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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
â&#x20AC;&#x201D;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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Z
B 2
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
â&#x20AC;&#x201D;what someâ&#x20AC;&#x201D; 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,
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;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.
â&#x20AC;&#x201D;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.
â&#x20AC;&#x201D;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.
â&#x20AC;&#x201D;
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
â&#x20AC;&#x201D;
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
â&#x20AC;˘ 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.
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;
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
â&#x20AC;&#x201D;
58
THE ART OF DRAWING
looking at the picture indicated
IN
LEAD PENCIL
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D;
which these features are to be drawn as regards technique has been preconceived. The way in which
â&#x20AC;&#x201D;
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.
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;
if
all
(Fig. 35)
organic and well selected
adequately record both subject and It
must be admitted,
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D;
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
â&#x20AC;&#x201D;
of pictorial art
There
of the
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D;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.
â&#x20AC;&#x201D; " 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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85
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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
â&#x20AC;&#x201D;nothing more important than good a drawingâ&#x20AC;&#x201D;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
â&#x20AC;&#x201D;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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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
â&#x20AC;&#x201D;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 effectsâ&#x20AC;&#x201D;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
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D;this term
is
used because
obtaining effects and
hackneyed " dodges
all are familiar with " piling on " sentiment.
it
â&#x20AC;&#x201D;
"
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
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D; 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*»
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;
"
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'
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;whether â&#x20AC;&#x201D; 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-
â&#x20AC;&#x201D;in a â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;
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
Materialâ&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;
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
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D; 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
â&#x20AC;&#x201D;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.)
â&#x20AC;&#x201D;
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
â&#x20AC;&#x201D;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
â&#x20AC;&#x201D;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
.