the

selected

with

the

difference of feeling

particular

object

of

which ma^' be expressed

illustrating bj-

the

wide

the pencil point.

PREFACE

vi.

Many

people

now concede

the claim that

to suggest " a sense of colour " in a " black

and

hoped that the notes

it is

Chapter

in

it is

actually possible

and white

IX may

" drawing,

convey

at least

upon which the claim

to the student those principles

is

based.

That the subject is rather an elusive one, about which a book of some length might be written, is fully acknowledged, but it is felt

many

that

drawings reproduced

of the

in this

book

will

bear out

the possibility of such an achievement.

My

sincere thanks are

due to

those artists whose spon-

all

taneous cordiality in lending their works for reproduction has

made

possible to present in this

it

representative

much

other meritorious

space have I

made

it

collection of drawings

lead

in

work has been done,

impossible for

me to

I

pencil.

Though

regret that limits of

include further illustrations.

wish to acknowledge the kindness of the owners of certain

who have

drawings of mine trouble to lend

To

them

Messrs. A.

Macmillan for

book a

contemporary work

of

&

so readily put themselves to

much

for reproduction.

&

Co., Ltd.,

C. Black, Ltd.,

Country

and Messrs. Methuen

&

Life, Ltd., Messrs.

Co., I

permission to reproduce drawings which have

am

indebted

appeared

in

certain of their publications.

Many thanks are also due to Mr. A. W. Haggis, for "The Reproduction of Pencil Drawings " contained in

notes on

the the

Appendix, and for the great care he has taken

in co-ordinating

connection with

the publication

all

those

of the

points

book

of

detail

at a time

with immense

in

when such matters have become burdened

difficulties.

JASPER SALWEY. Spring, 192 1.

CONTENTS PACE ].

II.

III.

IV. V.

VI. VII. VIII.

IX.

X.

INTRODUCTION

MATERIALS

I

.

ELEMENTARY TECHNIQUE

i8

ADVANCED TECHNIQUE

35

.

THE TAKING OF RAPID NOTES

62

EXPERIMENTAL SKETCHES

S3

BUILDING UP THE FINISHED DR.WVING

CONCERNING FORM

.... .... ....

THE SUGGESTION OF COLOUR CONCERNING STYLE

.

.

XL PENCIL ARTISTS AND THEIR WORK. Appendi.x.

the REPRODUCTION DRAWINGS

OF

119 130 138 147

154

PENCIL 212 221

'

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V

ft

^%r,«g=r»

X.

z

o

Chapter

I

INTRODUCTION ''

advocate the deeper study and wider applica-

''O I

tion of pencil drawing,

the

draughtsman

has mastered that

of this

art,

to urge the student

to progress with this

medium

may

bring

to

light

possibilities of its application.

the book

especially designed in the

way so

be of value.

unlimited

much

Moreover,

most practical

that to the beginner as well as to the experienced

artist instruction

will

until he

the purpose of this book.

innumerable is

and

It is hoped some aspects hitherto unappreciated, and unfold the

it is

teaching

its

and

of

and information So

many books

instruction

in

will

be found which

which provide the rudiments of drawing, exist

which the student has already learned

at school,

that to devote a great deal of attention to this part of the subject would not only be wearisome, but would

occupy valuable space which has been more profitably utilized in em.phasizing the Art principles of the subject.

Undoubtedly there is much more satisfaction to be derived from the mastery of pencil drawing than by a partial victory over the difficulties of oil or water-colour P.D.

B

THE ART OF DRAWING

2

painting.

If

IN

LEAD PENCIL

the potentialities of pencil

work

as

a

means of expression had been completely realized and its unique possibilities worked to a standstill one would be content to say nothing when the cry for " colour "

is

raised

;

but

it

seems that the remark-

work have so far only in a few come anywhere near full realization.

able qualities of pencil

instances

Pencil drawing in the

first

half of the last century

was more generally appreciated than it is to-day, although the work of many modern draughtsmen, both in regard to conception and technique, far surpasses the early vignetted landscape and figure studies, charming and delicate as they were. Turner, Prout, Harding,

have

left interesting

J.

D. Ingres and others

examples of pencil work, but after

was more or less neglected for thirty years and only came into vogue again at the dawn of the The revival of interest in this medium present century. may possibly be accounted for by the exhibition of charming pencil and crayon studies executed byRossetti, Fred Walker, Burne Jones and Leighton (Figs. 2 and 3), as well as by the teachings and drawings of Ruskin The interval of its unpopularity is curious (Fig. 4). and does not seem to be relieved by any work of their

day

it

outstanding merit. It seems strange that the pencil should more often have been used merely as a means to other ends, and

^JsH^^^v :%'

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03

THE ART OF DRAWING

4

among

regrettable that so few

LEAD PENCIL

IN

the great

number of artists

who have used the pencil for preliminary studies have ever worthy of being used for the production of finished works of art. The desire for colour and the young artist's eagerness to pass on to adventures with brush and canvas may to some extent account considered

it

for this.

For the is

who

artist

sympathetic to the a

seeks fine technique the pencil

a pre-eminently fascinating

medium

artist's

medium.

It is a vital tool,

every fancy or requirement

mined contrasts

light

in

and shade, but

need be

if

intermediate tones of varying degree.

fifty

work

easily erased for correction

is

;

capable of rendering not only the most deter-

and

Defective

—what some— the work is

times of greater advantage to the artist

may

be joined up imperceptibly at any point, along

any

line

or

midst

the

in

a

of

flat

tone,

stopped

without any anxiety as to blotting or spreading, while

whole

tones

lightened at

may

of

be darkened

ease

or

even

will.

Patience and tion

with

skill will

surpassing

be rewarded by the produc-

quality

and delicacy

of

effect.

Ingenuity and variety of touch help to produce a charm

and piquancy as Tone will give.

fine

if

not finer than any other

after tone, each varying in the smallest

degree, can be distributed at will

are possible,

medium

and any manner

of

;

perfect graduations

broken surface can be

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6

THE ART OF DRAWING

rendered with whatever

IN

LEAD PENCIL

density or

luminosity

it

is

The draughtsman who cannot produce a pleasing picture with a pencil must never pretend that desired to give.

due to the limitations of such an elastic medium one that will very quickly determine whether he is it is

;

likely to

show promise

as

an

artist.

To all those whose yearning for colour prejudices " them from any deep appreciation of " black and white the observations in Chapter IX may be of some interest and help possibly to defend the claim of pencil work. In this book there are many pencil drawings which

may

reasonably claim to possess a "sense of colour,"

The fact that the interest in pencil drawing is rather more intellectual than emotional is fully acknowledged. Our interest in nature, if there were no colour, would be chiefly intellectual this is why we are more given to being speculative before nocturnal scenes than when bright light and rich colouring completes the appearance of our surroundings and neutralizes our mental activity concerning them. It is really only when colour is withdrawn, or added, that we comprehend its relation to form and light and shade, and in an's* manner consider it intellectually. Colour is necessar\to our well being, form and light and shade are vital to It is an abstraction of these two latter essentials us. in the appearance of things that pencil work wiU so a specific

example being

;

adequately portray.

illustrated in

Fig.

5.

o

H

THE ART OF DRAWING

8

The

intellect

LEAD PENCIL

IN

can be arrested, the emotions appealed

the soul of the artist entranced,

to,

adaptability of this

The

medium

attainment

of

is

if

fully expressed.

perfect

technique

laborious work, and pencil drawings

must be commenced

unsatisfactory

the sympathetic

when

again.

involves to be

felt

The work

needs great enthusiasm and certainly the capacity for taking

may

pains.

infinite

On

rare

occasions the artist

obtain an ideal result, and the exquisite pleasure

and the valuable addition that the

this will give

artist

have thereby made to pictorial art will be well worth the labour of half a dozen pictures of mediocre quality. As a grasp of the methods is obtained, vistas of ideas which pencil drawing can effectively portrav The artist should never allow will be revealed. his mental powers to remain long idle if he would accumulate a store of facts and impressions of value to will

drawings,

his

expeditions

and

make

but he should take walks and

" alive

to

every

influence

of

landscape

of sky."

Select only a few

themes from among the

manv

conceptions which suggest themseh'es for execution.

Those that must

of necessity

remain unrealized

however, prove useful aids to mental training. not so at

much

will,

It

is

the actual work of a great creative artist

which we marvel as at the host of theories, ideas and which must have animated the labours

speculations

Fig.

6.

A Liverpool

Street.

Bv 9

Muiy/iead Bojie.

.

THE ART OF DRAWING

IN

LEAD PENCIL

necessary to produce a masterpiece. is

no limit to conceptions,

In theory thei"e

in practice only a proportion

\\\

w <%

t

[f

'4

f

Fig.

of

7.

Abbey Gateway, Bury

them can be

intelligently

undoubtedly no limit to the

St.

''

fcOMUriD ?

Edmunds. Bv A. E. Newcombe

revealed.

artistic feeling

There

is

obtainable

whether the powerful modern impressionistic treatment such as we see in

in

the

art of

pencil

drawing,

— INTRODUCTION Muirhead whether

Bone's the

style

(Fig.

love

patient

of

6)

ii

favoured

is

and accuracy,

detail

reminiscent of the older draughtsmen, the

is

practised in

manner cultivated by A. E. Newcombe

Before proceeding,

it

come more

(Fig.

7).

perhaps necessary here to

is

explain briefly the three main stages

advocated

or

of the

method

in this treatise, as the student will frequently

across terms which expressly relate to one or

As a

of these stages.

rule the student will find

advisable to proceed as follows (i.)

it

:

The taking on the spot of Rapid Notes from which the student will work out his drawing in the more congenial environment of the studio, where time and thought can be devoted to an appropriate treatment of the subject.

(2.)

The working out order to

one or more Experimental Sketches

of

arrive

at

the

general effect

in

and arrange the

balance of composition.

(3.)

The execution

of the

Finished

Drawing.

Having

satisfied

himself that the effect of the experimental sketch promises well,

he can then proceed to build up a finished drawing.

Chapter

II

MATERIALS ''

I

""HE materials required for drawing in lead pencil are few

and simple and are

easily obtainable, but

desirable that they should be selected with care

it is

and judgment. Sketch Books and Paper. generall}^ is

found to be most useful

a small light

book

cartridge paper.

of

If it is

is

is

j\

in.

by 4f

in.

is

for taking rapid notes

not intended to

pages of

fifty fix

the notes

required, Hieratica paper

be used with advantage.

book

sketch book which

about forty to

and only very rapid work

may

—A

A

convenient type of

with elastic band and pencil

back and front, and covered with Such a book can be comfortably carried in the pocket and is ready for use at any moment. holder, stout boards

canvas.

For Recording General Material.

—A

book

eighty or loo pages of plain white " rolled " stiff

for

covers, about 9 in.

making a

artist It is

may

by

7

collection of all

think

surprising

it

in. in

some

paper with

dimensions,

manner

of

is

useful

of objects that the

worth while to study and record.

how frequently one comes across material, 12

MATERIALS

13

considered unlikely at the time, which,

recorded,

if

is

found almost invaluable at a later date.

F

For taking these rapid notes an will

HB

or

pencil

be found the most suitable. Block for Experimental

mental sketches

"

Sketches.

—For

a block of rough paper

is

" experibest.

A

sketch can be more rapidly worked up on rough paper

than on cartridge or " hot-pressed " paper.

The sketch Fig. 42 was drawn on a small block of Whatman's watercolour paper. As " general effect " and tone values most at this stage, the roughness of the paper will give some suggestion of the meticulous technique without involving quite so much labour as would be required to actually produce it on a smooth paper. An HB pencil is most useful for this purpose, giving a are needed

sufficient

range of tone for experimental work.

—

Papers and Boards for Finished Drawings. For small or moderate sized iinished drawings Bristol

board but

it

and

is

will

an

good all-round material, undoubtedly be found that for general use exceedingly

especially for larger drawings

Whatman's water-

colour sketching boards with hot-pressed surface give an artistic effect. sizes.

These are to be obtained in

The surface

of

not so highly rolled as

and

is

these is

"

Whatman

"

useful

boards

is

the case with Bristol board,

therefore not so delicate. There

slight burr

many

is,

in fact, a

very

upon the former which gives the paper

a

THE ART OF DRAWING

14

LEAD PENCIL

IN

more pleasant appearance than the very shiny board, without detracting too of line.

They

much from

are also sufficiently

stiff

Bristol

the precision

to be

handled

damage by creasing. A very high finish can be obtained on them and even with a B pencil quite broad and soft touches can be applied. The drawings illustrated in Figs. 40, 41 were drawn upon these " Whatman " boards. For very highly finished work there is, however, no finer surface than

without

much

fear of

the best quality six-sheet Bristol board.

It is

very white,

excellently rolled, free from imperfections, sympathetic to for

the

most

" finished

delicate touch,

and admirably adapted

drawings."

is

It

a six-sheet Bristol board before

upon

it.

solid

metal slab

surface

The

effect of is

mount commencing to work

really best to

working with

it flat

on a stone or

curiously pleasing, the feeling on the

and response

to the pencil

is

then the most

ideal that the pencil artist can desire.

For decorative drawings outlines

and

certainly

which bold uniform

tracts of different tones of very definite

relationship are needed, are

in

most

highly rolled Bristol boards

preferable,

for

accidental

effects

which are not desirable in decorative drawings are less likely to occur on Bristol boards than on papers with a burr. It will

be found that when applying pencil tones

on Bristol board greater care must be exercised than is necessary when working on other surfaces. The depth

MATERIALS of the tone

it

15

desired to apply

is

darker than actually required, pling easily

is

very easily

made

when

stip-

especially

or rubbing, and such " patches " are not at all removed without quite destroying the quality

Overlaid tone after erasion results in a

of the surface.

greasy look, which

may

be considered as a distinct

defect in quality. Pencils.

known

—

If

reference

is

made

Artists Colourmen's Lists,

a great range of degree in pencils are listed in 6 or 8B.

is

to

it

any

will

be seen that

procurable.

some catalogues ranging from

There

is

much

of the well-

Degrees

6 or

scope for tone values

8H

when

to it

remembered that each pencil can be used with varying pressures, and that several depths of tone can be obtained with any one of them. The H's will give is

a very different quality of line from

HB's

spontaneous

in the

at once that

an almost

that which

or B's, so that

infinite

range

is

it

will

is

be seen

possible.

The student, when he has made some headway with pencil work, should endeavour to form some very definite conclusions as to the range and choice of pencils he proposes to make himself familiar with. Doubtless an unexplored range of effect is possible in any one drawing by the application of numerous pencils of But the choice is very different degree and quality. similar to that

well

known

which the colourist has to make.

that

many

It is

of the masters in water-colour

have reduced their palettes down to eight or ten colours,

THE ART OF DRAWING

lb

and

upon these

rely

effects

work

it

they

may

desire

TEAD PENCIL

IX

any

or a combination of these for to

Similarly

obtain.*

be found by many,

gressed with their studies, that to obtain a range of tones

by

in

pencil

when they have prois a better method

it

different pressures with

For tailing

notes etc. For decorative

drawings Indispensable general

for

purposes

BBBBBB Fig.

S.

Degrees of Pencils Obtainable, and their Uses,

a few pencils of moderate degree than

by employing

a large variety.

For very highly finished work the subtle difference between the quality *

of

work executed with an F and

For example, Brangwyn rarely

colour work.

use.s

more than

five colours in his

water-

MATERIALS that

:/

drawn with an HB, for instance, is perceptible and to the artist there is an

even to the uninitiated

immediate sense

of

;

pUabihty

the softer pencil as

in

compared with the comparative sense and harshness in the harder one. In Fig. 8 a table obtainable

is

given,

of

with

the

full

of

range

suggestions

as

resistance

of

to

pencils their

in connection with which the beginner may experiment until those most suited to his style of work

uses

and temperament are arrived

P.D.

at.

Chapter

III

ELEMENTARY TECHNIQUE

/^NE

of

mind fine art

is

the

first

things the student

that the art of drawing in lead pencil

needing the most delicate application.

be approached from the

There

is

must bear

first

less possibility of

It

is

in

a

must

with care and sympathy.

manipulating the stroke, to

correct even the smallest mistakes, than there

is

in water-

where the pigment may be manipulated to some extent while still wet. Of course, pencil strokes may colour,

be erased, but when they are placed in close work other the

adjacent

quality

lines

which

,

is

but so

also

much

in

a

loss

be

to

delineation of every stroke will at

temperament subsequent

of the

among

only in injury to

erasure results not

strokes

the

crisp

desired.

The

of

once convey the

draughtsman, and no amount of

overshading or touching up can

make

a

good drawing out of one that was, in the first place, Although it has been pointed out that in this bad.

medium

it

is

easy to erase work, yet from the very

beginning promiscuous rubbing out

However simple an

7niist

be avoided.

object the student wishes to

depict, the pencil should be held correctly in a position

ELEMENTARY TECHNIQUE similar

the

to

orthodox position

for

19

holding a pen.

Thought should be exercised as to exactly what is required to be done and how it should be carried out.

commenced

In fact, in the early stages every stroke

made with

should be of

Successful flashing

dehberation.

the pencil over the

paper

only achieved

is

after

much

experience has enabled the student to triumph

over

the

peculiar

great

requires

Before

of

difficulties

confidence

and

rapid

work,

precision

which touch.

of

even the smallest sketches or drawings are

attempted

many

elementary exercises should be carried

may become

out in order that the student

familiar

with the nature of the medium, and thus realize what

can be expected of

it,

and

as well as its difficulties

limi-

tations.

Lead pencil lends itself to shading and modelling more particularly than any other medium applied with a point, but this should not tempt the student to indulge in shading before some mastery of drawing has been gained.

in outline

The observations force of

in

Chapter VIII explain

form can be conveyed by

without modelhng and, in the should be

and

made

nature

of

objects

drawing

in

finished

successful

line

accomplished.

lead

line or silhouette

first

the

even

stages, a practice

convey the appearance by line alone, for a sound

of trying

training

how

to

is

indispensable

pencil

work

is

if

ever

highly to

be

THE ART OF DRAWING

20

Even the most highly art in colour

finished

to appear as

medium that this

flat

what

is

it

surface of objects

they were in the

if

for presenting

may

and most elaborate

but a convention at the best, as

is

merely the representation on a

drawn

LEAD PENCIL

IN

It is

solid.

a

perceived by the artist

is

be comprehended and enjoyed by others.

But it is in regard to drawing in line that art is even more a matter of convention. Drawing in outline is perhaps the oldest and most simple of all methods of depicting ideas and objects. In regard to technique

remembered that the because

it

it

must, from the

line is essentially

does not exist in reality.

It

first,

be

a convention

must only be

considered as depicting the boundary between different tone values, or what of

this

way.

may

be looseh^ termed the edge

when drawn should be thought

shades, and

of in

Also as the work becomes more advanced

and approaches what may be termed work," the hard

and accentuated

line,

unless

it is

" highly finished

especially retained

for decorative effect, should gradually

At the same time realism must not be carried to such an extent that the charm of the technique or the manner in which the drawing has be eliminated.

been rendered

is

lost.

drawing emphasize the need of first acquiring a facility for drawing in outline. Among Mr. Harold Speed, in his most valumodern masters All

able

teachers

book

The

of

Practice

and

Science

of

Drawine

ELEMENTARY TECHNIQUE and

advice

offers

He

primary need and lays

line as the

sity for "

which

arguments

should study with reverence. application "

hard

and

27

every

student

places drawing in

stress upon the neces" searching accuracy "

The early portions Drawing " may also be

throughout the period of training. of

"

Ruskin's

Elements of

studied with advantage

by

all

who hope

to learn to

draw in lead pencil. Ruskin is, of course, emphatic upon the need for observation and for trying to depict, even

in outline, things

an exception to

type.

its

many

There are

not as types but rather each as

drawings in outline by both old

masters and modern artists which are force

and

The helpful of first

of truth,

student,

therefore,

will

find

more

nothing

than to commence his study by the drawing

simple

be

full

satisfying appeal.

outlines.

practised

and

;

Lines,

short

just

lines,

Endeavour

lines,

long

should

lines,

at

simple

draw hues that have character, and not mechanical lines. The difference is that which no amount of explanation can convey it is a very subtle difference, which is priceless and unteachable, and will come to the student only by practice with discernment. Lines must be drawn with one movement only. They objects

so

on.

to

;

should not be dragged out in a hesitating way.

Ruskin

" If

you want a continuous hand should pass calmly from one end of says,

line it

As your

to the

THE ART OF DRAWING

22

other." Practise this,

achieves so

much

and

if

curved

he will have learned

step

lines are to

very long one.

LEAD PENCIL

in the first lesson the

which will give an added value

The next

IN

is

to

all

his

an

student

essential

subsequent work.

that of curved lines.

If these

be strictly geometrical the step

The drawing

of circles

and

generally advocated as the second step, but

unwise, for without

instruments

it

is

is

a

ellipses is

seems

it

never possible

draw perfect geometrical shapes, and the ugly shapes which the student will at first produce when endeavouring to draw circles are discouraging. to

Circles

and

ellipses

are

needed

less

drawing than curves which are either parts

mate

The parabola

to parabolas.

of all shapes that

really the

merging

is

in

general

of or approxi-

the most beautiful

can be set up mechanically, and of geometric curves into curves

is

which

are not possible of mathematical determination.

Before

and round objects seen

in per-

drawing

circles, ellipses,

spective, parabolic curves should be practised, natural

objects being used as models.*

The student, armed with a small block paper and

HB

pencil,

may

of cartridge

with advantage recline on

quotation from "The Curves of Life." by may be of interest to the .student at this "The application of the spiral to organic forms results in the stage: discovery that nothing which is alive is ever simply mathematical For instance, the nautilus only approximates to the logarithmic spiral." He savs "The theory may also be applied to art; nothing that is mathematically correct can ever exhibit cither the characteristics of life or the attractiveness of beauty." *

The following

is

a

Theodore Andrea Cook, which

.

.

<

THE ART OF DRAWING

24

LEAD PENCIL

IN

a bank of thickly growing grass, and, looking the labyrinth of blades, choose a

little

among

group and prac-

drawing their curvilinear form and intersections.

tise

Fig.

There

what might be done a wealth of interest and value

in

illustrates

9 is

this

way.

to be derived

from even so simple a study.

Beyond that of

curved

lines,

of gaining dexterity in the

there are other things to be learnt

during this simple exercise.

and placing There lines,

is

forms

in

is

the judgment

each other.

not merely in drawing

but after stopping them short (where the blades each other), in continuing the

the same direction,

and

There

relationship to

also useful practice

of grass cross

in

of

drawing

line

again

maintaining the same power

tone.

This, too, serves as a simple exercise in truthful

observation, for

it

is

not only grass that should be

and its condition. The grass may be To quote again from Ruskin ragged and stiff or tender and flowing, sun-burnt and sheep-bitten or rank and languid, fresh or dry, look at it and try and draw it as lustrous or dull and don't think how somebody told you to it is, draw grass." Such points of peculiarity and character should be indicated in the lines which define the blades, so that from the first the student shall come to see the value of giving life and truth to his drawings. depicted,

but the kind of grass

"

:

;

z o s s o

O

THE ART OF DRAWING

26

Similar

studies

above,

the

to

LEAD PENCIL

IN

and

increasing facihty, should be made, the drawing of leaves, flowers

and

shells

cannot be bettered.

demanding

each

for this

and plant forms, twigs Fig. ii indicates what

is

suggested.

is

thus more gently and naturally approached.

The need

drawing circular and

for

The forms zontal, vertical

in

purpose

elliptical

forms

architecture being based on hori-

and oblique

lines,

and geometric curves,

sketching the elevations of buildings of simple character

may, with the greatest advantage, be next pursued. Even the first few exercises in this will impress upon the student the need of grasping proportion, for while the placing and arranging of lines of different length is practised, power of judging proportion is acquired. In a drawing of any simple architectural subject defects of proportion or perspective are easily detected.

Drawings such as opposite side of a street, exercises,

which

may

Fig.

made

12,

on the

of buildings

in outline,

form admirable

be shaded when the student has

progressed.

made with

After some progress has been

going exercises, the work should enter upon stage, for the great

approached.

The

problem of student

without considering

more of

efficient at

the

it.

drawing

light

can

the fore-

its

second

and shade has been

hardly

get

farther

He may become more and in outline,

modelling of objects of

but the question

" light

and shade

"

ELEMENTARY TECHNIQUE

27

must now be definitely considered. " As soon as you find your hand obeys you thoroughly and that you can render any form with the firmness and truth approaching that of Turner's or Durer's, you must

Fig.

12.

Simple Architectur.^l Study in Proportion .\ND Perspective.

add a simple, but equally careful, light and shade."* The question of light and shade need reallv not have been entirely disregarded when drawing in outline alone. The lines might have been made stronger where the ^'

Ruskin.

THE ART OF DRAWING

28

boundary

of the shade occurred,

to fineness

where

(see the scale of

practice in

drawing

in

LEAD PENCIL

IN

and have tapered

off

they approached the highest limits

For

tones in Fig. 30, Chapter V.)

acquiring

the

outline

power

parts

of

The play

cannot be bettered.

doing

of

the

of

of

the

this

human form

light

and shade

upon the human form presents the most subtle curves in the shapes of gradated masses, and therefore offers exercises in the depiction of these by line which will Fig. 10, test the most accomplished draughtsman. by Mr. Ross Burnett, shows how successfully the human form can be drawn in line, and it is instructive compare this with the meticulous technique to employed in Lord Leighton's study of the hands in Fig. 3It is in

the addition of light and shade, and the

giving to the various passages of the drawing the correct

where the question lead pencil work becomes insistent. relative tone value

of technique in

First should be practised the laying on of flat tones,

and, having consideration for the delicate possibilities of the

medium

compared

as

to that of ink

work

charcoal and the possible fineness of finish that

be

may

more advanced work, should always be employed in preference to

desired

stippling

or

eventually in

merely rubbing.

certainly

It

quality of the result

the

is

the shine of the lead

takes longer,

far superior

is

;

also in

but the

dark tones

not so conspicuous as

it

tends

S3

o

fc--

X

2

Q

<

29

THE ART OF DRAWING

30

to

be

if

the tone

to lay fiat

evenness

is

be

in

held

moved

more vertical position than The point should then be

rather

irregularly

where

the pencil should

desirable,

particularly

to maintain

requiring

especially the lighter tones,

tones,

a

when

Therefore

rubbed on.

purposes.

other

for

is

LEAD PENCIL

IN

over

the

surface,

an even strength

of

but with

tone.

It

care

might be

better, perhaps, to describe the operation as a careful

process of

filling

a specific area

by means

of a continuous

hne carried on until the particular depth tone required has been produced.

interlacing

Fig.

13

(a),

of

a magnified reproduction of a tract

method described. An is that a tone obtained by method advantage of this stippling has more luminosity than one rubbed on. stipphng, will explain the

of

In the former case,

the stippling

if

minute

is

not carried on

of paper still numerous uncovered remain which give the luminous appearance which is sometimes specially needed, for instance, in a back sky.*

too

long,

The

third

method

that of hatching. tion

and massing

For

of applying tones all

is,

of course,

general work where delinea-

of tone values

ciple of hatching, viz., of

is

patches

is

inter-related, the prin-

drawing

lines parallel to

each

• The term "back sky" as used here and in the various parts of the book chosen to describe the blue of the outer sky, as differentiated from the

clouds.

ELEMENTARY TECHNIQUE other and very near together,

31

method

the technical

is

most proper to lead pencil drawing.

A tones

great deal of practice

is

required to produce even

The student should first roughly shapes and practise filling them in

by hatching.

outline different

with level tones hatched, as in Fig. 6

drawing the

movement.

lines

the tendency

is

(c),

always

with one definite and continuous

may seem

It

(b),

a very simple matter, but

and draw a

to relax concentration

here and there which

slightly darker

is

line

than the others,

and thus to detract from the level effect of the tone. Hatching tones of various values should be next tried in the manner indicated in Fig. 13 (a), (e), aptitude

the

Cultivate

(f).

doing

for

this

with

certainty and the achievement will be found invaluable

degrees the

For

later.

may

difficulty

of course

but

book,

this

which

the

advised to master. the touch that of tone, the

purpose

of

different

be used as described

earlier in

this

is

It

is

pencils

a

really

"

out "

way

would be

student

far

of

a

better

thus familiarizes the hand with

required to produce certain depths

acquirement of which

is

the principal object

of this exercise.

Cross hatching (Fig. 21b)

values

by superimposing one

is

the rendering of tone

series

of

diagonally across another series of parallel

commonly adopted by

parallel lines,

lines

and was

early devotees of the lead pencil.

— THE ART OF DRAWING

32

It is still

LEAD PENCIL

IN

sometimes employed, but the effect produced is it must be admitted that, as

rather mechanical, though

a

way of darkening a hatched tone when the latter has not been drawn corrective,

a

is

it

better

1

Fig.

14.

Gradu.\tions in Tone obtained by Stippling AND Hatching.

sufficiently strong

than to go over the hatched

lines

a second time.

A

need

proficiency in

that

obviously

laying

flat

gradation and modelling.

follows

tones

is

after

attaining

that of practising

Spaces should be outlined

ones for preference commencing with and tones graduating from darkness on one edge to lightness on the other should be laid first by rectangular

ELEMENTARY TECHNIQUE stippling as in Fig.

14

(a),

33

and then by

as

lines

in

Fig. 14 (b).

to

Fig. 14 (c) shows the application of these methods elementary modelling, beginning in a simple manner

and gradually student will

now

treating

more

shapes.

difficult

how

begin to see for himself

The

the whole

problem of complex work can be mastered by applying The wedge-shaped line this technique as required. or double-pointed line are both easily produced with

the pencil and their application for

various purposes

and

a more advanced

for

producing various

matter which

is

effects

is

described later on.

Before passing from the question of

line,

outline

and elementary modelling, to the matter of technique advanced work, it must not be forgotten by the student that, though line drawing is so particularly a convention, great work has been done in this manner alone without the addition of any light and shade. The work of J. D. Ingres particularly reveals the wonderful possibility of line drawing and the charm which a master can give to so simple a medium. But the pencil, in

possessing so

many

other possibilities besides that of

mere delineation, and being concerned with fully

all

its

potentialities, the student

here, as

who

we

are,

desires to

master the art must proceed to study the technical

problems of juxtaposing different tones, the massing of

lights P.D.

and shades, the choosing

of tone schemes,

D

34

THE ART OF DRAWING

IN

LEAD PENCIL

and the manner of producing the various effects necessary for the working out of his ideas also the complete rendering of drawings which, in comparison with sketches and even more advanced work, mav claim to be deeplv considered and highlv finished. ;

i-iG.

15.

Exercise involving the Application of Elementary Technique.

Chapter IV

ADVANCED TECHNIQUE '

'~HE more advanced technique of pencil

I

requires

he

is

the

to grasp the

pencil.

When

attention

of

full possibilities of

the

closest

drawing

the student

medium

if

of lead

the artist has really mastered the art

of using his pencil

it

is

medium would provide embodiment light and shade, the

of

doubtful whether any other greater interest or scope for

beauty and truth.

tone,

Outline, form,

atmosphere, and even a sense

of colour, all in infinite varieties of combination,

may

be depicted in so pleasing a manner as to

both

gi\'e

constant and arresting delight.

The technical difficulties increase greatly as the student's work becomes more ambitious, and he sees more deeply into the beauties of Nature. Though it

may

lead to the artist being seldom completely satisfied

with his

own work,

to creative effort,

success.

Such

it is

not likely to pro\^e detrimental

but rather to stimulate him to greater is reached more often,

satisfaction

perhaps, with ultra-impressionistic colour productions

where the modern tendency is often to sacrifice beauty of form and composition in order to secure advertisement D2 35

THE ART OF DRAWING

36

by

eccentricities

the

more is

LEAD PENCIL

individual technique,

intellectual art of the pencil

The student which

of

IN

will

entirely

than

with

draughtsman.

seldom at first execute a drawing harmonious and equal in regard to

With perseverance, however, he may soon come very near to doing so, for in pencil work the methods become obvious sooner than they do in colour, technique.

probably because the truthful arrangement

and tone value, relieved of the added difficulty is more easily mastered.

of

form

of colour,

In the course of his study the student will do well

compare the works of the old masters with those of modern artists, paying special attention For a hundred years or more after to their technique. the Borrowdale lead mines were opened in the seventeenth century no lead pencil drawings of any importance are known to have been executed. About 1830 the Art may be said to have come into fashion, when pencil drawing was substituted to some degree in to

carefully

early education for painting.

were executed

in

Many of

these early studies

pencil with light washes of colour,

or flicks of Chinese white added, a fashion which dates

from 1850 to 1875. Very many of these conscientiously executed and rather laborious drawings are still to be found preserved in museums, where praiseworthy studies of animals,

leaves

and

flowers,

in the history of art.

rustic

figures,

are treasured,

branches of

trees,

as forming a link

These early drawings are highly

/ A /SW-'

^

L

c.

-J

fe*

^:

V

^ Fig. 16.

Profiles in E.-^rly Victorian Style.

37

38

THE ART OF DRAWING

IN

LEAD PENCIL

daj'. The former and emancipation of lack the spirit, the vigour the bold modern work, but at the same time are remarkable for their delicacj^ and softness, and in regard to technique they set a high standard by their equality and

contrasted to the work of the present

painstaking labour

;

the gradation in the modelling

usually quite wonderful,

is

even when viewed through

a magnifying glass. Outlines of profiles of two or more heads depicted

one against the other upon one sheet were popular. Fig. i6

is

a characteristic example of this style.

It is

a good instance of the interest of pure outline, and

drawn with

a

confidence

is

and precision which has

evidently been carefully cultivated.

So far, however, I have not been able to discover any pencil drawing executed during the brief period of its popularity which evidences any attempt to realize the full potentialities of the medium, or to even make use of any very wide range of tone values in depicting landscapes, topographical subjects, etc. The several tones which were sometimes employed were used only to differentiate textures.

The

late nineteenth

century lithographs which were

until recently used as copies in schools are reproductions

Cattermole, Vera Foster,

They were drawn by and others and are quite

bold and

they go, but they are usually

from original pencil drawings. pleasing as far as

—

o

o

CO

Q

o

39

THE ART OF DRAWING

40

LEAD PENCIL

IN

mere vignetted sketches at most, bound by a conventional law of composition and effect from which they seldom depart. If followed too assiduously they are liable to detract from the freedom and largeness of outlook essential to more serious and ambitious pictorial art.

to

Every student should, however, give his attention making a study of some of these examples, of which

Fig. 17

typical, because as exercises they will

is

prove

beneficial.

The advantage studies

is

that

it

of mastering the

method

of vignetted

forms a sound training in the manner

of obtaining equality of technique

which

will ultimately

tend to raise the value of the student's more finished work.

By

beginning with these small studies and by

aiming at making these pleasing

in

themselves, the

student will more easily see where his technique tends to

fail

and thus be able

also assist

to correct

cultivate

to

Thev and breadth, and

accordingly.

it

simplicity

provide training for the faculty of selecting essentials.

The technique adopted is

usually cross

backgrounds, pling skies.

for

hatching

etc.,

was used

and

these

in

for

early

drawings

shade on

the

fabrics,

for all the darker tones.

and sometimes

for modelling flesh

Cross hatching, however,

Stip-

is

for

occasionally used

modelling in figure work, especially in the larger

drawings where the

face,

hands, and

feet, etc., are

drawn

ADVANCED TECHNIQUE

'41

In most cases no great value seems obtaining breadth and harmony upon set in the technique, especially in landscape, and all this " early work is characterized by a sort of " primness which never seems to have permitted of any reaction. Modern pencil work is, on the other hand, too often loose and indeterminate, but when free and spontaneous it leaves the old work far behind in most respects. Yet in view of the tendency now to be " slipshod,"

almost

size.

life

to have been

considerable attention should be paid to the quality

and general

characteristics of the old style, particularly and " sweetness " (the word is used

to that delicacy

"purity") which was expressed in these

in preference to

drawings

our

of

peculiar to the

grandparents, a

medium

quality

specially

of lead pencil.

The student should not be led away or venture too far upon the sea of purely technical dexterity, or allow himself to be lured by the siren voices of methods "

nouveau."

A

long rope

is

advisable, but

it is

best to

be well anchored or never to lose sight of the land from first launched by the pioneers of Something in the best of the old work, which is proper to the medium, is lacking in the most vigorous examples of the new. As a general observation it might be said that pencil work repays all the care which can be bestowed upon it. When all that artistic perception and technical skill can do has been fully

which the ship was

pencil drawing.

evolved this

medium

will

be set at a

much

higher

THE ART OF DRAWING

42

LEAD PENCIL

IN

value than it occupies at present white " pictorial or decorative art.

There

is

difficult.

is

no purpose

in veiling the fact that the

All art

difficult,

is

very best which the

effort,"

artist

in practice,

There

it

demands

of the

can put into his work.

It

laborious

but

is

much scope for individuality in technique

as

is

quite a propos here.

as in choice of subject. of pencil is

as

work

and requires a " sustained an expression which is cheap in speech and rare

sometimes

is

among "black and

drawing

will

It is

By

quite individual.

probable that the student

soon develop a technique which this his

work may be recognized

quite apart from subject, just as the work, say, of Corot or Conder

may

always be distinguished by their indi-

Even

vidual styles.

a portion of the canvas of a typical

painting bj' each of the brothers Maris, though their

methods and subjects are somewhat

Even

readily identified.

the example

a corner of a drawing, to bring

to the

medium under

discussion,

h\

Griggs or Hedley Fitton for example, will at

L.

F.

home

similar, could be

once enable an expert to allocate each to the work of the

respective

Whatever subject all

man

artist.

is

one

it

may

effect

of

becoming a

" or " trick artist " should be

" one-

avoided at

what the constant representation by one method really amounts to although

costs, for this

of

done the danger

is

;

be desirable to adopt a certain kind of technique

c

43

THE ART OF DRAWING

44

for specific subjects,

IX

LEAD PENCIL

such as boldness or delicacy of

touch, an emphasis or absence of line

and so

on.

Landscape

Commencing with the treatment of skies, the student must choose a method in accordance with " howstrong, " that is to say how "low," or how "high" the sky is to be, and according to what degree of importance

is

to be allotted to

it

in the particular picture

which is being commenced. Broadly speaking there are two ways of dealing technically with the treatment

You

of the sky.

can either stipple or hatch the distant

sky and then take out the white or lighter clouds with rubber, or the tone of the sky can be built up by careful

and deliberate hatching and the shapes higher tones

left out,

of all white or

thus avoiding the use of rubber

Except when the use of rubber is required to produce some special quality, proceed with the work as if no such easy method of correcting errors existed

altogether.

at

all.

When

the light

is full

on the subject, that

is,

coming

from behind you, as in Fig. i8, it is best to stipple or shade the back sky without distinctive line, because some considerable depth of tone is needed to give a sense of the deep blue at the zenith. it is

In such an instance

not desirable to radiate the lines from any particular

point, the position of the sun not being within the boun-

dary of the picture.

It is possible,

however, to treat

the clouds by leaving them white instead

of taking

them

ADVANCED TECHNIQUE

45

out with rubber, but the effective definition of their

form

is

not so successful

when

just omitted in a stippled

back sky as when carefully omitted in a radiated sky. This would apply particularly to groups of cumulous

some distance. The method of rendering by lines radiating from the sun seems to

clouds seen at the back sky

be the most effective for producing a sense of light. Fig. 70 illustrates this.

In reality, however, the sky

near the sun does not appear to the eye to be lighter, but if

anything darker in tone than those portions of the

sky which are farther away from

The casting

optical illusion.

it.

of the

general modelling of the clouds

may

This

may

be an

shadows and the give

all

the effect

necessary, but the treatment adopted in the drawing Fig. 22, also in the finished

iUustrates in this

some

drawing of Exeter

(Fig. 43),

how

way.

a sense of light is undoubtedly heightened All " black and white " work must be, to

and this is one of the instances work where a convention is both necessary and

extent, a convention,

in pencil

legitimate.

As the student advances he objects are outlined the more is atmosphere.

Work

will find that the less it

possible to suggest

to a shape or imaginary line

;

but

that shape or line should not be definitely indicated.

In treating clouds this should be especially observed.

There can be no shape or form

is

line

whatsoever round a cloud.

made apparent by

darkness, or vice versa.

The

lightness against

THE ART OF DRAWING

46

The

line in a, Fig. 19, is

IN

LEAD PENCIL

accentuating the edge of a

vapour the chief characteristic of which be formless at

its

in reality

is

to

any object having sub-

edge, as far as

stance can be said to be formless, and

is

anything can be which

is

Whereas

treatment in

the absence of the line depicts

the

B, Fig. 19,

yet visible.

form without destroying

its

as elusive as in the

most characteristic

quality.

Even

in solid objects,

such as a group of buildings

appearing some against the sky and some against each other, each separate is

best treated as in

(d.

c.

form should not be outlined but Fig. 19.

masses of

Fig. 19),

This applies also to

foliage,

Each should be

etc.

by some variety of tone value and shade, devoid of limiting outline.

defined

When

hills

or play of light

introducing figures or small objects into a

drawing these should be blocked

in lightly or

darkly

and not merely delineated they should not be defined with hard lines which do not, or cannot, as needed,

;

exist in reality.

If this is

drawing where harmonious the figures or objects

separate and

if

done,

it

effect is

will

be found, in a

being built up, that

outlined will appear to stand

apart, dissociating themselves

from the

general effect. it is most necessary to observe The broken character of a tree's outline, if

In treating trees this point. it

be faithfully portrayed, should never be enclosed

in

any

definite line.

If it is so

enclosed the tree wiU

).{

tett"

-:)

^m y

^

A

Fig.

19

47

THE ART OF DRAWING

48

at once look as

if it

IN

came out

LEAD PENCIL Trees in

of the ark.*

nature contribute an interesting aspect of broken form

which the mind seeks as a con-

trast to the and

acuteness

continuity of mere buildings or barren landscapes.

Technique always

should

be based upon

nature

the

of

the form, sug-

the

gesting in

strokes flatness

where there

is

flatness, rotun-

dity where there is

rotundity,

evanescent form

as

com-

pared with solid Fig. 20.

A

Classic Figure Study. By B. E. Ward.

and dense,

etc.

The manifestation of form is entirely dependent upon contrast, and The line can have no rightful is never in nature presented by outline. it is proper only to Decorative place in Art which aims at being realistic Drawing. The lines selected when making elementary or preliminary studies should always be thought of as being, or indicating, the boundary between objects having, at the time, different tone values. *

:

ADVANCED TECHNIQUE If it

to is

49

the Student examines Figs. 5 and 43, will

be seen that the line

for instance,

nearly e\'erywhere adapted

is

conform to the characteristic shape of the object

it

depicting.

In regard to modelling,

drawing of the

reference

if

20,

Fig.

girl,

it

is

is

made

evident

to the

that

the

,/^^$^^^<ic,_

^

m^-^"^''m/Mim

B

Fig. 21.

modellmg

—of the hair— of the dress, executed. of

body which are re\'ealed have been laboriously etc.

of those parts of the

If this

method

photographic result

is

—

applied to landscape a sort

will

be obtained, which

particular appearance which

drawing must never

The

ha\'e.

or actual

manner

obvious,

even at the distance

P.D.

in ichich

it

is

the

the most highly finished

is

tediniqiie of a

dnnauig

rendered should always be of,

say, tico

feet

from the E

THE ART OF DRAWING

50

This may,

picture.

statement

in

in

technique to general this

was not

quite

applied,

whether

In

a

of

relationship

magnifying

see

how

stippled

or

rubbed

stippling

and

cross

to

definite

Even by looking

through

possible

some portions

the

of

effect.

drawing

little

LEAD PENCIL

be taken as a

fact,

terms

the

IN

into

glass

it

the tones were or

hatched.

hatching were

to be discerned.

employed it will detract from the luminous quality of a surface which has been hatched over in one direction only for instance, in Fig. 21 A is as dark as B, but A has luminosity, whereas B has a look of density and even opaqueness. Therefore, in modelling clouds in full light, luminosity being most essential, single hatching is best, and in all surfaces where any sense of local light is needed single hatching really If cross

hatching

is

;

gives a better result than either cross hatching or stipBesides,

pling.

a

difference

in

by adopting the

effect

a different kind of stroke,

may

Fig. 22, for instance, the stroke

than in D

;

c suggests normal

be obtained.

used

is

In

c.

slightly different

weather,

d the same

kind of clouds in very hot weather.

The highly magnified stroke beside each drawing As a general rule, when clear cold effects are required use stroke c, when it is should be especially noted. desired

Some

to

slight

and heat use stroke

d.

the form of the clouds

is

depict atmosphere difference in

present, but the effect

is

chiefly obtained

by the manner

c

D Fig. 22

51

E 2

THE ART OF DRAWING

52

of the hatching

IN

and could not be

LEAD PENCIL so well rendered

by

stippling.

When

a transparent or luminous object occurs in

juxtaposition to one appearing opaque or particularlv dense, hatch

the transparent one and stipple or rub

the opaque one.

If,

however, some luminosity

is

needed

^

'p.

Fig.

23,

in the solid object to sustain the brilliance of the picture,

neatly

hatch

the

solid

object,

cross

lor

hatching

neatly rendered will give more luminosity than stippling, as, for instance,

According

E and to

f. Fig. 23.

the pressure used

it

is

possible in

E to convey the sense of light upon a dark object a dull picture.

in

ADVANCED TECHNIQUE

53

Trees need some special treatment the strokes given in Vere Foster's drawing book (J series I, 2, 3), so freshly and delightfully drawn by J. Need-

Each kind

ham, are

of tree will

especially

worth

;

attention.

student's

the

In studying and copying these the student will attain that dexterity, facility, and confidence necessary for is possible by any particular In any case, J. Needham's work is especially technique. worth study. It is suggestive of what much of the older work might have been, being almost free from the stilted primness of the work of his father's day. It is not entirely free, however, and his expert manner of dealing with trees was not, as far as can be ascertained, ever followed up to any great extent in regard to water, skies, architecture, etc., and synchronized throughout large pictures. But if reference is made to his

dealing with different kinds of trees.

It

degrees to adapt these strokes to suit

drawings of an ash, also of chestnut, see will

be seen

is

Needham

is

Fig.

24,

it

a master in treating

most bewildering

of all objects

scrutinized) a large tree in full leaf.

His method

massed

when

that

foliage or (the

excellent, giving

form of his tree

is

no appearance

of confusion.

truthfully studied, the light

boldly handled, and an effect of

The

and shade

warmth and atmosphere

Yet his technique is remarkably well retained. while no rubbing, cross hatching or always obvious, stippling has been resorted to. is

Fig. 24.

Chestnut Tree. S_v

54

/. Needhani.

CO

55

C;^'

aa^TTTiJ^irc':

^,

;i

4,

ADVANCED TECHNIQUE

57

Bushes and evergreen shrubs are not easily handled. nature not specially pictorial, they are likely to look less so in the drawing. Treat

The character being

in

they must be introduced at all, and above all things avoid a stiff appearance, making it also quite evident that they are not growing on one plane.

them very broadly

if

with other foliage and trees some interest can be obtained by the tone values given to them, which In dealing with matters suggest their darker colouring.

When drawn

of this

kind the tones must be differentiated and

all

appearance of a tangle avoided. In Figs. 25, 26, 74 and 75 may be seen clever studies of trees by A. E.

Newcombe, whose work

in

this

respect

is

always

worthy of serious attention by the student. Accessories In introducing into pictures accessories or small objects which are to

tell,

such as those included to

produce "dramatic feeling," draw them when possible with one movement of the pencil. in

this.

Never paint the

lines,

Practise dexterity

but

let

them appear

and keen. The pencil should be cut so broad face to work with, and rapidly indicate a bird, mast, sail, shop sign, post or distant object, somewhat in the manner indicated in Fig. In a marine picture, for instance, it may be 27. necessary to spend a day upon the sky, another day or more upon the sea reflecting that sky, but the distant boats the objects which will first attract the eye in clear, definite

as to give one

—

58

THE ART OF DRAWING

looking at the picture indicated

IN

LEAD PENCIL

—may be sometimes successfully

by a few rapid movements

of the pencil,

which

occupy but a few minutes (Fig. 28). The work of these few minutes must, however, be masterly, and as will

worthy

of being closely scrutinized, for the

charm

of its

dexterity and individual interest, as the whole back-

ground

of

the picture

is

tone values and equality

Fig. 28.

for

its

true relationship of

of technique.

The Marsh Mill. By P. Noel

Boxer.

Effects of Light Unusual

effects

of light

need consideration from

commencement that is, if it is intended to produce them more by manipulation of the technique than by wiping out and picking out with rubber. Certain things the

;

o "A

59

THE ART OF DRAWING

6o

IN

LEAD PENCIL

having some substance, though elusive such

festation,

beams

as

in their

mani-

falhng snow, dust, and dust-laden

and so on. These will be most realistically rendered by the process of wiping out and, on that account, it is best to draw those portions of the picture over which the feature is to be superimposed darkly and even, if possible, with a harder pencil, so that this may be rubbed down gradually until the desired effect is obtained. Complex effects of skv, of light, steam,

rays of sunlight, atmospheric effects, storm,

be well thought out

first,

and the manner

etc.,

should

which tone

in

values are going to be influenced should be considered

when making the experimental sketches. Then, on commencing a "finished drawing," the sunlit haze in a valley, for instance, can be "worked for" with every stroke over that portion of the picture, and the alternation of light regions

and cloud shadows

shadows on the rocky all

declivities of

be suggested as the work

added

as

an

to the

is

proceeded with, not

" extra " at completion.

wiping out at a later stage needed.

The abrupt a mountain must

defined.

It is desirable

so on, as

" to " hold tight

and

it

In Fig.

reality.

process of

the quality here

of the effect,

shadow and

with each feature in

will give

when working

mental impression

sunlight, haze,

No

to visualize

was associated 29

we

see

a

masterly drawing by F. L. Griggs in which a sense of light

pervades the whole aspect.

no process

of

"wiping out"

in

There this

is

obviously

successful

work

ADVANCED TECHNIQUE which every hne the atmosphere the

in

restrained with due regard to

is

artist desires to depict.

These remarks suggest methods

some

of

6i

of the principal difficulties

have to contend with.

Others

for the

mastering

the beginner will

may

be encountered

the style of work and choice of many, but if one works methodisubject may involve cally and perseveringly it is possible to overcome them ah. As the student begins to attain satisfactory results he will find the work fascinating, and the waj^ to produce numerous effects will become more and more obvious.

in the first attempt,

of

it

Having mastered technique, allow the application to become subconscious. It may possibly be felt the

that

importance

emphasized,

but

the

of

technique

student

will

has

been

over-

never succeed in

carrjdng pencil work very far unless he pays the greatest attention to this branch of the subject.

must be

Some method

and dealt with scientifically. As the student becomes more efficient he must work more for " soul " and poetry, for " bigness " of feeling, and established,

endea^'our to gain emancipation from either the trammels of the old orthodoxies or the

A

sound grounding

in

modern conventions. technique,

conscientious practice, will cultivate terity of touch,

the

coupled with

any natural dex-

and when once the medium

is

mastered

student can proceed with freedom and develop

indi^'iduality.

Chapter

V

TAKING RAPID NOTES FOR FINISHED DRAWINGS

TN

taking rapid notes for " finished " pencil drawings, it

must be borne

in

mind that

all

attainable results

are subject to the limits of technique.

It is necessary,

therefore,

when taking

subject

to be rendered in the finished drawing.

is

the notes to reflect

how

the

The

method has been planned in full consideration and any rules which the artist may devise for himself must recognize this necessity. It is

author's

of this difficulty,

useless, for instance, to bring

sky

effect

home

notes of a complex

or group of varied foliage unless the

way

in

—

which these features are to be drawn as regards technique has been preconceived. The way in which

—

each separate cloud and each individual tree or bush is

must be conmaking the notes, and every ensure clearness and comprehensiveness

to be rendered in the finished drawing

sidered whilst actually

means taken to of ideas when referred

to later in the studio.

There are two problems, therefore,

drawing pictorially in lead grasp, assimilation, and record of

62

pencil.

in

the process

Firstly, a rapid

of the subject

and

effect.

TAKING RAPID NOTES FOR FINISHED DRAWINGS Secondly, a deduction as to portrayed.

This

is

how

it

may

63

be technically

also true as to water-colour painting,

work being so largely a matter simplification of method and dextrous manipulation the water and pigments. But whereas, m water-

successful water-colour of of

colour, a well finished sketch should be

made on

the spot

is to be true, in pencil a most highly work may be made from intelligent and easily Besides the interpreted notes six months afterwards. taking of notes, if time and weather permit, the subject should be scrutinized and its general effect impressed upon the mind for as long as possible, should the effect last beyond the time necessary to record it. This will enable the artist to more easily visualize the subject and resuscitate the original aspect when working later if

the colour

finished

from the notes only. It is

so

not suggested that the notes shall be

scientifically

them.

that

another artist

Something must be

the notes should aid the

left

made

might interpret

to visualization,

memory and

but

record facts.

Before attempting to take notes of complex subjects

and rare

effects

set of references

it is

and

necessarj^ to establish a definite

signs, also a scale of tone values.

The student can adopt the references here given, or work out a set more suited to his own fancy and requirements. The following references and the scale are given as being simple and suitable for general use.

— 64

THE ART OF DRAWING

Thev

are applied to the following diagrams,

IN

LEAD PENCIL and

are

used throughout the remaining portion of the book. Set of references for general use in

notes

H

:

making rapid

TAKING RAPID NOTES FOR FINISHED DRAWINGS

whole

the

Visualize

65

scale

b}'

remembering

that

10

and

20

for

example are yVth and respectively

ij-'iith

the

maximum

of

darkness

of 50.

In Chapter VI this principle

applied to

is

In

specific subjects.

order

make

to

method

at

before

dealing

notes

once clear a

for

the

with

complete

subject the accompanying

note

simple

31) of a

of

tract

serve

will

(Fig.

to

Such

explain the idea. is

sky

briefly

a useful note which

could be

made

in five

minutes and well considered in ten. First

outline of

sketch

the

the clouds,

carefully recording their

form,

disposition

relationship.

and

Indicate

a definite line for broken Fig.

P.D.

3(1.

V.

-

-.

e.^

.

<-'^

*--;

i^

A,^ÂŤV'V''^V

'

P

^-c

^

DO

-:.y ^.cL.--'

Fig. 31.

10

Example of Rapid Notes. (See

66

Fig. 32)

o

E z

67

THE ART OF DRAWING

68

or level horizon.

IN

LEAD PENCIL

Note the colours and tone values

of

the clouds in regard to the darkest portion included in

the subject.

This example being one with a middle distance horizon seen on a stormy evening

when frayed masses

dark cloud are passing hurriedly across the sky, and the source of light is low down in the West, deep conof

The

trasts of tone are presented.

cloud shadow and

is

silhouetted keenly against

lightest portion of the sky. for

under a dark

hill is

example, tone 30.

In

To

the

tone relationship to this

any mass

give 12 to the darkest tract of sky, 10 to

cloud a

little less

dark.

the

therefore, give

hill,

of

Indicate which are the dark

masses in the diagram of the sky, as differentiated from

by writing the

the tracts of light, Indicate an increase

putting colour

DD

of darkness

Write

or ddd.

(refer to Fig.

letter

d on same.

over one mass by

one or two notes about

in

31 throughout these

directions).

Indicate the direction of wind and add any other notes

which may be considered useful. These notes would be found to be sufficient to keep a student busy for two hours or more when endeavouring to interpret them in a finished drawing, and (providing clouds have been studied)

previously Uttle

drawing

Some

in

which

observation and a

produce

the

of natural things

and

to

Fig. 32.

scientific

phenomena,

would be ample

knowledge can little

be

acquired

by

intelligent

reading, will greatly aid

the

TAKING RAPID NOTES FOR FINISHED DRAWINGS Pictures are far

student. if

more

likely to be pleasing

the effects portrayed are natural effects.

ance

of

sky,

The aspect

of

accounted for

69

The appear-

and land is always inter-related. land and water can nearly always be by what is happening in the sky, but sea

changes of weather, forebodings, after-effects, peace

and plenty, calm and languor, storm and desolation, can all usually be suggested in various ways if reason is brought to bear on the natural causes of these conditions. If

are

the principles of this

understood,

complexity

the

method

following

of rapid note-taking

subjects

of

varying

will further illustrate its application.

The subject in Fig. 33 was discovered, not without some expectation of finding it, in the neighbourhood in which material was being sought. The point of view was found quite suddenly, however, on reaching the end of an alley which terminates upon a confined and obnoxious quarter.

little

In

full

beach, the " sink " of a small fishing

view was

this

enchanting subject with

and nautical folk appeared to be indifferent. On either hand, and at your back, are high buildings, sheds and wharves, which fortunately come just behind the base of vision. The effect which was " caught " at the time was not exactly momentary, but certainly likely to be of short duration. The notes in Fig. 33 were immediately made, occupying about At the end of this tim.e the effect had ten minutes. changed, and in some respects was not so good, though which the

fishing

— THE ART OF DRAWING

70

m

IN

LEAD PENCIL

regard to portions of the picture the arrangement of

the light and shade seemed to bring out certain characteristics in the various objects

not so evident at

first.

During the evening the notes were studied and careful drawings made of certain details in order to be able to execute the " finished " drawing with greater facility

and

Returning to the same point of view on the

ease.

following morning, the subject was found to possess

the almost equalty fine effect of a strong

full

character, of which notes were also made.

The student

is

strongly advised against

making a

daylight

practice of this,

and should remain content with the first Hold this impression impression when really good. in the mind, and use the full daylight and better working conditions in which to make the outline drawings of the various subjects to be embodied in howe\'er,

the picture. It is

presumed, of course, that boats and simpler

objects of this kind have been studied before, otherwise

a subject of such range as this should not be attempted.

was found, could be studied to advantage from other and drier points of view, and the morning was spent in and about the harbour, making the follow-

The

boats,

it

ing drawings of important details 1.

2. 3. 4.

:

The two larger schooners. The same boats from a more distant point of view. Row-boats on the mud, lying at dift'erent angles. Near view of row-boat turned towards observer.

>7

\

THE ART OF DRAWING

72

The buoys.

6.

Details of bridge, distant houses to right

7.

and

wharf, etc.

Figures.

These of

LEAD PENCIL

5.

left,

the

IN

local

drawn

being

boat

in

Fig.

34,

characteristics

a

in

with

manner

similar

further

to

observations

and conditions. Experimental

-^^t:^

r~^^-^''

Fig. 34.

Sketches

(Fig.

46)

manner explained possible

the

on

subject

this

in

were the

occasion

several

times,

up

in

the

chapter.

It

was

then worked following to

be able

taking

the

to

sketches and ideas for composition, but even is

return

to

experimental

when

this

not practicable, with such notes and small outline

drawings as were made, and a clear

memory

of the

TAKING RAPID NOTES FOR FINISHED DRAWINGS subject, a highly finished pencil

73

drawing could be pro-

duced at some later time. Figures and various objects may be introduced from other sources considered advantageous to the general effect, their precise characcourse being considered in relation to the

teristics of

This chapter

peculiarities of local conditions.

method

fined to the it

and

colour

feeling," "

how

far

it is

possible to suggest

to produce a " sense of light

harmony,"

and dramatic

etc.

may, perhaps, appear a matter

It

but later on

of rapid note-taking,

be pointed out

will

con-

is

of difficulty

from

these very scanty notes to produce so highly finished

a work,

but

if

the rapid

notes

in

Fig.

33 are dis-

creetly used the student will soon acquire efficiency in

when in the studio. by Turner with his lovely little water-colour (Fig. 36) of the same subject, which it is believed was produced from them at a From these time when absent from the subject. it will be appreciated how a minimum number of reconstructing impressions and effects

Compare the rapid note

lines

—

if

all

(Fig. 35)

organic and well selected

adequately record both subject and It

must be admitted,

—may

serve to

effect.

of course, that in the case of

Turner's examples these are the notes and work of an artist

who

effects,

spent his

life

in observing natural facts

and that a vast amount

of

and

knowledge as to the

character and appearance of the kind of objects embodied in the picture, together

with a wonderful sense of colour

1

2

74

7.

t

c

75

O

THE ART OF DRAWING

76

and in

has

feeling for delicacy,

LEAD PENCIL

IN

been brought into use

executing the finished work

—

facts

no way indicated in the brief notes. precious thing always to strive after the

appearance

assemblage

To

of

of forms

rapidly record

a

group

certain

which are in But the most is

of

the effect, objects

or

under certain weather conditions. this

the principal

is

purpose

of

the notes. It is

better that the notes should rather err at being

too brief than too involved.

Those given

are quite as full as they ever need be,

when

in

Fig.

and certainly

33 so

any opportunity of returning to the subject. Put faith in your mental impression, and do not be afraid to leave some room for fancy and imagination to fill in and compose certain portions of the there

is

picture. Fig.

illustrates

^y

a

note

for

a

topographical

which most of its charm is given by the play of light and shade, indicated by the numbers, and greatly enhanced by the piling masses of approachThese seem to lift up the subject and to ing clouds. vastly improve the composition, which is already good without this movable factor. Though desirable for study in a broad flat light, it is undoubtedly best recorded under some effect similar to that chosen. This is a point that might be considered with great

illustration, in

advantage by topographical often at

first

artists,

who may perhaps

despise the subjects they have been

com-

^

r

'

t

^^ta^ 77

THE ART OF DRAWING

78

missioned to depict.

Certain facts should be accurately

recorded, but choice of effect

and

weather

if

LEAD PENCIL

IN

conditions

open to the are watched and is

artist,

some commencing,

careful consideration indulged in before

an otherwise dull subject may be transformed into a charming impression. The pleasing result of the mass

upon the

left

hand

of Fig. 37 appearing

cloud

shadow, balanced as

of the

storm sky on the

far right, greatly assist all the

come

other portions of the picture to

These two strong

by the low tones

is

it

dark under a

harmony.

into

effects in relation to the

Hghter

passages at once give an appearance of balance, which the

is

characteristic,

in

of

fact,

the whole picture.

This was purposely followed up through

all

the less

obvious parts because the fact was striking in the original

and constituted the principal charm

42)

will

is

show that been

have

notes

of

the

Reference to the experimental sketch (Fig.

subject.

the facts recorded in the rapid

This

utilized.

note

(Fig.

37)

almost sufficient from which to work up a highly

finished

drawing,

providing

common

the

artist

has

a

good

knowledge

of

accuracy

is

required, a study of the towers of the cathe-

dral, the

exact disposition and character of the houses

in the city

Figures 42)

will

river,

and

in the

objects,

but

if

middle distance,

topographical

is

necessary.

The experimental sketch (Fig. suggest the need also of a boat upon the

are

needed.

placed to the right hand, and, the group of reeds

Fig. 38.

^'.t.

^{

i"

K-

Fig. 39.

79

to

i>:,.

p

80

< M C/)

g 2 o

o

^-*r-^.

f -.,

V

^^

.

1

'r!

P.D.

J

THE ART OF DRAWING

82

and flowers coming

IN

LEAD PENCIL

so prominently in the picture, a

study of these would be found helpful. Fig. 38

is

a brief note taken hurriedly from a window,

sundown. It is given as actually taken, and is very fragmentary, but Fig. 40 will illustrate to what use such a brief note might afterwards be put. at

and 41 also illustrate how a note of stormy cloud effect in wet weather could be realistically used in a marine subject at some later time. Figs. 39

Trees and foliage need special care, and in regard to these

work.

it

is

difficult at first to

Thick masses of

apply this method of

when

foliage, especially

occur-

ring near at hand, are really best avoided altogether

they are not, by reason of presenting too of

little

;

variety

very effective in pencil work, and require

tone,

laborious

treatment.

What

is

obviously

dealing with trees, shrubs, flowers,

etc., is

needed

in

a thorough

manner in which different kinds and and considerable practice in actually depicting each by some manner of stroke which distinctly differentiates one tree from another. Some suggestions have been given in Chapter III. knowledge species

of the

grow,

Chapter VI

EXPERIMENTAL SKETCHES General Effect ' I

''HE preceding chapters the

work that

is

embody

essential

a description of

out of doors.

If

all

the

weather and time allows, the experimental sketches

might be made on the special virtue in this,

nality

and

qualities

of

breadth

spot.

and two

—

of pictorial art

There

of the

—may

is,

however, no

something of

in fact

origi-

most highly desirable

be lost by overdoing

a study of the subject on the spot.

It is better

not to

take everything out of the subject, but rather for the

student to put some individuality of his

own

into

it.

He

should endeavour to express himself through his subject. Within reasonable bounds, allow scope to that particular emotion aroused by the subject which first made the artist feel that he wanted to draw it

" the soul of things present "

it.

Infuse into

and endeavour always

to make it evident that you are master of the subject. Above all things, it must be made something more

than

a

attempt labours

mere transcript of material facts. Never to merely copy nature. If the student's are to be worth while his work must S3

G 2

THE ART OF DRAWING

84

possess something

more than

LEAD PENCIL

IN

—some

this

measure of

sublime feehng, a force of appeal sufficient to rouse the is

emotions of

to fail in Art.

giveth

when the

"

The

letter killeth,

at this stage of

Two

criticisms

Roberts are worth quoting here

:

studies for

by R.

— " There

antagonistic between the real thing

spirit

remembered

making experimental

drawing.

realism

at

but the

a truism particularly to be

life," is

finished

To aim only

others.

Ellis

nothing

is

you have seen and

the ideal picture you want to paint

your work must

;

must receive that transmuting touch which separates art from mere

be a

skilful

blending of the two.

It

observation."

Referring back to Fig. 37,

it

will

be seen, from a glance

over the tone values recorded, that some experimental sketches are necessary,

if

only to see

and shade

will

already stated, appearing

to

masses

of light

how the alternating

balance

be

the

;

this feature, as

most pleasing

The experimental sketch The darkness in the sky upon the right still seems in need of more depth of tone, so that the shadowed mass appearing so prominently upon the left may not over-balance the picture. The interest characteristic of the picture. (Fig. 42) exemplifies this.

in the picture,

alternate on

when one

"

whether of form or

light

and shade, should

different planes, " giving " to the foreground

takes" from the middle distance, and so on.

This greatly increases the sense of perspective of

two dimensions

is

also established,

;

a sense

and the obtruding

,

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'^^-^U

85

^f-

ri

-I-

V

m

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86

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W

87

THE ART OF DRAWING

88

of

feeling

Work light

and

artificiality

LEAD PENCIL

IN

flatness

is

thus dispelled.

amount

of

and shade, and avoid any preponderating sense

of

some general

for

distribution of the

darkness in one part of the picture unless the vision

can

be

attracted

another

to

by

part

some

tone

values of considerable strength or some feature or object of special interest.

the storm effect

achieving

and the darkness

of the willows are

but something more seems to be needed.

this,

The picture

In the sketch under consideration

is

lacking in solidity and composure, and

the great variety of forms are not sufficiently differ-

There is also a restless look about the whole which must be avoided in the finished drawing. The

entiated.

addition of a boat with a the original notes, these needs. lively

It

sail

spread, as indicated in

the obvious solution of

is

gives interest to the river

some of and is a

form giving, by comparison, composure to other A careful placing of a few figures will sustain

objects.

a

human

interest in those parts of the picture

seem almost to demand to

the

these facts.)

afternoon,

In

there

this is

whereas,

Fig.

subject,

naturally

light, as stated in the notes.

conveyed,

in

(A

this addition.

drawing.

finished

the

the a

great

deal

harbour scene

effect, it is

necessary to strive for

sketches

for

this.

of

of this

the contrasts are greater and the light

When making

endorse

time being

The sense

centrated.

reference

will

43,

which

is

local

must be

(Fig.

46),

more con-

the

Be

early

general

sure that

X,r

I

/

THE ART OF DRAWING

go

the interest of the picture

is

IN

LEAD PENCIL

well distributed.

large blank spaces in pencil work, yet, at the

keep

Do

from complexity.

free

Avoid

same

time,

not labour your picture

with every imaginable kind of object and incident

which you could relevantly introduce into it. Such an error instantly destroys the truth of the whole work in actual life everything one and lowers its value associates with a certain place is not ordinarily present It is this eagerness to crowd the at any one moment. drawings with men, women and children, horses, carts, dogs and all manner of " properties " which give a " stagey " and artificial aspect to much of the work ;

" black

of early

and white

"

draughtsmen, which

otherwise so creditable.

One might be tempted,

the sketch Fig. 42, to add a

man

fishing, children

is

in

playing

and beasts of the objects from the whole box of sentimental tricks, but the boat and its occupant and the figures upon the bank, together with some carefully studied drawing in the reeds and flowers, is suffi-

by the waterside, fowls field, and possibly other

of the air

and this restraint ennobles the picture, giving Taking this interest and appeal without satiation. subject and these remarks together as a model, in this cient,

manner

a satisfactory

effect

should be

first

at in the experimental sketches.

aimed

Most

of

the

old masters

used this

method

of

balance and masses of their composiexperimental pencil sketches before making by

testing tions

general

the

Fig.

47.

A Road leading

into Salisbury.

By

J. Constable,

1820.

ii^:>S-\S

k

Fig. 48.

f.

Richmond Bridge. By 91

J. Constable.

EXPERIMENTAL SKETCHES

92

and 48 are two preliminary work for this

proceeding to paint in colour.

examples of Constable's

Figs. 47

purpose.

Composition

A

few remarks have been made upon General

Effect before discussing Composition, not because

composition in

depending as necessary

in

student's

when tion,

sketch

and shade,

it

is

is

The rapid notes must have been towards recording this. The

sketch

will

which

may

be subject

considered

definitely it

light

directed

first

but

much on

does so

to be sure of the general effect that

eventually desired. particularly

is

is

it

first

it

—nothing more important than good a drawing—but because, pencil work,

more important

regard

in

be found helpful to

expresses,

your visualization of the subject

Composi-

work out

in the original.

that

is

to

first

alteration

from anything

apart

point of the whole matter

to

all

a

else,

The

the attributes

considered in this Part, General Effect, Composition,

"a

sense of light,"

all felt in

the

first

etc.,

have, in varying degrees, been

the brief notes these essentials have been

vaguely borne

in

mind, and

to definitely determine

the picture which

Good to

or

In making

emotion the subject gave.

it is

what

more

now becomes

it

is

or less

necessary

their relative value in

desired to produce.

bad composition

is

certainly

more

likely

be evident in black and white work than in colour,

9mmm«»missmMmmmmmMmmi.

Figs, 49

93

and

50.

THE ART OF DRAWING

94

IN

LEAD PENCIL

the fascination of colour not being present to divert the observer from a critical consideration of fundamental facts in the structure of the picture. It

in

necessary

therefore

is

drawing

pencil

always

should

composition

the

that

be

carefully

considered.

The most a

large

foreground in

difficult

surface near

other

of

a

hand

or in

Some

picture.

When

Chapters.

lines of the

thing to handle successfully at

reference

arranging

is

immediate

the

the

is

made leading

composition this should be borne in mind

and allowance made

for the inclusion of lines, objects,

or passages of light or shade that will break

up the surface

some way.

The monotonv of a level field, for instance, may be relieved by indications of a foot-path, the accenin

tuation of tufts of long grass, or clusters of wild flowers. "

Break a sloping bank by a ridge, hollow, or " fault exposing naked soil or stones. So much interest can be added to a high or blank wall by indicating the character of the masonry or brickwork, by introducing the lines of a bricked-up

window

or the curves of a relieving arch.

In marine pictures avoid the of sea to

by many ways which

need enumeration here.

monotony

of

wide tracts

are too obvious to the student

The blank spaces maj' be life or movement

always relieved by some touch of

which, without overloading the picture, ma}^ just give

you that

" spot " or line of interest

sition is in

need

of.

which the compo-

EXPERIMENTAL SKETCHES It

will

be

finished pencil

found

that

in

rendering

95

a

highly

drawing the composition can often be by the introduction of extraneous

greatly improved facts.

Their addition

sure to be involved in the

is

composition in some marked or subtle way. Figs.

49 and 50 serve to illustrate this point. The of the monotony of the field not only

breaking up

facihtates the rendering of this portion of the picture,

but adds pleasingly to the lines of the composition,

though otherwise good, are not altogether satisfactory without the patches of hght on the swollen The feature added should assist in accentustream. ating the predominating note of the picture, in telling

which,

its

story

more

forcibly.

Streams of flying smoke when

the sky appears calm, or a broken cart track across

park land under summer sunshine, are additions at once too obviously improbable and detrimental to the true ring of the picture.

the swoUen stream line

is

and indications

In the accompanying example

more than of

likely with a keen sky stormy weather in the winter

season.

end all " of composition is not necessarily the balance of bulk but rather the balance So many of the subjects which at once of interest. seem appealing are one-sided, their greatest bulk or dark masses are so often to the right hand or the left, but more often to the right. This feature is to be found in a great proportion of landscapes and seascapes in which

The "be

all "

and

"

THE ART OF DRAWING

go

IN

LEAD PENCIL

the taller and darker objects or masses are placed on the

hand side. This may be due to our development of the right hand at the expense of the left, and conse-

right

quently our mental activity

is

also developed with a

Whatever may be the cause, it have become almost a convention

corresponding tendency. is

so conspicuous as to

The student may wish

of pictorial art. it

to cultivate

for this reason, or for a better one, viz., that

seems

it

naturally to please and satisfy the mind. desirable wherever possible to break

Yet it is away from con-

and by means of striking composition to produce drawings in which arrangements of bulk and space, of solid and void shall prove equally appealing. It is the mission of every young artist to keep out of the ventionality

deep

necessary that there should be a bal-

It is

ruts.

anced distribution of

much an

interest, not so

but rather a variety of mind you may attempt

interests.

If

equality

you bear

new

this in

ideas.

To

present conspicuous features in one part only of

the

picture

and

to keep

all

manner

them low

of

in tone while

you leave

the remaining space devoid of interest will not produce

a pleasing effect generaUy. If

of left

the habit of right-handedness produces a sense

hand weakness

special care

may

in

the student's efforts,

some

be taken to counteract the force of

bulk by particularizing some object and putting force Thus (a) is of character against weight of material. good, but

(b) is

better (Fig. 51).

.

B Fig. 5 1

97 P.D.

THE ART OF DRAWING

98

The use

of a piece of

IN

LEAD PENCIL

cardboard with a rectangular

portion cut from the centre, to the proportions which

the student favours or, better ferent proportions,

is

still,

two or three

possibilities of subjects,

and

for trying high

horizon effects or various compositions of scene.

The most

grounds equal distance,

and

of dif-

invaluable for testing the pictorial

things

difficult

find

are

fore-

your distance and middle

in interest to in pencil

to

and low the same

work

it

is

essential that fore-

grounds should be given strong features of

interest.

and universally recognized rules of balance, proportion and rhythm, seems to be so much a matter of originality and taste that it is only desirable and necessary to consider it here in regard to any special way in which the medium

beyond

Composition,

of pencil

drawing

may

its

first

be concerned with

it.

Tone Values It is in

the truth or falsity of relationship of the

tone values that success or failure of finished pencil

drawing so largely depends.

When

working

in this

medium

the student should

always be noting the value of the tones of It

would be more

objects.

correct, perhaps, to say the relative

value of their tones in the whole subject. objects

may of

in the

terms of the

course be any tone from scale)

Individual

to 50 (speaking

according to the degree of

EXPERIMENTAL SKETCHES

99

and shade upon them, as, for instance, a cube with full light upon it or behind it (Fig. 52). light

It is entirely a

question of effect and the position In a

of the source of light with regard to the object.

complete subject, that

is

to say,

any group

of objects

.'^^*>ÂŁ1iil^:*i-*^^>Ua

Fig. 52.

arranged within a chosen or imaginary area of vision, it is easy at once to form some judgment upon the relative

value

of

the

tones

student should cultivate.

very highly

—a

practice

which

the

to 50 seems to be sufficient

ample range even up to 40, the tones 40 to 50 being unusual but for

finished

work,

giving

useful as a reserve for contrasting

value

of

the

darkest

tones

in

the

mind

the

subjects

with

an

in

exceptional degree of contrast. H

2

THE ART OF DRAWING

100

IN

LEAD PENCIL

White Bristol board will give lights sufficiently strong and intense to realistically suggest the full whiteness of snow and even a good B pencil, handled with confidence, as deep a black as or

as

it

is

perhaps desirable to

may

ever be needed

obtain

in

pictorial

work. Decorative work

may sometimes need deeper values.

and the blackness of 40 there are therefore 39 other tones to deal with, and these are usually enough to give all that is required in portraying any average subject.

Between the whiteness

of

In working upon the rapid notes to degrees, become easy " twenties," and " thirties "

or darkest tone, which 40,

may,

pick

should, by the " tens,"

it

out

when once

" the " forty

of course, be lighter

than

has been well established.

Always endeavour play, and if there is a

to give the various tones full distinction of only

two degrees

stated in the notes, interpret this as truthfully as possible

even

in the

experimental sketch, so that in the finished

drawing there

is

some perceptible

difference

in

the

degree of tones.

Undoubtedly

some

and unlikely subjects if

is

a true

made.

will

interpretation

most commonplace be found to possess a charm

of

of

the

the relative tone values

EXPERIMENTAL SKETCHES Fig. 53, illustrating the wall, door

a cottage,

is

an example which bears out

lOI

and window

of

this contention.

Fig. 53.

Here there

something quite pleasing, yet

analysed an arrangement of several elementary shapes situated almost all on the same plane but each having it is

is

really

a different tone value.

if

THE ART OF DRAWING

102

A ance,

LEAD PENCIL

IN

point that will be found to be of special importparticularly

in

landscape

drawing,

parts of the picture. there

is

Even

in

that

is

keeping the sky tones high in comparison to

other

stormy evening

skies

generally a greater sense of darkness over

buildings, etc.,

which are

or silhouetted clouds.

In

to keep the tones of the

and delicacy

in

of the sky,

of

all

hills,

shadow, than in the dark

full

daylight effects

it is

sky well up so that the

compared with the

best

frailty

solid

stationary quality of other parts of the picture,

and

may

be emphasized. It

is,

in

fact,

sometimes

desirable

to

slightly

accentuate in order to convey the ethereal beauty, the tenderness and luminous quality of the sky, as contrasted with the density, tangibility or opaqueness of

other forms of matter.

When

objects occurring in juxtaposition

to

the

sky seem to have the same tone value, but are clearly distinguishable from their background on account of their difference in colour,

it

values so as to interpret this it

must be drawn its

best to vary the tone

lighter or darker,

tones, so that the object

from

is

effect.

may

If it if

be a building,

only by a few

be clearly distinguishable

background.

The whole question of tone values wiU, broadly speaking, be governed by the artist's taste and fancy for a picture tending to darkness or lightness of general

EXPERIMENTAL SKETCHES

103

Many artists have, at some time or another, become fascinated by a sense of gloom and obscurity so conspicuous in the work of some of the old masters. It is known that Turner was so much impressed by the work of Wilson that he turned his attention to working for the same effects by actually copying some of Wilson's pictures in order to master the method. But although Turner has given a sense of prevailing darkness to some of his pictures, both oil and water-colour, though in the greater portion of his work the key is kept at a very high pitch, the most marked quality is a sense of light and delicacy, making it fully evident that he was

tone.

able at will to free himself from whatever fascination

he

may have

felt this

darkness of general tone to possess.

In some of David Cox's pictures, and in

many

of

norland's, the darkness of tone gives quite a strange

and often depressing But whereas

effect.

gloom can yet possess must be remembered that the darkest passages can only have the quality of darkness. Certainly they have a charm of depth and clearness, colour, in pencil

in painting the

work

it

losing all sense of surface, like the rich transparencj^ of still

deep water, a curious charm that neither ink nor

charcoal can give.

Ruskin includes some helpful remarks upon this point in " Elements of Drawing " under the sub-title

104

of "

THE ART OF DRAWING

Law

IN

Harmony " though

of

;

LEAD PENCIL

they refer more especi-

ally to colour work, they should be read in connection with the subject we are considering. He deplored the

use of the black convex mirror which he believed to

be the reason

" strange

for the

gray gloom " which

prevailed in the contemporary French art,

he admitted " a considerable

power

although

of effect " in this

quality.

He

also says, "

The harmony of tone, as it is generally called, is the most important of those which the artist has to regard." This is undoubtedly so, and whether a low key is chosen for one's work, relying upon the

arresting

effect

drawing, or whether

of

this

quality

in

the

finished

preferred to preserve as delicate

it is

a feeling as possible, the tones must be relatively as true

as

harmony

they

can

be

made and

consistent

with

The first experimental general effect. show what the subject seems to need. If it appears likely that the drawing would be more forcible if put in a lower key than you have of

sketch will

conceived

it,

lower

the

general

tone

in

another

experimental sketch.

As a general

rule,

apart from individual fancy,

it

seems that the ratio of darkness or low key should be in proportion to the size

and

finish of the picture

from

small drawings upwards to works of some size with

wide range of technique.

EXPERIMENTAL SKETCHES

105

Working for a Sense of Light The most pleasing natural drawing this

is

will

convey

is

effect

a sense of light.

that

a

pencil

The reason

for

that the degrees of blackness and whiteness of

which the whole picture must of necessity be composed are more potential in conveying a sense of light than the colours in water or oil work. If you study any good black and white reproduction of a colour painting

you

will see that the picture loses

of light,

but that, on the contrary, there

in this respect.

of

nothing of

To convey the colour

course not possible,

but that light

its

sense

often a gain

is

of the light

is

emanating

is

from a certain source and flooding the subject or glinting

upon points represented.

most

or portions of It

of this fact,

is

it

desirable,

and

may

be very forcibly

therefore,

to

to select subjects in

make

the

which there and shade.

are the greatest possibilities in effects of light

and 55 are small experimental sketches drawing in which an attempt has been made to work particularly for a sense of light. The prominent mass of shade on the broad side of the " Pele " tower, the shadow cast on the house, the minute shadows on the reveals of the window openings and the light through the ruined doorway are giving what is required, but on observing this drawing by candle light with a shadow across the lowest third of it, cast by some object upon the shelf on which the Figs. 54

for a finished

THE ART OF DRAWING

io6

LEAD PENCIL

IN

drawing was standing, it appeared as if a dark shadow were over the foreground. This, it was observed, greatly increased the sense of light, and being quite possible

in

such

a

scene,

where steep

hills

throw

deep shadows with a low afternoon sun, the sketch in Fig. 55

The

was worked

out.

increase of the sense of light which the intro-

duction of this shadow causes

and the opportunity

is

quite

remarkable,

gives for reflected light

upon

the river adds another point of interest to the

little

it

picture.

Some strengthening

of

the

tones on

the

tower

and the house are necessary so that these may draw the eye away from the heavy foreground, but beyond that the rest of the picture remains the same.

A

sense of light can be often increased in black

and white work by the omission of some features and Presuming this experithe accentuation of others. mental sketch to have been worked up from brief notes of the tower, house and its surroundings, it may sometimes be more effective not to include, in the finished work,

all

the detail occurring in

your notes, but merely to

full

indicate

light,

that

given in side

only

which are in shadow. The windows and the battlements are interpreted in this manner by leaving out the sides in high light of the various features

altogether.

."PC

Ik,

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,

m ^

--^^.m^^:Y>^-

Fig. 54.

^^«,„.„

n

'

If

>,

,

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"^ai^iMf^'^y.-'

Fig, 55.

107

;

THE ART OF DRAWING

io8

In endeavouring in

your drawing,

convey " a sense

to

let

LEAD PENCIL

IN

be clear that

it

derived from some definite source.

It

all

the light

if

may

not

confines of the drawing.

A

either be the source of light, even

come within the

is

should be quite

easy to determine the direction of the sun or moon, actually

"

of light

though

it

manipulation of the tone values to bestow upon the

drawing the characteristic of either low or high key

may

be

carried

out according

to

choice,

but

this

must be worked out and the actual difficulties overcome by making experiments. The sketches in Figs. 54 and 55 will make clear the effect of varying the strength of contrast.

we

In Fig. 29 F. L. Griggs in

an exceedingly

see

which

fine

a " sense of light "

is

drawing by wonderfuU}'

intense. Fig. 56 gives three

examples of the different

produced when the source of {b)

is

vision

to left or at (c)

;

is

light

is

:

(a)

effects

diffused

an angle with regard to the base of

concentrated at some point opposite to

the observer.

The arrangement in

{a),

needed

The

in

{b)

dark clouds behind the tower

of

also the partial

arrangement of clouds where

helps to accentuate

the sense of light.

three drawings are good examples of the varieties

by different applications of contrast of light and shade. The church tower standing well above a piling group of roofs and chimneys offers

of

effect

to be obtained

cQ

mixrsVeiDinwtKMiat-^^'

'§*v

4 ^Z'.

•*4sSL^i.^&*

"^

'.,

'p

^—. ^%

109

THE ART OF DRAWING

no

many striking much thought

LEAD PENCIL

IN

and shade without of colour, which is of no special account in adding to the intellectual appeal aroused by the interesting form of this object. In treating objects in this way in a general composition, that is by obtaining effect by the interchange of light and dark, care must possibilities of light

be taken not to give a sort of chess-board appearance to

the

finished

picture.

The

experimental

Fig. 42 has this tendency, the light

sketch

and dark patches

alternating one against the other too conspicuously,

and an endeavour has been made

to avoid this fault

in the finished drawing.

Ruskin observes

in

Nature

" the

appearance of

" the

artistry with which an intentional artifice," she will darken a tree trunk as long as it comes against a light sky, and throw sunlight upon it precisely at the point at which it comes against a dark hill, and similarly treat all her masses of shade and colour, is so great, that if

you follow her

closely,

drawing with attention

everyone

who

will think that

looks at your

you have been

inventing the most artificially and unnaturally delightful interchanges of shadow that could possibly be devised

by human

wit."

Ruskin 's observation

is

true

as

an elementary

is, however, beyond this, always some Nature provision in to relieve these effects of interchange and to detract from any appearance of monotony

fact.

There

in alternating

masses of

light

and shade.

Nature

is

vT

ii j^

h

.-fta^^'*-^,^,"!*

t

''?

^*'*'""-i5-rw\

/:'-'

Fig. 57.

A Hot Day. By

J.

S.

"

THE ART OF DRAWING

112

never

artificial,

LEAD PENCIL

IN

never formal,

there

is

always some

influence present to reconcile facts which alone

be peculiar

—some novelty of form,

would

intricacy of detail

or peculiarity of surface associated with those objects,

appearing alternately in light and shade, which interests the

mind

in other ways,

and knead

and

this

you must

also observe

into your drawing.

Intense light can very often be easily suggested

by

a few vigorous strokes of the pencil.

"A Hot Day," conveys

Fig- 57.

mid-day sunlight and drawing was the work Similar

little

effect of this

of of

heat

but

the idea of strong

also,

yet

this

little

five minutes.

drawings should be made whenever an It will be found surprising is seen.

kind

touches of strong shadow in exactly the right place, and having proper regard to the form, anatomy, or construction of various features, will at

how the most minute

once convey the sense of intense

light.

Dramatic Feeling.

in

This section has been entitled "Dramatic Feeling" preference to either Poetic Feeling or Romantic

Feeling,

because

dramatic

feeling

is

intellectual

than poetic or romantic

which may,

at times, be sentimental only.

rather

feeling,

more

both of

There should, however, be no theatrical or "staged effects—let there be no misunderstanding about this.

EXPERIMENTAL SKETCHES Dramatic

feeling in that sense

an abstraction of

awesome,

the

tranquil,

is

not meant, but rather

those aspects

all

pleasurable, the dainty,

the

and

113

—the sublime, the the

potential,

so on,

the

gay,

which on being per-

ceived at once arouse different kinds and degrees of

So amazingly small a thing or transitory

emotion.

an

effect

may produce

or aspect of the object, that one

the influence

Any

of

the

of these effects,

maybe the object may well marvel at

these, so subtle

over the

objective

whatever

it

may

be,

theless be fully charged with significance,

subjective.

may and

neverwell

if

rendered in a drawing will greatly increase the

illus-

trative or symbolic value of the subject.

These

facts, as far as their form, lightness or

ness are concerned,

when completing

may

the

dark-

be more usually introduced

drawing,

by some

precise

powerful touches often minute in relation to the of the drawing,

and rapid

or size

but always needing complete confidence

decision.

There

are, of course, certain

—this term

is

used because

obtaining effects and

hackneyed " dodges

all are familiar with " piling on " sentiment.

it

—

"

for

Some

pictures are dependent entirely for their significance

upon the introduction of some feature such as " the bird of ill omen," the floating mast, bleached bones, a dead bird, footsteps in the snow, and a dozen other tricks to give effect and pathetic suggestion. What real pathos P.D.

is

to be associated with evidences of this T

114

kind art

THE ART OF DRAWING in reality

by

much

has lost

IN

of its appeal in pictorial

To

over-familiarity.

LEAD PENCIL

such

discard

touches altogether would be unwise, but

them be drawn with some

Fig

this.

58.

If

included

let

originality.

"

Rye

'

Bv

Aim beyond

if

effective

your subject

P. Noel Boxer.

is

to be beautiful

seek beauty in whatever manner or form

it is

present,

seek also to suggest any other attribute, whether gaiety,

grimness or tragedy, by some emblem or symbol which

makes

it

emotions

evident that occurrences giving rise to these are

present

or

subject, even though they

representation.

are

may

associated

with

your

not be possible of direct

,.i

//w

o

r

2

THE ART OF DRAWING

[i6

IN

LEAD PENCIL

In the small sea piece Fig. 69, the tossing boats half

hidden in the heavy sea took but a

moment

to indicate,

whereas the sky and sea took some hours to build up. In subjects pregnant with

a regatta or carnival,

it is

and movement, such works of construction,

life

as streets in large cities, harbours,

add many

often possible to

crisp little touches that will suggest a veritable world of merriment.

Flags, masts, signs, streamers, distant

groups or crowds of light, or the trail of

figures, puffs of

smoke, points of

a rocket, will be effective in adding

dramatic feeling to an animated scene.

Joseph

Pennell's

little

good example

Fig. 59, is a

when quickly

flicked in

drawing

of

Barnstaple,

of the lively effect of figures

with the pencil.

In Axel Haig's well-known etching " The Vesper

Bell" the

tilt

of the bell, seen in

dark silhouette within

the turret and against the evening sky,

is

the most

import.ant fact in the whole picture, fully justifying

the

title of

in the

" the work and arousing a feeling of " peace

mind

of the observer, while also suggesting scenes

of cloistered

life,

of

prayer and worship, outside the

Yet the bell is quite minute part of the whole area

illustrative scope of the picture.

small, occupying but a of

the

print.

All

drawing give the fullest possible feeling are not, however, to be obtained by

force of

only.

make

the effects necessary to

a

dramatic

final

touches

Sometimes preparation or provision must be

— EXPERIMENTAL SKETCHES made

for the required effect

drawing.

This

is

really a

even on commencing the

matter of technique, and

dealt with in Chapter III, but

I

is

give a few instances

producing dramatic feeling which must

here of effects

iniiuence the picture from

In

117

its

early stages.

from the Poets or

in

pre-

paring special drawings for imaginative stories,

also

in

illustrating

symbolic subjects,

lines

it is

often necessary to accentuate

the dramatic feeling, and to begin the

work for this Such a course would be necessary in preparing an illustration for Scott's famous description of Edinburgh

immediately.

:

The wandering eye could

And mark

o'er

it

go

the distant city glow,

With gloomy splendour red. For on the smoke wreaths huge and That round her sable turrets

slow,

tlow,

The morning beams were shed, tinged them with a lustre proud

And

Like that which streaks a thunder cloud. Such dusky grandeur clothed the height

Where the huge castle holds its state. And all the deep slope down. Whose ridgy black heaves to the sky Piled deep

and massy,

close and high. "

Mine own romantic town "

!

The distant city glow," " gloomy splendour," smoke wreaths huge and slow," " a lustre proud," " dusky grandeur," are each effects of light and shade too closely bound up with the forms and features in the "

THE ART OF DRAWING

ii8

IN

LEAD PENCIL

picture to be possible of addition at if

successfully

tlie

end.

Tliey will,

and suggested, truthfully " the " dramatic feeling bring out and

represented

illustrate the lines

of the picture, but they

must be worked

for

from the

beginning.

An and

illustration of the first part of Shelley's "Julian Madalo " gives ample scope for the representation

of dramatic feeling, but the feeling being inherent in

the whole picture he describes, and not in any

way

must be infused into your drawing as you work, rather than added by any cute touches at the finish. Both these examples being so fine as word pictures they are probably best left alone by the artist,

supervened,

it

but they serve particularly well to

illustrate the point

under discussion.

When ideas,

working out imaginative pictures or fanciful exercise restraint both in the number and variety

and features which are introduced, and in Be content with the manner of portraying them. a drawing produce suggestion only, otherwise you wiU

of objects

Depend for your symbohsm upon the whole subject, not upon strange objects introduced into a familiar scene. The conception must be complete in the mind from the beginning, and every ray of light, silhouette of shadow, form of too bizarre to be pleasing.

tree or swirl of water should lend significance to the

main

theme,.

Chapter VII

BUILDING UP THE "FINISHED DRAWING" '

" finished

term

''HE

ployed

in

book

this

to

the drawing which the artist all

emdifferentiate between may be aiming at and

drawing

I

the preliminary rapid notes,

experimental sketches,

etc.,

has

"

sketches

been

of

detail,

the purpose of which has

been explained.

As in it

may

possible that there

it is

the acceptance of this term

must be

be some hesitation

" finished drawing," it is employed and finish which and the general

distinctly understood that

in regard to the technique, the care is

bestowed

upon the technique,

handling of the drawing.

not used as a qualifying

It is

drawings which

may

simply because they are

filled

term inch

for

within It is

of

finish.

their

The

more

over every square

of quality

" finished

"

drawing which the technique

those portions dealt with as touch

in

boundaries.

a question

said to be one in

be regarded as finished

is

it.

of quantity

may of the

as superb

and practice can make 119

than

really

be

whole of

and masterly The foregoing

THE ART OF DRAWING

1^0

IN

LEAD PENCIL

statement must, however, be qualified by saying that the finish should be governed to some extent by the drawing.

size of the

rather than precise,

make

never

effect shall

Each stroke should be emotional and managed so that the final to appear as

it

if

stiffness

and

accuracy have allowed no play to spontaneous diversiof touch.

fication

A

large drawing

may

manner

of

employed

drawing

of

applying the strokes which,

allow of a loose if

in a

small dimensions, will give a crude appearance

;

on

the other hand, too microscopic a finish on a large

drawing istics

will

tend to produce photographic character-

The technique must be neither it must be never less than it should be the perceptible and particular fact, which the artist has employed to produce

in the result.

too insistent nor too vague

obvious

means,

;

in

;

the desired end. It is

advisable to include a few remarks in regard to

method

the actual in

way

such a

of building

up the "finished" drawing

that the fullest possible advantage

is

obtained from the notes and studies already explained. Also that

it

may

be seen

how

the

work can be

carried

out according to a system which enables the artist to take

it

up

or lay

it

aside as inclination

and circum-

stances dictate.

For this purpose the drawing " Teignmouth Harbour, Rain at Sunset " has been selected, and

BUILDING UP THE "FINISHED DRAWING" the exact will

method by which

now be

this

121

drawing was built up

described.

Figs. 60 to 63 illustrate the

drawing in four stages,

each of which was completed in one sitting averaging

about two and a half hours.

'_-~j.

-^.----f-^^---j:^Jf^-.y -TZf^^CT

r-

FiG. 60.

Teignmouth Harbour

— Rain

at Sunset.

1ST Stage.

Reference should be

made meanwhile

to the rapid

notes (Fig. 33, Chapter V), the outline drawing (Fig. 34), and to the experimental sketch (Fig. 46).

THE ART OF DRAWING

122

Stage

The

I

IN

LEAD PENCIL

{a).

and proportion considered most suitable for the drawing having been determined, a study of all the information in the rapid note (Fig. 33, page 71) was first made until a definite conclusion was formed as to what were the full possibilities of the subject, together size

with a decision in regard to those features,

effects, etc.,

which it seemed would be better omitted or simplified and what features not indicated in the notes might be advantageously added to improve and add interest to a composition already very pleasing as it stood.

When all

a definite decision was arrived at concerning

work was commenced on a The organic lines the whole subject were first very carefuUv drawn these points the actual

highly rolled six-sheet Bristol board. of

with an

F

pencil,

these

lines

being considered as

merely the structure of the picture and not necessarily, in fact not advisedly,

among

those crisp passages

drawing which might appear as outlines only

of

in the

completed work but really the indication of the edge of masses to be shaded at a later stage. In the drawing of the principal objects, the detail outline drawings, such, for instance, as the schooner, Fig. 34, were, of course, used.

It

may

be said here that

when

using such detail drawings of separate objects

which

may have

been made on the spot, care must be

taken that these when introduced into the "finished

"

D-iS' "?w>.

,.,.

-*«-f'

— Rain

at Sunset.

— Rain

at Sunset

Fig. 6i.

Teignmouth Harbour 2ND Stage.

Fig. 62.

Teignmouth Harbour 3RD Stage.

U*»

— THE ART OF DRAWING

124

drawing are drawn to a

size

LEAD PENCIL

IN

which

correct in relation

is

to the scale of other features in the picture.

Any

curves which occur, such, for instance, as

the gunwales of the boats, should be at this stage, as shading tends to

slightlj^

modify

60 illustrates the drawing as

Fig.

the end of Stage

I,

accentuated

these.

was

it

left at

a mere structure or plotting of the

organic lines of the subject, not necessarily as seen, but in the exact

manner

which the

in

artist

proposes to

arrange them.

Stage It will

II

be seen by reference to Stage

the subject of the drawing

there

is

(b).

no indication

is

of the effect

I

that,

though

already quite evident,

which

should be expressed in the drawing

it

was proposed

when completed.

Taking the title of the drawing as chosen Teignmouth Harbour, Rain at Sunset" that it is a drawing of a harbour is already clear, but that it is sunset or that it is raining is not yet in any way

—

"

conveyed. It is

not possible or desirable to proceed with the

second stage of a drawing without next introducing passages which

are

the

latter facts, viz., sunset

tone for at the

all

definite

and

resultants

rain, also a

it is

best that

all

these

foundation of

now be

and the features which

the final modelling should

same time

of

laid,

BUILDING UP THE "FINISHED DRAWING" are to be introduced should

now

to

125

some extent be

indicated.

Referring to the rapid notes and to studies in

sketch books of cloud effects at sundown, the whole

passage of frayed clouds was next rapidly hatched in

with an

H

pencil, together

with the

first

indications of

rain falling across the hills behind the masts of the

schooner.

This rapid and lively hatching was carried over the

ranges, closely juxtaposed vertical lines being

hill

used where a

flat

be

eventually

tone of a very definite value would

required,

the

H

pencil

being

still

employed.

Over the middle distance the rough and more vigorous hatching was applied with a still harder the purpose here being to lay a foundation

pencil,

from which, when worked over with a softer and darker pencil later, the surface would appear broken and grained.

This

process

was

applied

very

carefully

and

definitely to the schooner especially, to the quay, the

landing way, and to some extent to the

little

muddy

shore in the immediate foreground, the lines or marks

being

drawn with great pressure and generally

at

right angles to the trend of the surface of the object. Fig.

61

illustrates

the drawing

as

at the completion of the second stage.

it

appeared

THE ART OF DRAWING

126

Stage

III

At the commencement stage of the work,

enthusiasm

for

his

shght alterations,

work already

if

LEAD PENCIL

IN

(c).

of this, the

most important

the artist should be subject.

Though

required, can be

carried

out, there

is

in

warm

with

this

stage

made upon little

the

possibility

removing or overlaying any passage felt to be undesirable, for the whole body of the subject must be now built up, tone by tone, with confidence, and this work should not be touched with after the third stage of

rubber except for those special purposes as suggested in other parts of the book.

An HB,

as well as a

B

or 2

B

pencil, cut to a sharp

and perhaps slightly wedge-shaped point, should be used. The exact effect which is required must be well borne in mind, and all information, regarding the subject as first seen, co-ordinated and the feeling for it keenly felt. The whole drawing was then proceeded with throughout every part, the sky, the

hills,

the fore-

ground, the various features being worked at alternatelj'

— the

tones being rendered as suggested

notes,

picture

A

and as the need became evident.

of

by the rapid

obtaining balance

in the

prominent feature of the subject being the sense

of light

surfaces

from the sunset, care had to be taken that turned to the

objects in

shadow

light,

all

whether mingled with

or standing alone, were kept either

BUILDING UP THE

"

FINISHED DRAWING

"

127

quite white or at least very high in tone value, while the whole tract of " back " sky and the whole tract of

water

was

in full light

left

quite blank,

it

being always

easy to add a tone or gradation rather than,

in

the

fourth and next stage, to have to take out what has

been too darkly rendered. Fig. 62 illustrates the of

Stage

drawing as

end

[d).

In proceeding with the last stage that there

A

at the

III.

Stage IV

of the

left

is

most

not a great deal telling

touches are

HB

very sharp

left to

it

is

thus seen

be done, yet

still

many

required.

pencil cut to a wedge-shaped

"back sky," farthest light, was lightly covered

point was used and the tract of

from the point with

of

most intense

by free hand, from the centre of and when coming up to the edges of cloud catching lines radiated,

light,

the sunset light these lines, as can be seen in Fig. 63,

were stopped

off

abruptly and crisply at a minute

distance from the edge of the cloud.

A

amount of strengthening of tones was added here and there throughout the drawing as was felt

to

certain

be required.

FinaUy,

all

indications of

those keen, quick touches, such as the

movement on

the surface of the water

to the left hand, the flags, hawsers, parts of the rigging

128

THE ART OF DRAWING

not already drawn, lamp, poles,

and minute points with

all

those

IN

LEAD PENCIL

gulls, the

darker stones

of intensity in the shadows, together

little

touches of darkest shade which

the drawing demanded.

A

dexterous touch of rubber,

as explained, will indicate a

plume

of

smoke,

it

being

impossible to convey this so well in any other way,

and this was attempted from the little galley chimney on the schooner, giving, as it does, a touch of humanity to a subject which may be said to be minor in key. Otherwise rubber was not used during any stage. Thus, Fig. 63 illustrates the drawing completed, the

work

in all its stages

to twelve hours.

having occupied from ten

c/1

«

Chapter VIII

CONCERNING FORM 12EF0RE it

is

attempting to work out complete subjects necessary for the pencil artist to give

earnest consideration to the relative appeal of form

compared with that of light and shade or colour. It is with form and the modelling of form that he is mainly concerned. With colour he is only concerned as

in so

far as

it

presents so distinct a tone value as

to

become involved in the tonal scheme of his drawing.

most desirable that all that nature and subject present, apart from the quality of colour, be well defined and satisfactorily established in the mind In regard to this most important of the artist. point it may undoubtedly be said that the larger part of our intellectual interest in what we visualise It

is

in

is

form and modelling rather than

in colour.

admitted that our nature needs colour and we probably could not live without it. In fact it is now a scientifically established truth that colour has It is

a distinct psychological effect.* Âť

mind

Certain ailments are

now

often

of certain colours.

130

treated

by

the

intiuence

on

the

CONCERNING FORM But when we come

to consider the appearance of

things in a purely analytical way,

that the aspect of

131

them which

must be

it

realised

principally appeals to

They become more them to be modelled by

us results, really, from their form.

comprehensible when we see

the play of light and shade and, taste

by

according to our

and temperament, we are further appealed

to

their colour.

Therefore, the pencil artist

with

proportion

that

of

the

is

primarily concerned

appearance

things

of

which consciously affects the mind, as differentiated from that which only affects the mind subconsciously through the visual sense. In other words, and this is the core of the truth in regard to this matter, pencil artist

drawings,

is

his

to

make

if

the

a success of his highly finished

intellectual

interest

in

his

subjects

must be greater than any sensuous appeal they may have as the

result of the colour

they present.

The extent to which he must be concerned with and a possible method of suggesting it, is so small, so subtle, and also, in the opinion of some

colour,

critics,

on

open to argument, that a few necessary remarks have been reserved for a separate chapter

this point

[Chapter IX.].

The form which certain

its light

finite

of

an object, apart from any appeal

and shade may make, qualities.

Foyin

goes

at once presents straight

to

K

the 2

132

THE ART OF DRAWING

IN

LEAD PENCIL

centre

of mental judgment.

It

may

be intrinsically

beautiful or ugly, graceful or rugged, truthful or false,

and

so on.

The appeal

form may, however, in certain subjects, be enhanced, belittled, or even neutralised by the presence of colour or light and shade. Whereas the appeal of light and shade is elusive and often transitory, form is indisputable and, being a question of continuity of line and of contour, it does obviously of

possess the virtue of absolute truth in

its

presentation

of organic, structural or superficial fact.

human figure, animals, common objects known to artists In the

" stiU life," form bute, for in in

the

all

is

which they present.

particularly

undoubtedly the primary

these things

intellectual

and those

birds

as

attri-

the aesthetic value

lies

appeal of the graceful contours

Although the addition

of either

shade or colour in a drawing of any of these objects

would enhance its charm, form would predominant appeal.

The aged dim as

light

an

from a window

effect of

convey.

figure of a

With

woman is,

woman

all

that form alone can

contrast the shy grace 64-65),

and

so strong is

as to convey, not merely intellectual ideas, but

a philosophy.

the

silhouetted against the

and subtle beauty of a nude girl (Figs. the appeal of form alone is indisputable, it

make

perhaps, even more striking

mere form, and the aged

still

even

^u^mp^i^ 133

THE ART OF DRAWING

134

A glow

IN

LEAD PENCIL

group of wind-distorted pines against the

of

after-

sunset illustrates the power of line or form

to attract and hold the imagination. Here is form without the contrast of light or shade projected upon it.

(The form

is

entirely suggestive).

hardy aspect is at once But compare the group of

forlorn,

conveyed.

wild, weird,

Fig. 67.

Fig. 66.

aged,

A

strikingly

weather-

beaten pines with the delicate silhouette of a sapling willow

(Figs.

immediately

66-67).

associates

With these forms the mind numerous appropriate and

complementary ideas, whilst which gave rise to them.

also

deducing the causes

CONCERNING FORM

Form

being entirely a question of line or contour,

modelling and of

addition of

the

further

reveals

135

and

effects

tends to " Proceed to " pick out

the high light upon the trunks of the

fir

trees

trunks and branches turned from the the

yet

The shape

effect

warm

the tints of

sky

manifested.

is

the

layers

not strikingly improved.

is

of the tree against the

powerful effect that

indicate

light,

growth of the pine needles, depict bark,

where

darken the sides of

the sunset light catches them,

of

it

characteristics,

diminish the appeal of form.

the

while

colour,

is still

the most

Still further,

add

colour to the trunks and sombre

green to the foliage,

it

is

form that the

in the

still

feeling of wild weather-beaten

beauty

lies.

In considering this point in regard to more delicate

and

frailer

than the clouds, half their wonder. this

is

which there are none more so is their form which is more than In dark clouds of cumulous nature

objects, of it

largely so, in low-lying fracto-cumulous clouds

against morning or evening skies, almost entirely so.

In cirrus clouds and isolated shreds of cirro-cumulous

cloud under

but

frail,

full

or diffused light, there

accumulating,

or

dissolving

almost of colour or modelling

more often than

not, white,

stance as to appear almost definite

Even

density

in piling

and

;

little

form,

else

devoid

for these clouds are,

and have flat

modelling

is

so little sub-

in

relation

of

nearer

to

the

objects.

masses and complex groups of cumulous

THE ART OF DRAWING

136

LEAD PENCIL

IN

cloud, despite the complexity of modelling distinctive

majesty and grandeur

of

form

it

their

is

—whether — that so

near or far removed in the realms of sky especially

characterises

these

glorious

appreciated revelations of nature

must be admitted, however, that

[see

and so Fig.

in regard to

little

It

43).

cumulous

clouds particularly, their outline being so delicate and

always changing, the added great.

effect of

modelling

is

In a consideration, however, of the two

trations (Fig. 19), in an outline drawing there

very illusis

all

the suggestion of grandeur and majesty and aerial architecture, whereas the modelling in Fig. 19 (A) or (B)

gives only the additional sense of weight, which

inspires

wonder

at the density

an object floating

When

and mass

of so great

in mid-air.

carefully portrayed,

and with

all

sense of

hardness eliminated, the dissolving accumulating and

movements may also, to some slight extent, be suggested by the modelling, which is absent from the form and outline alone. dispersing

Water has no

definite

form

that of the object with which

of its it

is

the straight line of the sea's horizon full

of

intellectual

has to show, and

if

force

own, but only

in contact. is

as definite

Yet and

as anything which nature

departing from this in the smallest

measure, would instantly not only bewilder but alarm the mind.

In the lines of great waves seen from a

boat or small vessel, there

is

enough alone

to appeal

CONCERNING FORM to

imagination,

the

arouse

to

137

admiration

without the complex modelling on each

or

fear

lifting

wall

of water.

Water,

being

highlv

so

reflective,

is

naturally

subject to every condition of light and shade, and to

the most transitory effects of weather, while colour

is

and discarded by water in a surprising manner. Yet no amount of colour in water has quite so deep and moving effect on the mind as the contrast of the form of waves, the amazing complexity of breakers, the rush and swirl of a river, with the placidity of a calm sea or the gentle stillness of a received, held

transparent

pool.

It

is

really

a

presence or absence of form which

question first

of

the

makes water

appealing, in a positive or negative wa3^

Architecture

appeals

chiefly

by reason

of

its

form and sky-line, its bulk solids and voids. In certain Eastern styles the appeal of ornament and decoration predominates greatly over its form and structure, whereas ancient European architecture, merit

of

detail

its

and ornament

is

though the acknowledged,

remains wonderful and inspiring mainly on account of

the

boldness

grandeur of

its

of

its

forms.

conception

and the simple

Despite the marvellous

in-

and symbolic carving of the richest mediseval work, the lofty elevation and forms of magic masonry even when viewed at some distance, at once diverts tricacy

attention from

all

objects of less significant appearance.

Chapter IX

SUGGESTING COLOUR Medium of Lead Pencil

In the

A

CAREFUL

study of certain drawings in lead pencil

will reveal the fact that

they possess a sense of

colour.

The

scientific

define in a

reason of this fact

is

difficult

to

manner which might be found generally

acceptable.

Colour

is

" not expected of a " black and white

medium, but the fact that certain elementary arrangements and juxtaposing of different tones (such as

may is

be seen in Fig. 68) do result in a sense of colour, a revelation which, whatever may be the exact

cause of

For

it,

if

should be considered by the pencil it

is

artist.

found possible to actually convey a

sense of colour, without interfering with qualities of his drawing, this object

is

all

the other

certainly worth

study and pursuit by the student.

A

sense of colour

of the drawings

is

claimed for some at least

included in this book. 138

Though

losing

SUGGESTING COLOUR

i^.c

something in the process of reproduction, this quality result either of a conscious endeavour by a is the manipulation of the tones, or result

drawing a natural

of

"

it is

the unpremeditated

effect,

giving

to

each

ITB

tl

x Fig. 68.

passage the true relative value of tone according to the record in the rapid notes (Fig. This, indeed, is

is

5).

an interesting phenomenon which

worth investigation.

It is possible

that

the result of the association of ideas, viz.

drawing

of

a

sunset

calls

up the

it :

thought

is

merely

that the of

red,

THE ART OF DRAWING

140

yellow,

while

round about the setting sun, depiction of frayed and ominous clouds

orange,

the

LEAD PENCIL

IN

etc.,

suggests an indigo colour

{see Fig. 32).

and

Yellows, pinks,

any picture an example of this, while a still more positive case would be the automatic mental application of the colour red, white and blue to a " black and white " drawing of a Union Jack. pale

greens,

entitled

may

It

heliotrope

"Dawn"

on

so

in

{Frontispiece) are ,

be the indication

of certain conditions in

the subject which give a minor or major key to the

The drawing

finished drawing.

Autumn

Sea,

Evening,

an ominous

light,

note

something pathetic but

1914," in

(Fig. 69)

suggests a

the

heroic

"The North

in

patrolling

cold

half

cruisers,

the fishing boats

and battling with an "off shore" wind, all of which combine to sound the somewhat sad note which rings in the picture and gives it a minor key. tossing in a wild sea

On

the other hand, the drawing (Fig. 70), " The Naval Base," afternoon light, is distinctlv major in key.

Though

oily sea,

still

suggesting a time of war, the calm,

the thunder clouds moving across the sun

and the indications in hot

colour,

of ships at

anchor in home waters

summer weather call to mind warmth and security.

But

all

the thought of

these results are accidentally obtained in

a drawing where the subject possesses certain qualities

>

o w a

H 'i

141

/.

THE ART OF DRAWING

142

IN

LEAD PENCIL

which are interpreted as colour by the imagination

of

the beholder.

The student must

arrive at the simple truth in

regard to this matter, and what analyse

is

It is

a conscious

method

of

we need working

to briefly for colour.

not practicable to establish any conventional

methods whereby a

definite scale of tones

can be used

to represent specific tints of colour, such as blue, red,

orange, green, etc. limited extent,

the "

key

destroy

Even

if

one could do so to a very

the mental effort required to apply

scale " to all parts of the

the

all

drawing would

spontaneous delight which a good

drawing should furnish.

Moreover, such an attempt

would be completely defeated upon the first occasion the artist was faced with the problem of depicting, in addition to different colours, a variety of shades of

any one

of these colours, for the

of the picture

completely

whole

would be adversely

false.

It is

light

affected,

if

and shade not

made

obvious then, that a sense of

colour cannot be dependent upon any fixed scale of

tone values.

In building up a drawing in which it is desired to convey a sense of colour there are four practical aids to which the student may resort, although he must

be careful in seeking this quality that he does not

weaken

his

drawing

of composition.

in other respects, such as its balance

4 1?

05

1>

r

.!i

> •z.

w a

H

143

THE ART OF DRAWING

144

By

(i)

light

LEAD PENCIL

recording or even emphasizing the play of

upon various parts

By

(2)

IN

of the scene.

darkening or lightening some objects or

portions of the picture, according to their relationship

with the source of

By

(3)

light.

stippling

some surfaces which occur

in

juxtaposition to other surfaces which are hatched.

By

(4)

which are

slightly varying the tones given to objects

all

under the same condition of

light.

These are the limited methods which the student has at his command, in endeavouring to render a sense of colour

by means

of his pencil.

Their appli-

cation should be considered with the utmost care, as it

will

be readily seen that

of these

means, or even

if

if

he goes beyond the use

he applies these methods to

an unwarranted degree, the drawing

will

suffer

in

other ways. It

must be remembered that

the colour value absolute.

of

no scene or thing

It is entirely a

degrees of contrast in light and shade. of

shadows

may

is

question of

The darkest

appear practically black until a darkly

clothed person walks into

it,

when

the

shadow becomes

For another example, study the sea-shore on a sunny day in comparison with the same spot on a dull day. In the former case the sky comparatively quite grey.

and sea are

of a deep, clear blue, the sands of the shore

a bright yellow,

and the rocks a

full

dark brown.

SUGGESTING COLOUR

i45

richness of colour that

The whole scene presents a

appeals at once to our emotions.

The same scene on

one of dreary drabness, with a murky sky, a cold grey sea, and the rocks almost black. a dull

day

is

between the two scenes lies in the degree of colour or light and shadow cast over the whole by

The

difference

the presence or absence of sunshine.

Even should the conveying,

or

at

artist

devise

way

the

suggesting

least

colour in the one case and

of

truly

presence

of

absence from the other,

its

only through the intellect that the suggestion of

it is

may

colour

be appreciated in the drawing.

Colour pleases the eye and if

a

is

equally beautiful

You cannot

presented on a sphere or on a cube.

way

enjoy colour in this

an drawing take

interest

intellectual of

in pencil work, in

the

but you can that

fact

a

a sunset suggests the presence of colour

and may even be and this, indeed,

said to

convey a sense of colour,

the

is

furthest

limit

of

our

intellectual interest in the manifestation of colour in

nature.

It

interests us to see that the

blue to-day, while are

equally

it

is

deep

We

interested

sensuous dehght

is

sky

was pale blue yesterday. on both occasions,

but

our not so great on one occasion as

on the other. In

a very

high inteUectual order one often finds very emotional similies and descriptions,

literature

of

which leads us to say that there

P.D.

is

much

colour, T

146

THE ART OF DRAWING

IN

LEAD PENCIL

for instance, in the novels of Pierre Loti

be no concrete colour whatever, but

an abstract way. will

it

is

;

there can

present

in

So in pencil drawing the student

soon arrive at the conclusion that he can do a

good deal

medium

in

suggesting a

of lead pencil.

sense

of

colour

in

the

Chapter

X

CONCERNING STYLE TN

studying examples of the work of various artists

who employ lead pencil, the fact which is at once most obvious is that this medium, though a " black and white " one, in no way limits the expression of individuality, but, on the other hand, the wide range of technique

which

is

possible with the pencil enables

the artist to portray his emotions with sureness, variety

and

Even should the line

alone,

reference

remarkable

facility.

artist

to

wish to confine himself to

such drawings as the

little

nude by Ross Burnett (Fig. lo) will reveal the force of feeling which can be conveyed by a confident handling of the pencil, and by the simple means of varying the pressure during the tracing of the lines. Outline is the extreme of convention in art, but when simply executed, by a masterly

studies of the

use of the pencil,

is

a convention gi\'ing results superior

to those effected by the employment of mere line in " pen and ink " or other medium. For the relative

tone values of the features chosen for delineation can, if required, be conveyed by the degree of pressure 147 L 2

THE ART OF DRAWING

148

which

given

is

edges into

IN

LEAD PENCIL

the imperceptible merging of hard

;

or hght into shade, can be superbly

soft,

rendered by dextrous movements of the pencil, while

and quality can be given

a sense of fineness

to the

drawing, even though the area of line on the paper

is

so small.

The vigorous drawings

costume by Cattermole (Fig. 97) also display how ready is the lead pencil to record rapidly and effectively, in line alone, of figures in

impressions of objects complex in form.

Some " loose "

method

sketches which

work.

The

what may be termed a working, even for drawings and come under the category of line

favour

artists

of

still

pencil responds none the less well to this

peculiarity, as

may

be seen by reference to the attrac-

working sketches by Lewis Baumer (Figs. 105, 106), where confidence and dexterity are apparent in every tive

touch.

A medium a loose

style.

so facile as lead pencil naturally favours

Such

for the student, however,

advocated in the early stages of study, as

it

not

is

may

lead

and does not necessuggestiveness. The

to a habit of careless observation,

sarily produce the charm of " loose " manner is only desirable

when based on

the

from the features presented in the subject, rather than for the purpose of overcoming

method

of

selecting

the artist's failure to observe

draw them

well.

them

or inability

to

CONCERNING STYLE The

addition

and tempting

desirable if

any, artists

who

becomes too be long discarded, and few,

shading

of

to

149

soon

use the pencil confine themselves

to line alone.

Though

this,

as

explained

to

opens up new problems

the

student

in

presuming the artist to be sufficiently trained to understand the principles of the employment of light and shade, the pencil will at once respond in the matter of Chapter

III,

providing

an

infinite

;

range of tones, which he

can

apply as he desires.

How

this question of

adding shading to drawings

work may be carried still further, the masterly drawing of Regent Street (Fig. i) by Cecil King is illustrative. Here is the true and which are based on

logical

shaded.

merging

of

line

line

drawing into a drawing

This broad and direct style

is

fully

very pleasing

and should be studied by the student who work up his drawings on the spot.

prefers to

Whereas the work of such artists as Muirhead Bone and Rickards may be considered the ultimate and logical development of line drawing into a picture fully rendered in light and shade, other artists have sought expression by methods based from the beginning on an entirely different principle. The question of which is more appropriate to the full use of the medium can only be a matter of individual judgment from results which have been obtained but by ;

THE ART OF DRAWING

150

IN

LEAD PENCIL

developing those methods which have httle realized the artist of style,

but he

may

may not

so

far

been

only acquire originality

claim to have carried the evolution

of the art one step further.

As

it

chapters

will

be

from the foregoing methods of procedure,

understood

on suggestions for

author holds to the belief that the technique

the

which is truly proper to the use of lead pencil is one which enables the artist to " bring out " every quality with a sense of light, modelling, atmosphere, which the subject may present. This, in pencil work, as differentiated from pen and ink or etching, of tone, etc.,

for instance,

may more

often involve the suppression,

or even elimination, of the line

and stippling of

all

the

included as

to

it

may

aid the artist to

make

his

own

whether he prefers the naturalistic

Whatever method

style.

of rendering

fully explained

the

In regard to this point a study

is

decision or

the

resorted

cannot be too emphatically stated that the actual

method is

of hatching

varied examples of pencil drawing here

impressionistic to

only.

by the use

" finished

Examine

must be made quite obvious,

among

drawing

as

the remarks on building up

"

in

Chapter VII.

charm of the drawing by Ruskin (Fig. 4) and the two examples given of Lord Leighton's beautiful work (Figs. 2 and 3) or, to take a modern artist who favours the same style, the remarkable portrayal of the Abbey Gateway, Bury the delicate

;

CONCERNING STYLE St.

Edmunds, by A. E. Newcombe

151

(Fig.

7),

in

com-

parison with the ultra impressionism of Hedley Fitton

and the highly successful work of Muirhead Bone (Figs. 6, 79), which so cleverly takes the via media between the two extremes. From such examples as these the student must form his own conclusion. (Fig. 73),

The

results of

working along the

lines

advocated

throughout the foregoing portion of this book will be seen in those drawings of

my own

which are

reproduced, and which have been drawn or selected particularly for the purpose of illustrating the

methods

described. It

will

be noted, however, that, just as in the

art of poetry, the poet finds that certain metres

seem

to lend themselves best to the expression of certain ideas,

and that the

art

is

largely dependent

upon the

choice of the right metre, so also in drawing a style

which ticular

is

obviously suited for the portrayal of a par-

kind of subject

may

give expression to his ideas

not enable the artist to

and

feelings in regard to

a subject of a different type.

For instance, the more

forceful,

direct

and

vig-

netted style, with carefully studied detail, employed "

The Radnorshire Arms " (Fig. 114) which seems an appropriate manner of treating if used for such a delicate theme as this subject, " The Patrol, Sunset," (Fig. 40) would not produce

in

the drawing

of

152

THE ART OF DRAWING

the effect required.

IN

LEAD PENCIL

In both cases, however, the actual

technique is the same, but it is employed in a different manner, according to the demands of the respective subjects. More vigorously, it might be said, in the former,

more tenderly

in the latter.

A

Fig. 71.

^^"^

Old Mosque at Rustchuk, Bulgaria. By Alfred 153

Parsons.

Chapter XI

PENCIL ARTISTS AND THEIR

DETWEEN

WORK

the contrasting extremes of the natural-

Lord Leighton, Ruskin, and Parsons of a little later period, and the courageous freedom of Hedley Fitton's work there are to be found innumerable intermediate styles. Most of them have at least some qualities which every conscientious artist can admire, and it is for the student to foster his own abilitj^ by making the utmost use of those lessons which no other course except a study of the work istic style

of the

of

masters can impart.

In comparing the work of Alfred Parsons (Figs. 71, 72)

and Hedley Fitton

no desire these two very opposite

(Fig. 73) there is

to set the respective merits of

styles one against the other, except in order that the

student

may

two extremes of method a basis for any stjde he mav

clearly see the

which maj' be chosen as himself wish to evolve.

must be admitted that the methods advocated throughout this book incline towards the style of the It

it does in a reposeful drawing in and technique shall have equal both subject which appeal. Those artists, however, of a more highly

former, resulting as

154

^ m

if'"

In

^^i\^^''

155

THE ART OF DRAWING

156

LEAD PENCIL

IN

temperament demands a more rapid result, may find what they require in working according to the method of the latter, which is speedily building up the drawing by vigorous delineation and the spontaneous application of shading. emotional

whose

nature,

The question is largely one of mood. There are times when the artist feels ready to proceed slowly and laboriously according to a well determined method which, by experience, he comes to know will, in the end, produce the effect desired. At other times the need for some immediate result is felt to be essential. Therefore, taking this fact into consideration, though

method and the develop-

the cultivation of a definite

ment

of

a distinctive style are both desirable, such

should never be allowed to limit the expression of the

full

emotion

felt

by the

artist

regard to his

in

subject.

As an example is

modern

of a

artist

whose

style

characteristically allied to that of the older draughts-

men, the work of A. E. Newcombe stands quite by itself. The drawings reproduced should all be carefully

by the student which they exhibit and studied

those excellent qualities

for for

what may be truly caUed

the laborious patience with which they have been

drawn. "

" Streatley

Dedham

Mill

Mill,

and Lock

masterpieces of vignetted the

latter

the

Berkshire "

mill

"

(Plate

(Fig.

77)

74),

are

indeed

treatment, except that

buildings

are

erections

and

of

in

the

Fig. 73.

Bakehouse Close, Canongate.

By Hedley 157

Fitton.

V

'ft-

Fig. 74.

-ff '!ÂŤ'

Streatley Mill, Berkshire.

By A. E.

15S

Neivcomhe.

Fig. 75.

Trees in Moor Park.

By A

.

E. Newconbe.

THE ART OF DRAWING

r6o

most prosaic factory

style,

better to render with as to

LEAD PENCIL

IN

which little

it

would have been

detail as possible, or

have chosen some other aspect from which they

were not seen.

The virtue of Newcombe's work is its truthfulness and what may rightly be termed its purity, for despite his laborious manner of procedure he retains a fine quality. The passage in the lower left hand corner of Fig. 77

is

might

as delightful a little piece of pencil as

well be found throughout

any examples

of this art,

while the passage in the middle distance of the picture,

which includes the bridge and the it, all

Much, however, as is

behind

belt of trees

but equals the foreground for charm of treatment.

to be advocated,

it

this exceedingly neat

cannot be said to be an

cut

clear

method

edges

of

leaves

working up to

no

alto-

The deeply

gether "free" or "emancipated" style. conscientious

method

profiles

opportunity

for

with those

accidental effects to occur which are so pleasing in pictorial

We

art.

come round again

to that

com-

—in a — suggests that

promise of extremes mentioned above, which scrutiny of the highly finished styles

a

little

but,

looseness here and there

on the other hand,

is

may

be no detriment

sometimes rather to be

desired.

The realistic

fact

is

that the point of reconciliation between

representation and impressionistic

charm

of

^^Hf-

^

Fig, 76.

5

B 3

iiJjijrj

Fig. 77.

Dedham Vale and Church.

t=''r"l,C'*t

JVL.

Dedham Mill and Lock. By A, E, Newcombe i6i

.

THE ART OF DRAWING

i62

technique has

to

IN

LEAD PENCIL

be discovered by each artist for

and the study of these examples seems to show how individual power in this respect varies between manners which in the extreme result in what is not really art but only wayward eccentricity. himself,

Between these two extremes is to be found manner of drawing which is far more likely to satisfy and please from whatever aspect it may be considered. It is the mean between eccentricity on the one hand and primness on the other the mean between rendering too faithfully and portraying too carelessly that amount of truth which has been that

—

observed.

Foremost among modern pencil artists are Muirhead Bone and F. L. Griggs, whose topographical work is of the highest order. Muirhead Bone's remarkable drawing of "A Liverpool Street" (Fig. 6) is a fine example, in which is seen the ultimate phase of the principle of carrying the drawing to the highest pitch of expression without losing the sense of line.

Though the sense of light and shade is keenly felt, figures when introduced are almost entirely silhouetted without losing their expression of vitality. The drawing is, so to speak, built up by the quick and direct application of deep tone shading, faithful and fascinating delineation

the

is

meaning

certain

never absent, and nothing of

passages

which are

is

not

crisply

made

is

introduced

obvious,

while

rendered with striking

Fig. 78.

Variety

in

Material— Badi.\gham Church, Suffolk. By A. E. Newcontbe. 163

M

2

Fig. 79.

By Midrhead

164

Bone.

Wi Fig. 80.

S'

I'tti.**,

)L*iux

The

Pinci.\n

Gardens, Rome.

Ai'

Fig. 81.

St. Peter's,

Rome. iiy

i6.i

Muirhead Bone.

i66

THE ART OF DRAWING

effect

in

line

bewildering in

"A

"The in

In

alone.

intricacy

Liverpool

of

pleasing

contrast

which

line

Rome"

which a masterly sense simplicity

LEAD PENCIL

is

to

that

exemplified

Street" comes the quiet charm of

Pincian Gardens,

striking

IN

of

(Fig.

80),

a drawing

of colour, obtained with a

style,

conveys

atmosphere of warmth and distant

at

once

the

visibility so char-

Figs. 79 and 81 show wonderful power of expression of

acteristic of Italian weather.

this great

artist's

and shade. Muirhead Bone is indeed a great master, and in choosing lead pencil as his medium he has revealed the remarkable results which are obtainable from its rapid and confident handling.

light

Every pencil artist who favours topographical work will find in the beautifully free and accomplished style of F. L. Griggs the prototype of what such work should be. His style is well illustrated by the drawing of " The Rood Tower, Lincoln " (Fig. 82), and has doubtless been admired by all artists and art lovers in the many delightful drawings which illustrate some of the " Highways and Byways " series of topographical books. Mr. Griggs' work is invariably distinguished by admirable composition coupled with a precision of line, which indicates a complete mastery of the medium. In his free and delightful style, Frank L. Emanuel's work is always alive with interest, both in regard to technique

and subject.

His " Anchovj^

Fig.

The Rood Tower, Lincoln. By 167

F. L. Griggs.

o

i68

:.-dJ|

// Mil'

f/S'^t^V

169

THE ART OF DRAWING

170

Harbour, Leeuwarden

"

(Fig.

IN

LEAD PENCIL an exceedingly

is

84),

clever piece of work, possessing a refreshing charm.

The

attractive

conspicuous

pictorial

feature

feature which

few

successful

this

artists

whole

the

of

effect

of

in

this

is

a

drawing,

a

medium

achieve

so well.

The accomplished work

of

W. Keesey may His drawing

be studied with advantage.

also

(Fig.

85)

"

Mercery Lane, Canterburj^" is a delightful example of great power in the use of light and shade. His methods of rendering the various building of

materials attention

the

in

by

old

houses are worthj^ of serious

students

of

topographical

draughts-

manship. 86 and 87, by Fred Richards, possess a of charm coupled with an individuality of

Figs.

wealth style

which

objects.

is

His

admirably adapted to depicting distant treatment of trees is worthy of the

student's particular

study, as

Miss Farmer, and 89, by

J.

are also Figs.

A.

88,

by

These two

Ness.

88 and 89) well illustrate the individual styles of different artists in the drawing

little

of

drawings

trees.

foreground,

(Figs.

The pleasing thus

partly

manner vignetting

of

omitting

the

picture,

the is

well seen here.

to

The student may profitably consider in regard technique and style the charming studies (Figs.

l^itcPi-f

Fig. 85.

Mercery Lane, Canterbury. By W. M. 171

Keese

<

TVit

G-iAa.biÂť4i

Put,

"pSRi Fig. 86.

Fiesole.

By Fred 172

Richards.

/ Fig. 87.

Nemi.

By Fred 173

Richards.

'•<'

WORK

PENCIL ARTISTS AND THEIR

175

which exemphfy a method of treating objects in shadow and retaining a softness and sense of atmosphere, even where objects appear in full light. The fullness of detail and almost

and

90, 91

by

92)

F. E. Georges,

microscopic technique older draughtsmen.

is

distinctly reminiscent of the

Fig.

93,

by A. Welford,

also

is

an interesting drawing, especially from the point of view of

His rendering of the worn piles of the

style.

For the specialized work of animal studies in action there are few more successful pencil artists than G. D. Armour, whose drawings of quayside

is

worthy

of study.

sporting incidents (see Figs. 94 and 95) are as delightful as they are cleverly executed. His style is bold

and emancipated,

his line unhesitatingly sure,

and

his

drawings display that intimate knowledge of animal life

which makes

In Fig. 96,

by

torious drawing

work always full of interest. Edwards, we have another meri-

his

L.

which contains animal studies

finely

executed.

Figure

The use as often as specific

Studies

of pencil for figure studies

might be expected.

reason

for

this,

but

if

is

not found

One cannot the

give a

difficulty

of

a

subject provides a fascination for the artist, nothing

can

be a greater test of his ability than a fully modelled drawing of the features of the face and the

depicting

Also

may

it

of

flesh

in

truly be said that

" black

among

and

white."

the " black

and

f.l_rjv

^f>^

aiJSSF^

Fig. 90.

Fig. 91.

Plumpton, Sussex.

Mermaid Street, Rye. 176

By

F. E. Georges.

By

F. E. Georges.

4

T77 P.D.

Fig. 93.

Sloughden, Suffolk.

By Arlhur 178

Welford.

179

N 2

1^

03

23 H -

^3^ ^s-'1*

*_-

O

THE ART OF DRAWING

i82

IN

LEAD PENCIL

white " mediums the pencil will be found more sympathetic than

any other

As a master

for this

of the art of portraiture the

D. Ingres stands out

of J.

among

how

the addition of even a

little

used with so great a sense of what

may is

work

the earlv pencil

His portrait of Mons. Gillibert

artists.

trates

type of work.

is

(Fig. loo) illus-

shading,

when

truly artistic,

go far to enhance the beauty of a drawing which

based mainly on the most careful delineation.

The quaint drawings, by Maclise, of the head and the child (Fig. 99) exemplify how even a slight amount of shading may add interest. (Fig. 98)

Fig.

97,

by Cattermole,

gives examples of figures

in action, sketched with a bold line slightly shaded,

and

compare these with the clever figure studies by those modern masters, Lewis Baumer and H. M. Brock (Figs. 105 107). it

is

interesting to

—

The two beautiful

studies of heads, the one bj'

the late Sir Charles Holroyd (Fig. loi), the other by

Frank Dicksee, R.A. (Fig. 102), illustrate, however, in what a subtle and delicate way the pencil can be handled by masters who realize the value of searching study, and yet are able to make use of the results of this with restraint and refinement. Walter West's drawing of a figure at a window, so simple and unassuming, possesses nevertheless a distinction which is the result of the Fig.

103,

J.

Fig. 97.

Historical Figure Studies. ?r G. Caftermole.

183

Fig. 98.

Study of a He,\d.

Bv David 1S4

Maclise.

Fig. 99,

A

Child Siud\

By David

iSn

Maclise.

rM;^^'J''Vl

/

f

^

> '

/•

..

^

f

/

x

„..^ Fig. 100.

Portrait of M. Gillibert.

By

]. D. Ingres.

.->d^'

Fig. 101.

A

Portrait.

By

187

Sir Charles Holvoyd.

mi0t^

Fig. 102.

A

Portrait.

By Frank i88

Dicksee.

W

c^^-

#

•.l^.,i-V

!-"'-

•^^. Fig.

103.

A Figure

Study.

By 189

J. Waller West.

I

go

o t5

191

^i

/J~i:5:

jtl.'u-^l'..

Fig. 107.

Study tor Magazine Jllustration. By H. M. Brock 192

WORK

PENCIL ARTISTS AND THEIR understanding of the

artist's

of

the

medium he has

The use is

particular

advantages

chosen.

of lead pencil for studies

illustrated in the

193

from the nude

drawing by Arthur Mason

(Fig.

104).

ARCHITECTURAL DRAWINGS.

The

interest

centering in architectural forms

always easily conveyed by

may

fairly

purpose.

line,

is

and again the pencil

be said to be better than the pen for this

The remarkable amount "

of

work which has

the spot "

on is evidence of the allurement which resides in drawing architecture when this svmpathetic and easily handled medium is employed. As evidence, however, of the work of a master in this class of drawing, " St. Omer," by Prout (Fig. 108), which if is a plain and simple statement of facts, similarly rendered in any other medium would hardly be tolerable, whereas, being drawn in pencil, this and all those other praiseworthy and conscientious drawings by Prout possess a sort of rugged charm which relieves what might easily have been a very prosaic been done

style.

Even though a resorted

to

sympathetic

slight

the

drawing

line

work used

is

amount

an

really

to

of

shading

is

example

of

convey the

artist's

remarkable powers of observation.

The need

of

diligence

and

close

drawing complex architectural forms P.D.

is

study

when

soon discovered o

' t^'

1^

;'

r

Ur IT-

Hh

4

-J

Fig. 108.

St.

Omer.

By Samuel 194

Pioui.

<i

<&^, '4

l\

4^~ /^t^lT

WtW

fifV^' 'r

^i!

I I

L^OM CATMtDRAl17

6 33.

Fig.

109.

Laon Cathedral. By Arnold

Milchell.

195

O

2

,^'

piHv~i

- r /

^

k.

-^

'^

4

...w^;^^ i-0^

W

=^>i

'l

^

AMIEHS.

2.-3.

1

-v.—"-^--"

—

Trail

™^

.jji:

-;ssr~

SQ

Fig. 110.

Stalls

— Amiens

Cathedral.

By Arnold

196

Mitchell.

—

111

^1

ft

IS

aff-^~

Fig. 111.

A House

in Vienna.

By 197

,4,

£. Richards.

THE ART OF DRAWING

igS

When

as being essential.

this is exercised,

the pleasing and valuable result the

architectural

No

Arnold Mitchell. topographical

studies

LEAD PENCIL

IN

(

is

Figs.

109

and

no

by

)

who aims at do otherwise than gain

artist or architect

accuracy

will

by emulating such praiseworthy work to

however,

well exemplified in

or

attaining

the power of using the pencil with facility for

similar purposes.

Compare the work

of

Rickards

which

iii)

(Fig.

may

be advantageously studied in this connection.

This

style

of

powerful and lucid drawing,

having the desirable appearance achieved,

is

though

of being easily

the result not only of the artist's inborn

and practise, and the student who aims high must remember.

talent but of years of study fact

Among modern are few

architectural draughtsmen there

whose drawings

112 and 113) are so

(Figs.

delightfully attractive as those

of

Harold

Falkner.

In addition to a very free style, his drawings owe of their

charm

this

much

to a masterly handling of light

and

shade.

Many

of the topographical

draughtsmen excel

in

the rendering of architecture, and their work should

be studied in that connection

—especially

the work

of F. L. Griggs.

In Mr. A. E. Newcombe's drawing of "

Church, Suffolk,"

(Fig.

78)

we

see

a

Badingham

well

rendered

'^^^^^^'^. '^^^^^^sf^:-'^^' .1

V

/

Fig. 112.

Church Street, Bradford-on-Avon. By Harold

Falkner,

Fig. 113.

Looking North from Waterloo Bridge. By Harold Falkner.

200

Fig.

114.

The Radnorshire Arms, Presteign. By 201

J. S.

THE ART OF DRAWING

202

IN

LEAD PENCIL

architectural subject, in which special

attention

has

been devoted to indicating the nature and variety of the materials

which the church

brick, plaster) of

(flint,

is built.

Decorative

Work

For book and magazine illustration most attractive drawings have been made in lead pencil, and it is only reasonable to think that it might even more often be used with most effective results for such work. Its particular advantages for spontaneous and rapid work, and its possibilities of faithful reproduction make it a specially adaptable medium when commercial considerations have to be taken into account.

As a general

method of producing tones by hatching is more effective

rule the

by

stippling rather than

for

work

Stippled tones

of a purely decorative nature.

can be laid on more evenly and undoubtedly convey a greater sense of colour, which gives a richness to

the drawing.

The which

beautiful panel

so

well

expresses

romantic outlook,

by Vernon the

(Fig.

115),

mystical and what can be done

artist's

a revelation of

is

Hill

with the lead pencil to express so rare a conception.

Fantasy

medium,

as

ating panel

is

no

less possible

of expression in this

well seen in the freely drawn and fascinby W. Heath Robinson. Pencil is here

is

used with perfect ease and confidence to set down.

Fig. 115.

Night Wind

in

the Trees.

By VernuH 203

Hill.

03

o

;>^^S«4^^i 204

itlTO

FAlRytAND

Fig.

117

By 205

Ethel Larcombe.

A

pXlRrr \-l^^T A-r;ARKETir4G

Fig.

lis.

206

By

Ethel Larcombe.

Fig

119.

A Book

Title Page.

By 207

G.

Montague Ellwood.

PENCIL ARTISTS AND THEIR

2o8

apparently artist's

without

boundless imagination

The work is

an

hesitation,

of Ethel

idea

(Fig.

Larcombe

demanded

and

beautiful

will

do

left

117 and 118)

A

suggestion of

for this type of

manipulation

tone

of

this

(Figs.

been infused into the drawing by the passages

from

ii6).

very individual and accomplished.

colour, so often

WORK

work, has

artist's

clever

with

values,

Nearly everything that the pencil

white.

for a decorative style has

been brought into

use to contribute to the effectiveness of this

charming

Her work shows how pre-eminently pencil work for this class of illustration,

style of work.

suitable

is

where the delicate

possibilities

of

the

medium

lend

themselves far more readily to the suggestion of the

mystery

of Fairyland

than the hardness of pen-and-ink

The drawing possesses a charm which could not be equalled by any other black and white medium. or etching.

Fig.

119 shows an attractive

title

page,

drawn

in pencil by Mr. G. Montague EUwood, which in design is characteristic of the period which the title of the book embraces. This title page in pencil forms

a

much more sympathetic

relationship with the photo-

would the hard character of a pen drawn or type-set page. In the original book this title-page was reproduced by the collotype process, which is peculiarly sympathetic to pencil work. graphic

frontispiece than

o ffi

209 P.D.

Fig. 121.

A Study

for Decorative Drawing.

By David

210

Maclise.

PENCIL ARTISTS AND THEIR Fig.

drawn

WORK

211

120 presents another example of a pencil

title-page, in

which the

fully preserved a technique so

of

the

of

which formed the

style

of the

early

artist

has most success-

wonderfully reminiscent

engravings,

reproductions

illustrations of the book.

APPENDIX THE REPRODUCTION OF PENCIL DRAWINGS

"PVERY

Artist

who draws

for illustration

purposes

should possess sufficient knowledge of the modern

methods

of reproduction to

comprehend how he may

aid the process to produce the best result.

take

He

should

methods works of some process engraver, an experience from which be will learn more than from any amount of theory. the

first

opportunity

in actual practice

by

of

visiting,

seeing

the

possible, the

if

Amongst the modern methods which preserve the commonly used are those known as Photo-Lithography The Collotype

character of pencil work the most

,

Process

and The Half-Tone

Process.

Lithography.

To

one, Aloys Senefelder, belongs the

Lithography.

honour

of

back as 1798,

of the principle of

Senefelder's original

method was based between water and

the discovery, as far

upon the antagonism which exists and the affinity which a piece

grease,

of porous car-

boniferous limestone has for both these substances.

One side and upon

of the stone this

is

ground

surface the artist

and polished, makes his drawing

level

REPRODUCTION OF PENCIL DRAWINGS

The stone

with a greasy chalk or sohdified pigment. imbibes the

latter,

which

213

affixed within the pores

is

by means of a weak acid bath. made damp with water, and inked

of the limestone surface If

the stone

is

then

with a greasy printing ink by means of a

roller,

the

ink will adhere only to those parts of the stone which

form the design or drawing of the stone,

when

fitted

;

whereas

all

other parts

which are damp, will repel it. The stone, into a mechanical press, can then be

printed from.

By

the use of a grained stone, instead of one with

a highly polished surface,

it

was found

possible

by

varying the grain to produce a line or tone possessing the characteristics

media.

In this

of

Pencil work, charcoal or other

manner was a

Drawing produced, but

it

facsimile of a Pencil

involved drawing direct on

the stone, or on a lithographic transfer paper.

By

the middle of

the nineteenth century, litho-

was possible to use a zinc metal plate instead of stone. The aid of photography was then enlisted, and by sensitizing a zinc plate and

graphers had found that

printing on of the

it

it

from a photographic reversed negative

drawing

it

was desired

to reproduce,

found possible to print from the zinc plate

manner

to the

method adopted

lithographic stone.

and

for

was

for printing

from a

This photographic method cheap-

ened the process somewhat and lowered merits,

it

in a similar

a long

time

its

its

artistic

popularity declined

214

THE ART OF DRAWING

IN

LEAD PENCIL

among

artists of note, being used for little else except commercial work. Of recent years, however, there has

been a great revival

England and abroad

;

in

the Art of Lithography in

the finest work being invariably

produced when the Artist himself performs the whole process.

In the case of Pencil work only a reproduction

by

Photo-Lithography can really be said to be a facsimile. If, instead, a drawing is made directly on the stone, or redrawn thereon from an original, although

it

may

be made to resemble Pencil work,

the process involving as

it

does the use of a greasy

pigment chalk, actually becomes a separate art medium other than Pencil.

in

a

The Collotype Process. Somewhat allied in principle to Lithography is the more modern process of reproduction called the Collotype process.

In

reproducing

photograph is

made

of

the

a

by

drawing

drawing

is

Collotype,

a

taken and from

it

a reversed negative, in which, of course, a

black line from the drawing would appear as a trans-

parent

line,

The negative

permitting the light is

to

pass

through.

then printed by exposure to light on

a bichromatized gelatine film, which

is

mounted

for

convenience of working on a sheet of plate glass which serves as a base. The plate is then placed into a bath

REPRODUCTION OF PENCIL DRAWINGS of

215

running cold water, for the purpose of extracting

the chemicals from those parts of the gelatine upon

which the negative has not allowed the

As the chemicals in those parts

are released the gelatine swells, except

where the

an impression

stitute

light to act.

of

light

the

has acted which con-

drawing.

These do not

absorb the water and remain sunk, the depth according

with the strength of line or tone in the drawing.

When

the plate

after being

ammonia. by means sunken

The surface

parts

dry

is

of soft rollers

parts.

it

is

ready for printing,

inked with a very

of

off all

the

ink

follow over

rollers

the superfluous ink from the

plate,

characteristic for its softness

The porous nature

stiff

which press the ink into the

Hard composition

the plate taking relief

is

soaked with a solution of glycerine and

the

printed

result

and accuracy

of the gelatine

being

of detail.

makes Collotype

printing rather subject to climatic changes, but given

a fairly dry atmosphere, the process cannot be equalled

among

the photo-mechanical methods for perfection of

result.

For Pencil Drawing the Collotype Process, when carefully printed, is the most dehghtful of all the photo - mechanical processes of reproduction. On account of the time involved it is a more expensive process than half-tone and, as a rule, only used for

book

illustration

or

plates,

and prints

for

pictorial

THE ART OF DRAWING

2i6

IN

LEAD PENCIL

For this reason it is not suitable for general magazine or journalistic work, as is the half-tone purposes.

process.

A

Collotype

is

in

effect

a

Lithograph printed

from a chemically prepared gelatine film, the delicacy of which preserves detail and enables the direct

finest

technique, or gradation of tints, to be repro-

duced with pleasing accuracy.

Half-Tone Process.

The most common

of the

processes used to reproduce pencil as the Half-Tone

Process

— distinguishable,

under an ordinary magnifying of

innumerable dots,

the

glass,

closeness

which form the shadows or high

The Half-Tone Process which

invention

principle

of

done

has

illustrated printing.

is

especially

by the "screen" or

openness of

lights respectively.

a comparatively recent

much

The process

" relief "

photo-mechanical work is that known

printing,

is

to

revolutionize

based upon the

which

means that

and tones which comprise the picture relief from the rest of the metal plate. The drawing is first photographed, with a very fine screen interposed in the camera between This screen, made the drawing and the negative. of optical glass, ma}' contain from 80 to even 400 those

lines

stand out slightly in

diagonal lines to the inch.

Two

of these screens are

placed together and hermetically sealed so that the

REPRODUCTION OF PENCIL DRAWINGS

217

diagonal lines run in opposite directions, cutting the

Through

area into hundreds of minute squares. screen

the light

has to pass when

photographed. The result

is

the

this

drawing

is

that the high lights of the

picture throw strong rays of light through the screen

and cause the

lines

to the negative.

which

thereon to cast heavy shadows on

The low tones throw a weak

light,

dots.

on to the negative in the form of minute Between these extremes there are dots of varying

sizes,

according to the power of light reflected by the

is

cast

different tones in the drawing.

printed

on

metal plate

to

—the

a

The negative prepared

chemically

is

then

sensitized

dots being reversed in the process.

Thus we have on the surface

of

the metal plate a

reproduction of the drawing reversed, in which the

shadows

of the picture are represented

relieved

according to the intensity

by black masses, of the tone by

white dots, and the whites of the drawing appear as fine

pointed

dots

comparatively wide

The

apart.

plate is then dipped in an etching acid, which eats between the black dots or lines, and gives us the drawing in relief, composed of hundreds of flat-surfaced dots, varying in circumference according to the corres-

ponding depth of tones in the drawing. When this metal plate is printed from, it being a relief process only the surface of the dots is inked. Where they are fine and comparatively far apart the printed result shows more of the white paper between them, and thus

forms the high lights of the picture. P-D.

Where they Q

are

THE ART OF DRAWING

2i8

large is

and

closer together, or

IN

LEAD PENCIL

even touching, the result

a darker mass of ink in the print, which reproduces

the low tones of the drawing.

With the

the exception of a few isolated examples,

illustrations

in

this

book

by

reproduced

are

ordinary Half-Tone Process as distinct from the cleared or facsimile Half-Tone Process, which may be seen in

and

Figs. 85, 86

87.

The

difference in the

two methods

is

that whereas with an ordinary half-tone block

is

impossible

to

produce a ptire white

(the

it

result

always has the appearance of a faint grey background,

due to the presence of the minute dots), block the dots which comprise high clean away,

in the facsimile

lights

making the block an absolute

cut

are

facsimile

A

comparison between Figs. 87 and go will make apparent the difference. There is one slight drawback to this latter form of Half-Tone of the drawing.

an excellent process for work of an open character, such as Figs. 85 and 86, there is always a risk, when the process is employed for landscapes and seascapes, of getting hard, unnatural Whilst

Process.

it

is

edges on such soft tones as the edges of clouds.

Drawing for Reproduction. It

is

drawings

of

importance to bear

tend

to

lose

brightness or contrast in of reproduction,

a

certain

in

mind that

degree

of

all

their

any photographic process

especially in the Half-Tone Process.

REPRODUCTION OF PENCIL DRAWINGS It

is

219

therefore advisable for the artist to emphasize

the degrees of contrast in his drawing a Httle

more

than he wishes them to actually appear in the reproduction.

If

it

is

degree

additional

the engravers to force an

to

left

contrast

of

into

reproducing, invariably the result

the finer detail, so that

When making

much

it is

to allow beforehand for

any

possible,

is

make will

allowed to

in reproducing a

subject

when

some

of

better for the artist

drawings specially for reproduction

than the illustration engraver

a

a loss of

loss of brightness.

another point to be remembered

whenever

is

be when reproduced.

drawing the

in

work

of a loose,

If

the

a slight reduction in size result

successful than in those cases

make an enlargement.

the Artist should,

the size of his original larger

make

to

is

is

invariably more

where he

Especially

is

is

called

upon

this the case

open character, where reduction

in size will tend to " pull

it

together " and refine the

technique, whereas an enlargement will only produce a coarseness of line which

is

disappointing.

INDEX N.B.

—

The figures in heavy type indicate those pages on which Illustrations appear, whilst the others refer to the Text.

Items in

italics

represent the

titles

of finished drawings.

Artists Abbeville, 5

Architectural Drawings 193-202, 194-201 Architectural Forms 26, 27 Armour, G. D., 175, 179, 180

—

Artists Armour, G. D., 175, 179, 180 Baumer, L,, 148, 182, 191 Bone, Muirhead, 9, 11, 149, 151, 162, 164. 165 Boxer, P. N., 58, 114 Brock, H. M., 182, 192 Burne- Jones, E., 2 Burnett, C. Ross, 23, 28, 147 Cattermole, G., 148, 183 Constable, J., 91, 92 Cox, David, 103 Dicksee, F., 182, 188 Edwards, L., 175, 181 Ellwood, G. M., 207, 208

Emanuel,

F. L., 166,

169

Falkner, H., 198, 199, 200

Farmer, Miss, 170, 174

{contd.)

—

Fitton, H., 42, 151, 154,157 Georges, F. E., 175, 176,

177 Griggs, F. L., 42, 59, 60, 108, 162, 166, 167, 168 Harding, J. D., 2 Hill, v., 202,

203

Holroyd, Sir C, 182, 187 Ingres,

J.

D,,

2,

^^,

182,

186 Keesey, W. M., 170, 171 King, C, facing 1, 149 Larcombe, Ethel, 205-6, 208 Leighton, Lord, 2, 3, 150,

154 Maclise,

D,, 182, 184, 185, 210 MitcheU, A., 195, 196, 198 Newcombe, A. E., 10, 11, 159, 151, 156, 158, 160, 161, 163 Parsons, A., 153, 154, 155 Pennell, J., 115, 116 Prout, S., 2, 193, 194

INDEX

222

Artists

{contd.)

—

Richards, F., 170, 172, 173 Rickards, A. E., 149, 197, 198 Robinson, W. H., 202, 204 Rossetti, D. G., 2 Ruskin, J., 2, 5, 21, no, 150, 154

Salwey,

Frontispiece, J., 43, 80,81,86, HI, 129, 141, 143, 201 Turner, J. M. W., 2, 73, 7,

74,75

B

115 191

148, 182,

Boats, 52, 56, 72, 81

Bone, Muirhead,

9,

11,

149,

164, 165 Book Decoration, 205-209 Boxer, P. N., 58, 114 Bristol Boards, 13. Brock, H. M., 182, 192 151, 162,

Burne-Jones, E., 2 Burnett, C. Ross, 23, 28, 147

Bury

St.

Edmunds,

Abbey

Gateway, 10 Byzantine Font, 3

C Canterbury,

171

Composition, 92-98 Constable, J., 91, 92 Cox, D., 103 Curves, 22, 23

D Drawings, 202203-207, 209, 210 Dedham Mill, 161 Dedham Vale, 161 Dicksee, F., 182, 188 Dramatic Feeling, 112

Edwards,

Battleship Coaling at Sea, 81 L.,

6,

138-146

211,

Badinghani Church, 163 Bakehouse Close, Canongate, 157

Baumer,

67 Collotype Process, 214 Colour, Suggestion of, 5,

Decorative

Walker, Fred, 2 Welford, A., 175, 178 West, J. W., 182. 189

Barnstaple,

Cattermole, G., 148, 663 Clouds, 46, 47, 50, 51, 18,

Mercery

Lane

L., 175, 181 Ellwood, G. M., 207, 208

Emanuel, F. L., 166, 169 Exeter, 86 Experimental Sketches, 11, 83-118

Falkner, H., 198, 199,

200

Farmer, Miss, 170, 174 Fiesole, 172 Figure Studies, 175, 183192 Finished Drawing, The, 11, 119-128 Fitton, Hedley, 42, 151, 154, 157 Form, 130-137

INDEX

223

M Galatz on the Danube, 155 Georges, F. E., 175, 176, 177 Gillibert,

M., Portrait, 186

Goodison,

I,

C, 209

Dawn, Frontispiece

182,

A.,

190, 193

Materials, 12-17

Mears Ashby, Road

near,

168

Meynell Hunt, The, 181

2, 33,

182,

186

N Naval Base, The, 143 Nemi, 173

Newcombe, A.

E.,

10,

11,

151, 156, 158, 159, 160,

161, 163

North Sea 141

—Autumn Evening,

K

O

Keesey, W. M., 170, 171 King, Cecil, facing 1 149 King's Cliffe, Northampton,

Observation, 24 Otter

Hounds Swimming, 179 Drawing in, 20, 23

Outline,

59

Landscape, 44.

Larcombe, Ethel, 205-6, 208 Leeuwarden, Anchovy Harbour, 169 Leighton, Lord,

2, 3,

150, 154

Light, Effects of, 58, 59,105, 107, 109 Lincoln, Rood Tower, 167

Lithography, 212 Liverpool,

185,

Modelling, 33, 49

Half-Tone Process, 216 Harding, J. D., 2 Hatching, 29, 31, 32, 50-52 Heysham, 75 Hill, Vernon, 202, 203 Holroyd, Sir C, 182, 187 Hot Day, A., Ill

shire,

184,

Mitchell, A., 195, 196, 198

H

Ingres, J. D.,

D.,

210 Marsh Mill, The, 58 Mason,

Griggs, F. L., 42, 59, 60, 108, 162-166, 167, 168

Gunfire at

Maclise,

A

Street,

9

Paper, Drawing, 12, 13 Parsons, A., 153, 154, 155 Patrol at Sunset, 80 Pencils, 15-16

Pennell,

J.,

115, 116

Photo-Mechanical Processes, 212 Plumpton, Sussex, 176 Poetry, Illustration of, 117 Point-to-Point Racing, 180 Prout,

S.,

2,

193,

194

INDEX

224

Rapid Notes,

Senefelder, Aloys, 212 Ships [see Boats).

62-82

ii,

References in Note Taking, 64 Regent Street, facing 1 Reproduction of Pencil Drawings, 212

Sketch Blocks, 13 Sketch Books, 12 Sloughden, Suffolk, 178 Stipphng, 29, 30, 32, 50-52Streatley Mill, Berks, 158 Stjde,

147-152

Richards, F., 170, 172, 173 Richmond Bridge, 91

Rickards, A., 149, 197, 198 Robinson, W. H., 202, 204 St. Peter's, 165 Rome, The Pincian Gardens, 165

Rotne,

Rossetti, D. G., 2

Ruskin,

J., 2, 5, 21,

154 Rustchuk,

Old

no,

150,

T Technique,

4,

18-34, 34, 35-

120 Teignmouth Harbour, 129 Tone Values, 98, 99 Tone Values, Scale of, 64, 65 Tones, Laying on of, 28 61, 87,

Top sham

—Autumn Morning,

7

Mosque

at,

153 Rye, 114 Rye, Mermaid Street, 176 Rye, Watch Bell Street, 177

Trees,

46, 53, 54, 55, 82, 172, 173, 174 Turner, J. M. W., 2, 73 74,

75

V Victorian Style, 37

Salisbury,

A Road Leading to,

91 Salwey, Jasper, Frontispiece, 80, 81, 86, HI, 129, 141, 143, 201

7, 43,

J. J.

Keliher &

Co.. Ltd., ii,

W Walker, F., 2 Welford, A., 175, 178 West, J. W., 182, 189

Whatman's Papers,

Marshalsea Road, London, S.E.i

13

.

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