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PENCIL PICTURES

PENCIL PICTURES A

Guide

to

Their Pleasing Arrangement

BY

THEODORE KAUTZKY

PUBLISHED BY REINHOLD PUBLISHING CORPORATION

NEW YORK

ARCHI.

TECTURE BOOK ROOM

Copyright 1947

REINHOLD PUBLISHING CORPORATION New

York, U.S.A.

All rights reserved

Printed and Bannd

in the

United States of Atnerica

TABLE OF CONTENTS INTRODUCTION

I

PRELIMINARY THOUGHTS Plate:

The Landscape— Balance

vs.

2

.

Symmetry

PICTURE SYNTHESIS Plate: Balance— Angular and

4

Curved Forms

VALUE ARRANGEMENT

6

Plate: Foreground, Middleground, Background

PLANNING Plates:

A

PICTURE

The Beach— Center

8

of Interest

Beach Scene

SEACOAST REFLECTIONS Plates:

.

.

.

14

Along the Coast— Perspective

Rocky

Inlet

THEFISHINGPORT Plates: Boats and

In the

20

Water

Harbor

THE USE OF CONTRAST

26

Plates: Line Opposition— Gulls

Fish Pier

COMPELLING THE EYE Plates:

More Waterfront

32

Topics

Gulls and Shadows

THE VILLAGE SCENE

38

Plates: Tree-Lined Street

Cottages in Sunshine

THE CHANGING SUN Plates: Light Direction— Shadows

New England

Vista

44

TABLE OF CONTENTS THE WINTER Plates:

Snowy

A

L A

x\

DSC APE

.

50

Contrasts

Country Church

THEFARMGROUP Plates: Balancing

The

IN

(Continued)

56

Forms— Details

Sheltering Tree

ROLLING COUNTRY

.

62

Plates: Curving Patterns

Roadside Farm

THEHILLFARM Plates: Nature's

68

Moods

Vermont Farmhouse

INTHE FOREST Plates:

Woodland

The

Silhouettes

Birch Grove

MOUNTAIN SCENERY Plates:

74

80

Rugged Forms Castellated Crag

THELOFTY PEAKS Plates: Alpine Heights

High

Sierra

86

INTRODUCTION Like every other

many

very

artist,

have been asked by

I

lay persons, draftsmen, students, and

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

tell

of

them have developed

at

wielding the pencil or brush. Yet they are

excellent technical skill

they

down before a blank sheet make a picture that really

of paper

sit

try to

inherent sense of what

is

right.

all

when

troubled by the difficulty they encounter

and

satisfies their

Perhaps they have

lect

and arrange the things found in nature

that will

There

make them appeal

rhythm,

ance,

pictures.

Upon how intelligently they are

depends the excellence of the Naturally, with the pencil

fess

inferior to water colors

this process

does not give them what

to

do about

them

like to set

productive

would

like to help. I

from the

free

give

so that they will

if

they want to

quality of

limitations of re-

and

line

know what

and

book

do with

The

make

pictures that have the

a

I

devoted

an exposition of a particular tech-

complete range of textures and values

attainable through the use of broad strokes,

with a this

a

wedge-shaped

flat,

point.

I

made

demonstrated

of finished sketches in which the tex-

tures of the

common

trees

were

materials of building and

number

the rendition of a

of different types of

I

am assuming

that the reader has already attained ficiency in the use

that he

may now

more important namely, the

some pro-

and control of the pencil

so

concentrate his attention on a

part of an artist's stock in trade;

ability to

combine and put together

the elements of subject matter in such a

make pleasing

way

as to

pictures of whatever he chooses

draw.

The

thing

would like

it is

is

to the average person that this

addressed.

is

illustrations of this

book are of two kinds.

that will be described hereafter.

to teach

here

is

how to

se-

Each Lesson

how

Plate analyzes a picture and shows

been put together, both

as to the

it

has

arrangement of

the pattern in line and the balancing of the principal light

and dark values.

Each Lesson Plate

also gives several additional

small picture arrangements

made with

the same

or similar elements. In the whole collection there is

a great variety of subject matter, ranging

the seaside and waterfront to the hill

and

wharves

trees; with houses, boats, barns,

as the

aim

to

and

elements out of which landscapes

are built up. In

my

from

and moun-

country of the interior; with rivers, roads,

rocks,

making the

show how there

everywhere and how the

illustrations is

it

was

picture material

by selecting them to suit his

artist can,

the essentials and rearranging

purpose, grasp and convey the real truth and

beauty others

I

however,

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

tain

illustrated.

In presenting this second book,

to

is

technique with a series of lesson sheets and

number

belief,

Plates in which have been applied the principles

nique of drawing with the graphite pencil, where-

by

my

making of

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

the brush, and

light to

book, "Pencil Broadsides," to

is

the

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

the

good design.

In my first my efforts

It

oils in

other means. Certainly, the average person can

the subject matter nature provides in such abun-

dance

art.

medium somehow

this

and

would

them command over

arrangement of pattern of

shadow

makes

worthy works of

are limited to black

hold their own against pictures made by any

I

art, to

believe

to

we

which many people pro-

capable of producing really fine results that can

it.

these people

It is

a limitation

applied

results.

know

they are really seeking, but they do not

what

artists.

all

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

leaving anything out or changing the position or

Somehow,

tastes.

contrast, etc., that are followed

they see before them, as a camera does, without

view includes.

normal

dther consciously or instinctively by

and white,

their

to all

are certain principles of proportion, bal-

been taught to reproduce correctly on paper what

form of any of the objects

so that

the resulting pictures will have those qualities

go

to

in the scene that lies

may enjoy

it.

before

him

so that

So, with this objective, let us

work together,

seriously, to

make

pictures.

1

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

thing to be done

Most

is

much

for

undulating, but you are conscious of the it

difficult.

You

however,

will,

difficulty in arriving at a pleas-

you give the matter

if

at first

size of the

it

a

will be decided

paper you

You

use.

are

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

which

12,

more

or

less

thought. Perhaps

you by the

flat

that

antly proportioned one little

be perfectly

and rectangles have

an infinite variety of possible shapes, which makes

not have too

may

to establish its dimensions.

pictures are rectangular

the problem sound

the distance. It

the page size of this

is

book. In any case, you will not go far

wrong

if

fact

recedes toward the horizon. Various things

contribute to this effect— color tions,

or

and value grada-

diminishing sizes of familiar objects such

and the converging of actually parallel

as trees,

lines as they lead

away from you. The most pow-

erful of these factors in producing an

depth

in a picture

is

eflFect

the last mentioned.

A

of

tree-

lined road or the banks of a stream, whether they

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

The

artist

makes

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

will

fine the dimensions of your pictures to suit your

server's eye into the center of interest he has

taste.

The

do with

it,

nature of the subject has something to of course,

and most landscapes

into a rectangle placed horizontally, with

Most landscapes

of this horizon it

sides

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

important, particularly where

is

With few

exceptions,

it

circumstances be placed

as

the case.

the top

picture, as indicated in

satisfactory results

somewhat

picture, as in

sketches 2, 4, and 6.

the vertical axis

is

also to be

how awkward

it

is

to

place the center of interest in the middle and

placed.

same

with similar

The two

size

trees

elements symmetrically

and the two

and value only succeed

picture a deadly static quality which

and lacking

this

book and

The

may

be used in either the

clouds, too, are arranged in

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

if

you

how

will

often

receding "S" shaped arrangement occurs. In

sketch 2,

I

have used

it

to

make

the sky go back

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

avoided. Sketch 3 shows

it

use of this device, as

make more and more pictures of your own.

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

below or above the center of the

flank

make good

converging sides of

you proceed through

land or the sky.

are always achieved with the horizon

Symmetry about

can

6, the

midway between

The most

opposite.

1,

commonly

You

will be seen as

and

should never under such

and the bottom of your sketch

is

Observe how,

fit

meets the sky. Theplacing

dominates the picture,

as the focus of his picture.

its

take in both earth and sky: in

distant land

planned

to do; lead the ob-

in sketches 4, 5,

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

where the

do what he wants them

well

proportion of about 3 to 4.

in the

use of this fact by placing such things where they

in interest. It

is

hills of the

the silhouetted house and tree.

I

have referred several times to the "center of

in-

Every picture should have a principal where the most interesting element

terest."

point of focus

or combination of elements should be placed.

For

in

giving the

best results, as suggested above, this point should

is

unpleasing

occur somewhat to one side of the vertical axis and

balance, not

sym-

either above or

below the geometrical center of

metry, which you are seeking. If you will analyze

the enclosing rectangle.

the scenes which delight you most in nature, you

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

will discover that

them

it is

always balance that gives

their admirable quality.

a special case of balance

and

is

Symmetry

but the most skilful and finished

As you look out

is

only

best let alone by all

away before your eyes

picture

to

will notice

how

this

look for this center of interest in every

you

see that attracts

you and observe how

the artist has used the devices I have mentioned

artists.

across the landscape in nature,

the earth stretches

Learn

You

into

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

eye to go where he wanted

it

to go.

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THE LANDSCAPE-BALANCE

VS.

SYMMETRY

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

any

cipal desiderata in

picture. It

must be present

some extent the

mind

learn, the subject matter, as such,

is

elements or contains It

may

One

be attained it

always

in

as

you proceed.

of the useful things to Icnow

that a small

is

By is

you can control to upon the observer. This

selection of the subject effect

psychological

a

important

matter.

making

in picture

Actually, you

as-

the arrangement

of the elements into a

be used to balance a large area of dark or light

wish to

that would otherwise overweight the picture

looks well because of the arrangement of

its

own

direction.

For example,

in sketch

1

op-

,

call

and dark

A

so.

it

areas, of

will

not nearly so

is

spot of dark against light or light against dark can

in

mood.

the type and, in turn, something of the

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

whether the picture

keeping

types. Obviously, the subject matter determines

pattern— a design,

if

you

really well designed picture

its

forms and

its

light

lines, into a

its

properly placed against

well balanced and interesting ensemble. Thus,

the large area of sky, has kept the heavy weight

the abstraction, so-called, which containslio rec-

posite, the small gull,

from creating an unshown diagrammatically

of the dark rocks at the left

balanced

effect.

in sketch 2.

This

is

In sketch 3, the comparatively small

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

shadow. Often, when you look

may have

a feeling that

direction or another. If

it

at a picture,

overheavy

is

in

its

you one

you look carefully, you

can usually find a place where the introduction of

some small

intense spot of dark or light can

restore the balance.

The beginner must

ognizable objects, art.

may

be a satisfying work of

But we are not concerned with abstractions

here; only naturalistic pictures, which are intel-

average person the world over.

ligible to the

Returning now, for the moment, your attention

is

called to the

way

to sketch in

lines of the design pattern cause the eye to

the center of interest— the

little

3,

which the go

to

house, near but

not at the middle of the picture. Although the

house

at

scale, all

the left

nearer the eye and

is

seem

lines

its

Even

to

at

larger

converge upon the

he put the most interesting element at his center

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

of interest, but he must

by the vertical telephone poles, introduced for

his pictures,

consider carefully, as he plans

what elements he

and where they are

is

going to include

to be placed.

fill

Not only must

the rest of the picture

with other supporting elements, each of which

must be balanced by something else.

the result will depend on are

else,

somewhere

Decision after decision must be made, and

how

intelligently they

made. After a good degree of proficiency has

smaller building.

The

that reason.

the

small pole at the

left

not only

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

is

carefully placed to help frame the

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

ground

roof,

and

to break

up the sky

area.

been attained, he will have learned to decide

In sketch 5, though the forms are rounded, the

automatically or instinctively what to include

underlying principles are the same.

The

and where— and what

barn

is

to leave out.

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

is

the center of interest, the eye

out to be

by the

rectilinear

and held there by the strong contrast

forms. Others are built out of curves and rounded

lines of the fence

little

led to

it

and the curving road in

value of

the white silhouette against the dark hill.

The

of

telephone poles not only keep the eye from es-

the latter type as contrasted with the preceding

caping to the left but their crossbeams serve as

ones on this page. There

a balancing accent for the

forms. Sketch 5, and

tended that one

is

its

analysis, 6,

is

show one

no implication

better than

another— just

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

ence in the

is

mood produced by

in-

It is

heavy dark of the

hill.

a

It is

fun to analyze thus a picture already drawn.

worth

It is

more fun

to plan other pictures so that they

something but be

a certain differ-

will not only depict

each of the two

and have good design.

in

balance

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BALANCE-ANGULAR AND CURVED FORMS

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

relative areas occupied

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

good

is

varies, the be-

he makes them

if

no rule about

this,

found

pictures will be

howwhich

in

the proportions of these three areas are in practically

Most

pictures also contain three principal values,

or grades of darkness and light. Particularly

your eyes

close

in

looking

blue tone, or possibly a mass of clouds.

Its

In sketch 5, the sun the foreground

at

if

them, you

may be low

in the

shadow of a

in the

is

sky so that

behind

hill

the observer while the sunshine lights up the

beyond the house. Here, we may im-

hillside

agine that the sky

and we make

is

so.

it

actually gray with cloud

The

the possibilities

last of

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

every possible relationship.

you half

of

is

in full sunshine,

while a cloud

shadow grays down the foreground.

You have undoubtedly tions in nature

seen

from time

of these condi-

all

to time, but

have prob-

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

ably not stopped to analyze the six possibilities

medium

or gray areas. All variations from these

in this

seem

merge

to

one or the other. For pur-

into

poses of analysis, therefore,

we may assume

that

In the sketches across the page,

I

distance.

them

have shown the

combinations of these values as ar-

bitrarily assigned to foreground,

and

This

not the

is

middleground,

way you

will find

divided in all pictures, of course, but the

device produces a set of six possible ways to

make

simple and often pleasing designs. In nature you will find

them

times of the year

all at different

or day, given the right lighting conditions.

one can say that one

is

in

mind

in

planning your pictures and

No

better than another for

if

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

the three are all there are.

six possible

them

way. Hereafter, you will probably keep

you wish

to produce.

Please do not assume, from what

I

have

said,

ways values are divided As suggested above, there are many

that these are the only in pictures.

other ways in which the three main values can

may

be interestingly distributed in patterns that

may

be beautifully complex. Darks

foreground and background; lights

ground and distance; grays and

so on.

You

be in both in

middle-

in all three divisions

will learn to arrange

them with

greater variety as you proceed.

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

In most of the Picture Plates to follow,

the type of forms depicted, your choice will in-

indicated at small scale the division of the three

mood

I

have

in

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

the morning or late in the afternoon with the

these so that you can gain understanding and

fluence the

In sketch

1,

principal values as I have conceived

produced.

opposite, a cloud

shadow may have

fallen over the foreground, yet the sky

and the it

hill is re-ceiving

a gray tone. In sketch 2,

hillside

is

enough

to give

perhaps early

it is

completely in shadow.

bright and there

bright

is

enough sunshine

The

what you undertake

control over

times you will find that you can

The

conditions in

mak-

appear gray against the dark

it,

pictures. In

make

sky which might indicate an approaching thunderstorm. Next to

my

again

lighting up the foreground brilliantly and hill

the best design for

is

sky

sketch 3 suggest the sun behind the observer,

wooded

me

reflected light to

the foreground count as gray.

ing the

give

in sketch 4,

we

again have a

to

draw.

make

a

Many more

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

satisfactory picture

tionships

But

it

must be done with

full consciousness that

the reversed values are possible in nature different conditions.

what you draw or

it

under

There must be truth

in

will fail to satisfy the eye.

brightly lighted foreground, this time silhouet-

So never miss a chance to study and analyze

ted strongly against the hill over which there

nature as you go about your travels through the

is

a cloud shadow.

The

sky

is

rendered gray

which may be the black-and-white interpretation

country and even along the path you follow daily on your

way

to

and from work or play.

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FOREGROUND, M

I

D D LEGRO U N D

,

BACKGROUND

PLANNING A PICTURE Now we

come

the planning and carrying

to

through of a finished pencil picture. Let us

sume

that

attracted

we

by the picturesque quality of a

assume that the sun

is

coming from that

many which we

shadow which

inforced by a gray

things on and near the beach out of

to lead to the center of interest.

can easily build up an interesting design. There

and boats and

wood, and pools of water

left

tide,

also will help

The

rocks ex-

tending horizontally will also have some good

dark surfaces where they are

bits of drift-

by the

we

direction.

This assumption gives us a good dark area, re-

light-

house we see along the shore. There are

are likely to be rocks

fullest

use of the receding line of rocks at the right,

as-

and that we are

are at the beach

make

of the principal values. In order to

and

shadow.

in

Even

To

in-

movement

crease the strength of this horizontal

choose from which to

we assume a good dark value for the sea beyond.

The shadow sides of the boats, balanced by some

sketch the lighthouse does not include all of the

dark foliage introduced to silhouette the light-

we want to use in the finished picture, we observe and remember their characteristics.

After we have laid out our bounding rectangle, we select a high horizon level so that we can

house and accentuate

various seaside cottages or small buildings. if

we

the point of view

things

include

more of the beach than

of the sky.

our principal dark values. Grays are next to be indicated

a

itself,

little to

Now

dle of the rectangle.

shadow

the

them

solidity.

We also

make remem-

sides of the buildings gray,

bering that they contain reflected light from the

the right of the mid-

we begin

and with them we model the forms

of the rocks to give

We

then place the principal object of interest, the lighthouse

importance, complete

its

beach. This gives us our value diagram at 2.

We

to introduce

can

now proceed

to lay out the final sketch

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

given us our plan of action.

more rocks jutting out

angles to the

within the range of each principal value, allow-

shore near the lighthouse, a pool of water near

ing for the play of reflected light from the beach

at full size,

lines

the high tide mark, a

at right

row of old

to contribute to

aground

piles thrust into

.

eye control,

â&#x20AC;&#x201D; these

Most

boats, the

notice,

this

also define the details of the stakes,

of grass and driftwood

needed. In doing this

entire design.

however, that the

it.

To

and put

where we

we

in a

feel

few

they are

may make

in

Nothing should be added

does not have a function in the picture.

give

stop

At

him only the

3, 4,

and

S, I

essentials that

our that

The im-

agination of the observer will-fill in the gaps.

outward movement, we put a big mass of

bits

are always conscious

of the contribution each item

is

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

We

mooring

1

of the lines thus introduced converge on

We

this

at

the shadows and for the slight grays in the

are used to

the object of our principal attention, which

what we want.

in

light areas.

at strategic points

build our linear diagram as in sketch

Working

larger scale allows us to modulate the surfaces

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

following the diagrams which have

convey our

We

idea.

have suggested some other beach

rock at the left to terminate the ledge, and to

scenes, following the

make

up the design by means of line and value arrange-

things sure

we

turn one of the

into a sailboat, with a vertical

the horizon.

Now we

little craft

the left of the picture, so

we

playing

at

and we are within our rights around

to contribute

in

what they can

the water's edge; at

ground rock and

and plausible moving them to

at

is some bathers 4 an old pictur-

esque hulk half buried in the sands;

introduce a small

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

principles of building

ment. At 3 the center of interest

mast cutting across

have perhaps too much

same

its

at 5 a fore-

reflection in a puddle. In all

three the line arrangement leads the eye and

holds

our design.

it

from escaping;

in all three the

arranged to give the greatest contrast

Our diagram now looks like the sketch at 1.

The next step is to decide upon the arrangement

values are

at

the vital

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

8

it is

wanted.

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<

SEACOAST REFLECTIONS Now we

same

will try another scene along the shore,

with a fishing boat as the principal item of interest.

We

sail

already lowered as the

moored

see the boat,

depends on the

waters.

the shore and looking

down on

center of interest a in

rocky

bit

the scene, so

little to

the right of center

These two strong

and

well to prac-

gain versatility.

in.

we

see drawings which

fail

to

convince, just because the reflections are awkard-

drawn or

ly

outward

3

and

incorrectly interpreted. In sketches

4, opposite, I

have sketched

a couple of

scenes in which the reflections play an important

would, however, carry the eye

to the left

in relation to

It is

both the interest and the realism of your pictures.

Often, however,

promontory

lines leading

at several sizes to

in

Properly drawn, reflections can add greatly to

beyond so that they will enframe the focussing point.

your picture

the water, the question of reflections enters

to sketch in the

of shore with the low-lying

drawing

less

In drawing boats and other objects on or beside

we

decide to place the

our rectangular frame and

tice

land away from

We

choose a high horizon.

size of

much

you must put

of detail

the size of your pencil strokes.

about tidy-

ing things up after their day's work on deep

We are standing on high

The amount

detail.

midstream, one

in

men move

picture can be accomplished with

away, so we decide to have a strong counter

part.

movement toward

made to seem very real, almost wet, in fact.

Now, everyone knows something about the laws

this

the boat in the form of a

from the

pier, jutting out

rocks.

To

we emphasize

counter movement,

little

strengthen the

of optics

little

point of rocks hooking around the cove beyond

A

the pier.

low lying

seen

island, off shore, also helps

As

plan

in line

now

looks like sketch

we

to yahie^distnbution,

is

a firm base, a light

it,

and

a

gray

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

there

we

Refer

play to our fancy in putting

A

little

reflections in the

The

some small

to go.

phasize or subdue

its

at

you

it.

lengthening out the reflections, extend-

tilt

one way or another. in

the matter of perspective.

As you

it

at

varying angles, depending on

how

far out

from shore or near

many more

little

wavelets in a given ver-

distance far away than will

have

to

put

to

will

it

will close by,

down more

little

zigs

and

and

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

a smaller size than to

and currents, or by the pas-

them towards the observer, and breaking up

take in

should be used to em-

is

it.

where you are standing. Thus your glance

tical

This

effect of tides

you are looking

importance.

final plate that follows.

or adjacent to

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

of contrast

At the bottom of the facing page, sketch

drawn the same scene

it

far

skill in delineation.

The degree

in each part of the picture

image of

Seldom, how-

the surface of water in nature unbroken

down on

craft

every form should be calculated to lead the eye it

it

look across the water you are of course looking

direction of every stroke, the position of

where you want

When

exactly like

upon

is

Here comes

in details as before.

water will give you ample

opportunity to exercise your

is

ever,

waves

at final size,

grassy growth over the rocks above the tide mark,

and

it

objects

ing

the stream, patches of

in

flat

and unrufiled

straight lines into zig-zags as the surfaces of the

work

boat house on the pier,

moored alongside and

absolutely

effect of

scheme but giving greater

sticking to the general

surface of the

This roughening of the water surface has the

to sketch 2.

can proceed to

The

sage of boats or birds or other things through

for

From

familiar with reflections as

mirror, at least.

acts just as a horizontal mirror.

by the

allow

this opportunity.

all are

is

by ripples or small waves caused by the wind or

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

and

a mirror, reflecting a faithful inverted

1.

decide on a dark fore-

'ground to give our picture

their use, the surface of the water

a

in

water

to close off the temptation for the eye to escape.

Our

By

have

for those near at hand.

the

in

show how the

is

in

14

I

have done precisely that

these two little sketches

kept

in

and the water surface

proper receding perspective thei^eby.

S>S« tl^f!!^;*^.

..-•iSSr*-''-'-^'

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

svife

I ST'

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

Boats are always

in

subjects to

some

side

do a sketch

upon

wharf and look out across the water

to

other piers where shipping of various types

is

a

Our

tied up.

attention

looking craft

like

did

make

you look sharply you can find them

decide

am

trouble. I

what

going to leave

it

to

did change and for what

I

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

consisted simply of putting in greater detail and

modulating values

the next wharf, where they

at

if

much

to figure out

reason.

caught by two business-

is

and

without

you

I

slight but important changes in boosting the

scale,

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

aspiring picture maker. to

the full size job. As a matter of fact,

to define the forms.

present a sparkling silhouette against the shim-

Many people have difficulty in drawing boats con-

mering waters farther

vincingly.

way

Across the

is

out,

and against the

sky.

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

true shapes or

another dock, with a cluster of

myself, used to have this trouble

miscellaneous ships grouped alongside.

the water.

We decide to make the two fishing boats the prin-

until

I

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

trick.

In sketch 3, here,

cipal

with the other giving placing

them

it

support.

We

see that

we

slightly to the left of center

you would

by

will

it

means of leading the eye and we

also see that

as

see

it

in

it

and learned a

have indicated

I

looking right

a boat as

down on

would appear from the

it

little

top of

These

side.

views you practically never use. Usually a boat

be able to use the group of boats beyond as a

including the end of the pier upon which

and

I,

thought more about

will be

by

viewed from an angle and looking slightly

downwards.

we stand

I

have shown one

in this position too.

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

the top edge of the hull, followed around, reduces

ing ends of the two piles which act as mooring

that the

posts

form

a

at

Our scheme

of principal lines

is

If it

now

movement

ing the

it

set

a little lighter

This makes the diagram

Just for fun,

make our

a

it

final

drawing.

I

at

By doing

this

at

them

time to

the study

we

in position or

to

it

same

have indicated with

to follow the direction

on the water should be

the boat itself j in other words,

might disturb the

To

lines in reflec-

drawing

essential horizon-

counteract this effect (see

we have only

across all the verticals

to follow nature

and

in-

and changing the emphasis

of line direction. Strips of this sort are visible on

in-

When we have finished with made

that in the

troduce some narrow strips of light value, cutting

the surface of any harbor. Observe that

can perhaps see some slight changes

value that can be

all in

sketch 4)

can verify

and experiment with the

troduction of details.

made

reflection

tality of the scene.

our earlier judgment about the placing of the different elements

I

Note

tions along a waterfront, the effect of

the bottom

we

.?

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

about half the size of

have done one

of the page, sketch 5.

The

at least as tall as

as in sketch 2.

this

it

sketch of the boat

convincing.

third gray will be

might be interesting

preliminary study

the ends.

rounded form of the hull and will make your boat

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

used for the pier buildings and the more distant ships.

way from

this figure eight, therefore,

simple matter to complete the boat, and

the sides. If they are

to

A

a little

and

highest points

of imaginary ribs they will help to express the

reflection the darkest.

make

a

draw

will first

figure eight,

at the

arrows the direction of the strokes used to model

up by the mooring posts

the pier end about equal.

is

little

back to the center of interest.

For values we decide

you

will look real. Easy, isn't

Note how the group of boats

in sketch 1.

bowed

stem and stern occur

on the side of the eight,

a little to avoid

the pier to the right stops the eye from follow-

and turns

its

them

tilt

well as to divide the picture more in-

terestingly.

shown

we

diagram, we discover that

little

itself to a flat, slightly

powerful barrier. Though they are

actually vertical, stiffness as

Dissecting this

not

advantage

made them

parallel,

together and narrower as they recede.

20

I

and that they are

have closer

<.^

»«

*

BOATS AND WATER

Pi

o M < X h

THE USE OF CONTRAST Standing on the

one day

fish pier

town, we notice a striking scene. a great

dark triangle of

sail

level.

Some white

It is

low

and

tide

One we

belonging to a fishing

of the

gulls flying around in the sun-

is

as they soar to and fro looking for scraps of

The

food.

place so that

wing

its

is

way we

the

The break

drawing

it

that way.

the sharp edge of the

in

We

sail

the right, and a

where we can

neighboring pier to the

we break

see the fish house on

left

and some

in other places

and leave

Gulls occur so often as incidentals

and

sails

edge

its

so

small patches of light to increase the

little to

it

put

in

almost in the center of our picture but a

softens

when we

birds suggests a sketch.

be

sail

the juicy black strokes to render the whole

and suggests sparkling sunshine,

sail will

and we

see things in nature

the canvas and the graceful, brightly lighted

take up our position where the

the edge

tip crosses

Notice that where this occurs the wing

sail.

are telling no lies in

contrast between the bold dark area of

We consider care-

relative positions of our gulls.

light against the sail but dark against the sky.

That

light silhouette themselves sharply against the sail

and

fully the size

projects up into our eye

moored alongside

boat

introducing appropriate detail.

in a little seaside

tures that

it is

worth while

a

few

effect.

in seaside pic-

time to

to take a little

rigging beyond our boat on the right. This will

watch them soaring and darting about and alight-

give us two balancing elements with plenty of

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

directional lines that can be accented to lead the

They

eye into the center of interest.

which we stand

The

pier

upon

suitable for a foreground,

is

are masters of flight

supreme grace and

its

positions they

A

be ready to insert

dory lying upon

in

it

a chance to

over

in front of

it,

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

have our plan

the diagram, sketch

agonal of the

sail

1

,

all nicely

arranged

and rigging on the other

spars to

it.

downward from

of focus.

The

the

sail at

would

plenty of other gulls around and

structure,

gulls and

we

we can arrange

its

them un-

the picture

balancing grays around

ground.

Now we

almost dictated for us: the middle, with three

and a light sky and fore-

we

an

in

any

with contrast and I

have so far

except to refer to

it

of several

kindsâ&#x20AC;&#x201D; of value, of

They

and

interest

artist

feel

26

is

line,

increase or de-

throughout your

tures, according as they are sharp or delicate.

as usual, in

from

we proceeded to analyze

importance. Contrasts in black-and-white

crease emphasis

choose. In working up the

drawing we use our ingenuity,

it

of size, of shape, of spirit.

can go to work on our half-size

or final, whichever final

it

is

we were making. Yet you must have

work may be

is

you may

to deal

have noticed

in passing, as

Our

sail in

supposed

said nothing about

time to time

felt its

value arrangement

is

uses, but as

evenly and give them various soaring positions. the intensely dark

fact

you can draw them, thereafter,

This chapter

We do not put in too

are careful to space

Note

double S-curve of the

position, sight unseen.

are

glance, step by step, in a wavering but inevitable

many

a little,

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

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

wing

and

aid

where the prolonged

There

in relation

It is fair

wings when you see them head-on. This

gull against

intersect.

compact bodies.

also the bracket-shaped

the right into the point

precisely the point

spar and roof plane

tremendous wing-spread

their

the illusion of being longer than they are.

side are also useful

We decide to place a white

Note

rather than the opposite, since in flight they give

break up the verticality of the masts and lead

the eye

will

as the principal subject in sketch 4.

safe to exaggerate the length of

di-

well counteracted by the sloping

roof of the fish house in opposition to

you

in the air so that

used some

to the size of their

as in

with our strong upward

assume

indicated a few in sketch 3, opposite, and have

think, help our design.

Now we

can memorize

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

presumably hauled up for

over to one side, but

is

You

and j ot down some of the interesting characteristic

edges vanishing away from us towards our picture.

calking or repairs,

and move about with

precision.

pic-

The

always using contrasts to help make you

what he

felt as

he

set

down

his impressions.

LINE OPPOSITION-GULLS

COMPELLING THE EYE At the

seeming

risk of

the seaside,

at

I

to

am going to

devote one more

son to a waterfront subject. In

some

incorporate

which will merge with the

prolong unduly our stay

of the things

it,

we

mooring posts

les-

enough

will try to

we have

ground

already

at the center as

We will take as our picture material a very famous

In rendering our final,

it is

known

far

Massachusetts— so

and wide among

black and white— but there

and

is

is

it

thus that

variety and interest of pattern

Even

if

solidity.

we

can

We par-

and

to

be precise

the piles along the pier were evenly

we would

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

spaced,

be too

are working with

a rich

to

with their sharp and expressive silhouettes.

We will say nothing

so that they

not

have an irregular rhythm.

suppress one where

range of values

it

We

even

comes behind the gulls and

would break up their pattern.

I have made two little sketches opposite of some piling along a stone pier and under a wooden one.

In both of these I have deliberately departed from regularity in the spacing. For whatever reason, it is lacking in interest to show evenly spaced objects

forms and patterns

a treasury of geometrical

we have opportunity

model our forms and give them

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

we

well as to express their form.

ticularly study our gull formations to achieve

at least

here about the color, for

hold attention

to help

our shadowed areas, for

or sketcher

varying with sun and season.

fore-

think well about the play of reflected light within

fa-

artists

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

as

strong

is

The

rocks, bathed in bright sunshine, will take

touched upon before.

that

which

will be gray also,

some good dark shadow

mous

house on top. The

for their outlying position.

learned and perhaps discuss a few points not

fishing pier in Rockport,

fish

here to reward the searcher after beauty.

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

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

gulls which

running across your picture, or any substantial

wings.

part of

prevent the powerful vanishing lines of this pier

you

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

know

First, the rocks

right.

Then

the fish house, topside, with

used

flection in the water, can be

picture pretty firmly. It vertical piles

its

dominance over the tendency

mooring

any escape.

is

parts

we

Now we

they will compel us

tant

choose to

with trees

its

Anyway,

is still

shown

in the little

it

off into

it is

woods,

more

can do the same thing

as will

be shown later.)

satisfying pictorially to shift

between the

light seen

down from

have made them

the sky, undu-

it

(You

made the

pose. Notice that I have

all

spaces of distant

piles all different. I could

the same, and

how deadly

it

value, as

would have been, even had it been true!

You must have learned by this time that the

will give

artist

the most brilliant silhouette for our birds, and to

shade

in a

can group our gulls so that

diagram, where

a pile-supported landing,

these and other details around to serve your pur-

as a final barrier to

make our deepest dark

you

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

the foreground piles.

latingly, to the spot of our intended climax.

We

artistic license:

as at 4,

can introduce a couple

on that side

the original geometric per-

Use your

When looking through

many

and destroy

eye. Finally, lest there

to the left,

piles

many

where the course of time has worn

have one, of course!

re-

weighty

aided by the

bound to draw exactly what an instance for you

in such

perfectly well that you have often seen

fection of spacing.

along the pierside, which break the

long sloping edge into

of

as a

not

you

down and broken up

to the

element which anchors the middle of the

vertical

a

movement

You are

similar scenes

along the shore can be used to

build up a strong up-sloping

it.

see before

gray toward the end of the

continually uses

common

sense in arrang-

ing his lines, values, forms, and contrasts

he thinks before drawing.

pier,

32

You

— and

can do likewise!

MORE WATERFRONT TOPICS

o Q < X in

Q

< CO

J

THE VILLAGE SCENE Perhaps

it

now

will

from the water and see

what we

village, perhaps

whereâ&#x20AC;&#x201D;the

New

and held by

we

streets until

we

our eye

else-

without interruption.

walk

it

caught

is

I

should

little

houses to the

shadows that

lie

want

it.

The

street

is

horizon

The two picture,

in

we

This

1

.

low

fill

in

trees

principal dark over the roofs

we put

street.

A

in the

will complete an

have

a

away from it. remember when using

it is

not of particularly great im-

use figures, use

them

for a pur-

people in a picture.

4, opposite,

I

have made two variations first

one

is

the same in

in the

sky and

left

houses

out the sheltering trees and

fill

made

I

the

the rectangle. Here, the sloping lines

of the roof gables are important in setting up op-

in the

which the eye

is

coming toward the observer. In the second,

the

shadows on the

in

There

line.

been changed, with the sun higher

and would otherwise tend to lead the right. Perhaps it would have

position to the continuing line of the fence

hanging clusters of foliage

arrangement

of the light

content as our main subject, but the lighting has

sides of

somewhat broken up gray mass

background and

movement

having them walking towards

on the same theme. The

the houses, and extending in radiating strips on the limbs of the trees and the

though

At 3 and

up

any void and keep

and shadow

figures are placed so that

pose and not just aimlessly or because you like to see

the eye from wandering out in that direction.

Filling in the value diagram, at 2,

verticals of

portance in this case where the figures are small.

themselves to make our

the street can be used to

in

Wherever you do

Some more houses and

little

a useful point to

is

figures,

and our linear diagram appears promis-

ing as in sketch

into

the center of interest rather than

include the foliage.

enough

The two

advantage

slight

houses, the two trees, and their shadows

are almost

The

it

fagade of the house they are passing and so form

They

A

overhead.

a lacy pattern

lets us

to break

with the heavy

it

another interruption to the fence

can use their arching forms to enframe the view

and provide

ways by crossing

they continue the vertical

to

where we

dotted with old elms, and

presence

the tree trunks and house walls also help in this

of center, so that

across the roadway.

its

shadows and merging portions of

purpose.

will be effective in directing attention

I

to assert

have been careful

the horizontal bands of sunshine.

can take full advantage of the long horizontal

tree

in various

street

say.?

frame and decide

left

up

if it

eye away from the center

were allowed

of interest

charming cottages. Why charm to others in the form

lay out our rectangular

put the

We

to lead the

little

a pair of

pass along the

of a sketchâ&#x20AC;&#x201D; a picture,

We

England, perhaps

principles are the same.

around the village can't

some

and picket fence

line of the sidewalk

would tend

can do with

scenes on dry land. Let us go to in

The long

be refreshing to get away

sidewalk, which

your eye out to

is

both properly directed and held in place.

been better

Going now

hand corner, representshadow or a rut in the street, to direct attention upward to the left where the picture interest lies. However, I left things as they are.

At 5, on the facing page, I have made a picture out of a couple of larger houses and a majestic tree, shading one of them. Here, the front door and fagade of the nearer house form the focus of in-

to full size,

we render

the houses with

under the branches.

low sun

By

in late

this

yourself,

We

have assumed a

afternoon or early morning.

cally, that

it

have failed is

to point

it

had inserted

a

few countering

ing a

time you have probably observed for if I

I

strokes in the lower right

plenty of sparkle from the sunshine streaming across

if

out specifi-

well to put the greatest amount

of clearly indicated detail and the sharpest con-

The

dark and light within the center of inAs we get outside this area, we can make fuzzier detail and softer contrasts. This, again, is the way we actually see things in nature, and to draw them thus increases the likelihood that the

being too solid and overpowering by breaking

eye will respond to the suggestion and go where

give sparkle ; alsoJiow_the_shad.aw..atrQkesiÂťll'OW-

strong dark of the adjacent house acts

trasts of

terest.

terest.

as a contrasting

it is

background which

is

kept from it

up with foliage and reflected light. Notice how occasional breaks in the shadows on our main fagade

wanted.

in

38

general the direction of thj_sun^..i:ays.

l^'Vi 1/4/

TREE-LINED STREET

^^

K CO

o <: h h o o

THE CHANGING SUN The

possibilities of the village street as a source

for picture material are almost limitless.

There

tail

always, or almost always, a vanishing vista with

forms with strokes that

a variety of houses in sight on both sides to give a

where there

Commonly, there

rich play of architectural forms.

are trees spaced along at

more or

of the day, the light

it

At different times

this lesson,

down

we have chosen

to

a straight street, standing a

extra

two small sketches, In 3, the sun

make

in

a

ferently

geometric

the

ceives

us our darkest value.

reflected light,

little

The street sur-

and the mingled

value diagram

houses for the lightest value.

and

as

yond.

The

gray areas.

pattern

shadows lead toward our center of

is

in

where we want is

also a

it.

and

made

The

roughly

elliptical,

interest

selves.

and

: ,

You

have is

it

The arrangement

will perhaps recognize, in the

known

as

sort of

!

is

at

infinite

num-

ber of possible views in which this famous

little

is

another of the

structure furnishes the principal point of focus.

Though to

.

we

it is

small in area in this view,

dominate the scene by

its

it is

made

contrasting value and

by the careful arrangement of the foreground courage the eye to come to

skill in indicating

middle

Motif Number One Yes, the scene

Rockport, and this

Here we

our

5, I

interest

distance, the familiar silhouette of the fish house

The sloping line

plan of action complete,

all

to contribute to

with the foreground ele-

objects so that they encircle

upon

and

steeple of the village church, lightly

are ready to go ahead with our final drawing. call

same

frame rather than holding the attention for them-

powerful arrow point-

rectilinear forms.

Our diagrams and

in the

ments strongly accented yet forming a

in-

ing in the right direction. Note, too, the contrasts of curved

darks and grays are

has travelled across the water. is

the arching tree limbs and vertical trunks

hold the eye

it

accent which eventually catches the eye after

in-

1 ,

of the nearest roof

and hold

analyze both of these picture

silhouetted in gray against the sky, counts as an

light

You will have noticed in the line diagram, sketch how strongly the receding street lines and tree how

are con-

across a little harbor with a fishing village be-

dramatic contrasts.

full of

fall dif-

different

At the bottom of page 45, in sketch made a picture in which the center of

across

This leaves the sky and sunlit portions of the

tricate

to the right.

and value patterns

line

You should

how the

beyond the

and shadow on our cottage fronts can best be dicated on our

swung over

the effect desired.

under side of nearer foliage which re-

some

has

principal lines are accented or suppressed

and the dark fronts of the houses

way give

it

arrangements so that you will observe how the

trunks and branches of the trees, the shadows

face, the

have made

3 and 4, on the facing page. coming from the left but toward

trolled to lead the eye area.

middle and low

the mass of foliage of the tree just

a

and the houses are lighted on

Yet the

sides.

they cast across the street and upon the buildings,

cottages,

this, I

In both instances, of course, the shadows

our rectangular frame.

The

is

the observer. In 4,

cottages are to be our center of in-

terest, a little to the right of the

demonstrate

few

upon two or three little cotdistance from where we stand. The

The

To

rearranged.

feet out

long tree shadows strike across their fronts but

pattern.

perspective.

satisfactory picture with the values completely

look directly

falls interestingly

the sides shine out brightly and

means of accentuating the

a little

As suggested above, the same scene can make

several dif-

from the sidewalk on the right hand side. The sun is coming from our left and a little behind us and tages a little

windows the sha-

beyond them and give us

against light

from the same point of view.

ferent pictures

For

make

sun strikes

dow forms are definitive and we make them so. A few figures down the street stand out sharply

comes from different direc-

quite possible to

is

Where the

the eaves or the dormers or the

tions and constantly changes the aspect of things so that

a silhouette of light against dark or

is

dark against light we are careful to make our

tervals, creating interesting shadows and letting the sunlight strike through their branches and

foliage in a brilliant display.

We

model the suggest the contours and

edges clean and expressive.

regular in-

less

trunks and

in the architecture, in the tree

limbs, in the grass and flowers.

is

de-

44

it

rest

and subtly en-

upon

it.

"^!W^-~™««», '

3

LIGHT DIRECTION-SHADOWS

< h en

Q iz;

<

O

iz;

THE WINTER LANDSCAPE The

makes great changes

arri\al of winter

even brighter and are so shaped

in

black and white.

therefore furnishes admirable

It

subjects for pencil pictures.

very white, while in shadow

it

sunshine

in

The

offers every grada-

become even darker

shadows they tours of the

ground with subtlety and

around

in

our

car, if

we come from

On

until

one such day

I

we

find

rather than

can drive

trees,

distant

a

have made

I

A

of simple elements.

few

where

of contrast

nature gives them continuity.

its

In sketch 3, opposite,

we

light

The degree

they pass against dark.

what we want.

came upon

focal center.

become

against light yet proceed to

can don heavy boots and tramp along freshly

plowed highways

mould

We remember how things sometimes appear dark

We

the city, or

each stroke will contribute to our

and movement toward the

direction

exactitude.

We

a picture out

small, weathered barn, a

and

hill,

snow-covered

a

barnyard make an effective grouping, granted

a gracefully

thought

little

to

make them

barn door, a

have made

deep shadow, intensified by the snow on the

the subject of our next plate.

I

The

chose a point of view where the church would be a

little to

sun

fell

the right of center.

The low

winter

the left of center, takes a

little to

vertical trees, stark against the hill

gray sky, lead

down

a

The

build a design.

steepled white church beside a crossroads and it

the

while other strokes, crossing them, give

trees;

Let us go out to the country on a winter's day should not have too far to look.

all

the forms of the rocks, the snowbanks, and the

in

and the

and see what we can find for picture material.

how

while of

on the snow model the con-

cast

develop our detail thought-

design. In shadows the strokes can help to

winter. Buildings, too, share in the general play

of reflected light across the landscape,

We

and sometimes playfully, thinking

fully

trees stand out sharply, both

the

principles that have been pointed out in

other lessons.

those which have shed their leaves and the evergreens, which seem to

we follow

In rendering our final drawing,

same

is

which reflected light plays an

tion of gray, in

important part.

Snow

as to help carry

the eye to the center from every direction.

the landscape and intensifies the contrasts of

roof.

and the

in strong contrast with the

putting one side of the

horizontal ground level. Notice that the trees are

building in deep shadow and almost obscuring

spaced rhythmically and not equally, so that they

from the

left,

the minister's cottage alongside.

A

following the curves of the road threw

shadow

across the

the roadway.

long

its

heaped-up snow and well

Some naked

beside the fence could be

trees in the field

made

to

do not become monotonous. Some

stone fence

shadows across them give some diagonal

tree

into

relief to the

and

the

enframe the

same

their positions a little to contribute to our design.

diagonal

Beyond

1,

sort

the S-curve rather than

upon the vertical-horizontal sketch 4.

developed

many

with the lines of the road leading

in

from

holding the attention on the facade.

formed at

a

powerful accent

the focussing spot,

.'^.s

The

Below,

hind the church against

is

snowy

steeple

for values,

in

sketch 5,

1

you

have made another silo

elliptical

standing on

hill

and the

a

profile of the

foreground road from which we view

dark be-

you

fields that will give

knoll, encircled by the dark, distant back-

ground of forested

it.

This

is

the gray foreground, light middleground, dark

used to furnish the background

backgi'ound theme described

which the building shines out almost

spectacularly.

woods and

picturesque subject.

arrangement, with a barn and

to pin the eye

will see in sketch 2 that the horizontal

a

contrast, appears in

Almost any farmhouse has outbuildings

in settings of

as in sketch

eye.

of material but with accent on the

movement and

to

into strong relief.

well as performing

farm group, made up of much the

of

several directions and the verticals of the trees

down

little

some dark forms

the church were

line pattern analysis

itself

as

and other houses which could be used

throw the church

The

foreground

well-known function of leading the

Another

church and we had no scruples about shifting

trees

with light

ruts,

page

The gray foreground shadows and make the snow

6.

in

our analysis on

You have no doubt been watching

all

the

pictures thus far discussed to decide which classi-

the lighter ones across the field

fication

50

they belonged

to.

It is

well to do

this.

lb

Jtki.A.. L.

SNOWY CONTRASTS

o D O >^ Pi

o o

i

||:M

THE FARM GROUP Farmhouses and

their

picturesque.

The

barns,

in

leaves our foreground in bright sunshine, bal-

somehow always

ancing the bright sky and increasing the tendency

buildings

accessory

every part of the country are

new and

old, the chicken

come

for the eye to

to rest

midway between them,

houses, the sheds for various purposes, the silos,

on the gable end of the house.

the windmills, and all the multifarious buildings

Partly to break up the sky area

farm

that

seems

life

to

demand

arranged so that they hold together and story of the kind of life lived in

on that

tell a

and around

our big

etc.— with which the artist can construct an un-

number

limited

when he

of patterns

ring in the old trick of putting

is

is

just

your picture,

in the principal area of

be sure not to put

puts their

foil for

whenever there

tree. Incidentally,

one big tree

shapes— prisms, cylinders, cones,

we

side,

slender tree, which serves also as a

in a

them. Not only that, but they make a design of solid geometric

the right and

at

partly to stop any tendency for the eye to escape

usually

are

right in the middle. This

it

true advice in general but

is

especially perti-

three dimensions on two-dimensional paper.

nent in the case of such a prominent downward-

Let us take one such farmhouse as our subject for

thrusting form as indicated in the diagram.

the next exercise in picture making. It happens to

be in

New

England and

is

There

of the old gambrel

salt-box variety with a big central chimney.

nothing much new to be said about ren-

is

dering the

Some

Your arrangement

final.

you have but

to

is

all set

and

apply the principles you have

a stately, spreading tree rising high over the roof

By now, this should be a habit.

Again, I have made two little sketches of the same scene with different lighting. One has the

and giving welcome shade from the summer sun.

sun coming from the right and our tree and

This tree and the shadow of

gable are

made dark

the other,

it is

owner has thoughtfully sycamore which has now grown into

already learned.

ancestor of the present

planted a

gable end of the house will

branches on the

its

make an

excellent

center of interest for our picture.

as the

We

way we look

plan our rectangle with the principal focus

to the left of center

and sketch

eye-controlling lines as objects. sit

An

we

in

find

old ramshackle shed

our important

them at

our

in

it is

we

curves

downward toward

from

first

it,

fits

The

into our plan, since

limbs of the tree

itself,

The road it

A

series of

most important surface

make

a "picture,"

a

The

a picture. is

that

below

horizontals— the path to the

fence, the roof lines of the buildings— afford us

we have

toward our objective.

the sur-

to the tex-

have not tried have tried

to

to put

decide on a dark background formed by the

thing

I

a

as that

museum,

directs attention back at the house

light

chance to make an infinitely more interit

than

shining full from the

same

have tried to demonstrate

across the surface in long diagonals

esting job of

wooded hill behind the house and partially merge this dark area with some foreground darks at the left, culminating in a pointed shadow on the ground which

I

a sharp

and following the streamers of

it

and shadow

We

though

in

by letting each clapboard shade the one

shed, the fence, the base of the house, the second

a succession of steps

at

balance and emphasis into even this segment of

most powerful converging force from the top

down.

matter which

it.

a picture!

show up and give character

face will

travels

form

No

call

we have

ture. In sketch 5, opposite, I

silhouet-

ting against dark masses of trees beyond,

it,

often well to choose to have the light falling

across the

toward the house and then away

which

both ways.

the tree.

at

back-lighting,

angle so that even small irregularities

facing our subject will give us a set of lines

vanishing

photographers

we have

In drawing closeup views of architectural detail,

nearby

left as

against a gray distance. In

winter, and

followed in lighting sculpture

particularly

cate.

When

fully

it

is

we would if the sun were front. The principle is the

when

the modelling

a subject so lighted

full of life

is

in a

is

deli-

drawn

skil-

and sparkle, even though

For the gray parts of the picture we use the middleground grass, the foliage of the tree,

grays are predominant. Lighted from the front,

and the front and roofs of the buildings. This

sunshine

and

tree.

it

56

becomes

flat

itself

and

loses "color,"

may

even though the

be extremely brilliant.

AV-

BALANCING FO RM S- D ETAILS

Pi

a I—

Pi

•J

M M

H

-^<..-l

ROLLING COUNTRY

IN Most

of the pictures

have been scenes

we have been analyzing

which the land

in

itself

has been

Now

see

go out

let us

to the hilly terrain

what we can do with the curving

profiles

and

the nature of the

and

strong

contours of the rolling landscape as material out

weave our patterns. We will, of course, encounter houses and barns, and may even make

more

First of

we

curved

will be dealing with

trees but

its

adds

.

many more ways

pelled to go where

it is

in

is

com-

wanted.

forms and lines rather than straight ones. Even

As before, ject can

follow the line of least resistance to hold to their

rearranged. Sketch 3 depends on a clean dark

Our first

and past

a

group of farm buildings toward

series of hillsides arching

The

principal line, as

we

which

it, is

left to right,

down

hill,

its

and windbreaking trees stands out clearly road as

it

At

disappears

down

away, two successive leading lines. perspective,

we have

4,

dominant elements of

The

movement

its

the

a strip

breaks

we have

share in leading attention to the barn and

silo,

sides,

its

level base.

The

curving

of the roof line

is

at

is

our back and to the

shadow on the

left,

which

side of the barn.

balanced by the mass of dark foliage

The

cupola and

silo are

allowed

at

to sil-

Together with the

poplar, they pin

tall

the right side of the picture and keep the

eye from wandering out.

a

See

its

if

you can take this same subject and by revers-

ing the direction of light and changing the value

arrangement make another picture with a

by

and

ent

flanking trees, nail our principal focus firmly in place against

left.

skyline.

silo.

Vertical strokes on the barn itself, reinforced

the punctuating forms of the cupola,

is

down

wealth of opportunity to make every stroke do

"V"

houette clearly and their forms add interest to the

silhouette.

In our final drawing at full scale

light

This

background for the

Our farm group

dark hillside with

very slightly to the right

inverted

gives us a strong

value scheme develops with the principal

dark extending across the middle distance, an

distant hills at the left.

and made

complemented and echoed by the flat "V" of the ground line as it dips to the basement entrance.

The

into the

little,

with the gable end as the prin-

cipal item of interest,

of center.

have taken the same

I

turned around a

silo,

a close-up picture

poles, vanishing in

up by

in a

movement.

line

At the bottom of the page, barn and

The

a gray

immediate

of these arrangements the curves are the pre-

vertical barriers to escape for

and

coming from

mood, with the

a poetic twilight

converging rhythmically toward the center.

of stone fence,

is

light

make

of the

give us additional in-

essentially light foreground broken

sun

light in a sequence of silhouetting planes. In all

turns the other

the eye at the left and set up a counter

The

dark foreground grading away into the distant

into the valley. Farther

hills

The telephone

form

it

light.

and towards us and the

barns

recedes from us hooks around and

points to the buildings before

way and

to

The curve

an obvious center of interest.

now made

sil-

against the hill,

silo

sharp horizontal at the base of the buildings.

a little slope to the

the farm with

a picture with the values entirely

foreground merges into the gray middleground

road, then up on the other side and over a hilltop.

Against this nearest

have demonstrated that the same sub-

which extends away from us and terminates

an S-curve fol-

lowing a line of dark trees extending across our view from

is

the right

a

one into another. see

I

make

houette of the barn and

try will be a view across country,

looking from beside a twisting dirt road, across a field

its

and you

which the eye

the highways are winding in such country, as they

grades.

sil-

diagonal leads

right into the picture. Study this plate will see

incidental than heretofore.

all,

windblown

stone wall at such a place that

the focal points of our pictures, but they

will be

expressive

downward thrust as it throws its long encircling arm around the central area. In the foreground we insert a gate of chestnut rails into our

of which to

them

The jagged and

our objective.

houette of the dark evergreens not only describes

secondary to other elementsâ&#x20AC;&#x201D; trees, houses, barns, etc.

converge unobtrusively but surely upon

arcs that

mood. Then experiment some more with sub-

jects of

now

hill-

both dark and light, are modeled with long

You

your own choosing.

getting the hang of

control over

62

differ-

it

what you draw.

are certainly by

and acquiring Is

it

not so?

real

.-Pi.:

^..^^^5-^

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J.

CURVING PATTERNS

'j^

s

1

Pi

1

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^

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i

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&

OS

^

THE HILL FARM among

one

balance around the center, with large areas on the

frequently comes across a farmhouse that makes

nearer hill and the big tree and smaller ones for

In the highlands, up

good

the green

The

picture material.

hills,

rectilinear

forms of

the shingled roofs, grass, cloud shadows, and

The

the house itself are in contrast to and comple-

foreground objects.

mented by the rounded slopes of the wooded among which it nestles. There is also

as the strongest contrast,

plenty of chance for dramatic lighting effects,

The

such country with

in

changes of season and weather.

drawing

cussed earlier.

friend of mine had such a farmhouse in Ver-

mont and

I

decided to use

The

it

for the

developed

final picture

You

page plate overleaf.

A

lesson plates.

was reserved for the

gable end. This planning gave us diagram 2.

hillsides

which continually change

strongest light, as well

as

shown

all the devices we have disThe calculated direction of strokes,

have used

I

the play of light against dark and dark against

accompanying

edging of silhouettes to define

light, the clean

long, low, horizontal lines of

the house, extending back at right angles to the

form and

road, were set against a background of receding

lying portions, the practice of leaving

hills.

The

sented

and in

its

this,

the

hills in

these and

a

made

low horizon

keep

we took its

bit to

the

it

The

exhaust

a

sloping pro-

1 felt

sides of the road

storm

and

so I

moved

its

is

interest, as well as to

To add

it.

the possibilities of our material,

I

scene.

have

At

3,

lighted up

gathering in the distance. At 4,

is

a peace-

hills.

At

5,

drawn

at a different scale,

snow covering the You can, if you try,

a winter scene, with a light

fields

arching limbs effectively enframed our

focus and held our gaze in position.

ground

is

beyond the

a

venerable maple across the road to a position

where

you master

arrangement does not

ful twilight effect with the afterglow lingering

the need for an extra

force at the left of our gable

master and

momentarily by sunshine from the right while a

toward the house. Since they were much stronger on the right, however,

all

artist if

that one

to

made three other pictures of the same we have the house and foreground

of the hills lent themselves easily to our

scheme by leading down on both

to give reality.

what you are trying

show you

Just to

strong perspective influence from left.

is

what will make you an

left.

the liberty of curving

That

picture.

passed the house, was actually

it

and that help

but the arrangement which makes our drawing a

level, so as to include the

with the focus a

as

are tricks of draftsmanship that

are based on truths

our picture, we developed our line dia1,

more

â&#x20AC;&#x201D; all

But the really important thing is not the technique

a suitable center of interest.

leading the eye out to the files

in out-

little flecks

gable end to the approaching visitor,

straight, but little to

edges

of light in gray areas to suggest sunshine

flanked by a comfortable, shaded porch

gram as at The road,

attract attention, the soft

graceful, two-story, front portion pre-

ell,

Choosing

in the full

will observe that in this

and roofs and

hilltops.

conceive of others.

The

fore-

provide more lead-

variations

was

derived from one photographic print, sent to

me

material for this sketch and

my

its

ing lines, I imagined a bit of rail fence, a rock, and some roadside weeds, all of which helped to direct and hold attention where I wanted it. To keep the long sloping line of the hill from leading out to the right, I arranged some cloud forms in opposition. A few trees back of the woodshed

by

end of the house could

heights of excellence that can be achieved by a

ward movement

like

friend. Naturally, the

photograph

is

not

any of the finished sketches, for the camera

must include everything within view

just as

it is

and cannot move things around and change the emphasis. That

is

why

the camera picture,

how-

ever skilfully taken, can never quite rise to the

effectively stop the out-

of the long horizontals.

real artist.

The camera

is

sometimes a real aid

make quick

to

Values were aranged to give a strong silhouette

the

and picturesque chimneys, by making the more distant

of material he might not have time to sketch or

dark and including some dark foliage just

be used sparingly, however, and wisely, with

to the house, with

hill

back of the ridge

its

interesting roofline

line.

Grays were distributed

to

artist, for

it

enables

him

to

have access to places he cannot

visit. It

records

should

firm resistance to any temptation to copy blindly.

to

68

s.-^'C

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-

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^.-b^--

5

NATURE'S MOODS

w

-.*a

%

W

4J^ ^5

THE FOREST

IN There

are people

see the

woods

who

are said to be unable to

for the trees,

supplied by the long shadows on the ground and by the massed trees along the far iently

and others who con-

versely are unable to see the trees for the forest.

The artist must be able

to see both.

side of the pond.

He must know

To

break the monotony

troduce a leaning tree

at

the

individual tree forms and must also

know how

also to force the eye into our center.

and

affect each

In distributing our values

the trees live together in nature other's habits of growth. It

is

one thing to draw

at

a single tree, of definite species, so that its charac-

unmistakably expressed.

teristics are

draw

to

that

group of

a

It is

birch trunks into relief.

lightâ&#x20AC;&#x201D; using whatever

produce

it

in-

a strong dark will

throw the

We then make some

some gray, and some we have to

of our nearby trunks dark,

trees, a grove, a forest, so

will be convincingly real.

it

the center of interest, where

little

another

we put

we

which helps

left,

artistic instinct

a pleasing balance.

The

rest of the distant

making a picture out of a bit of woodland, we will take up our position in a little birch grove, in winter, where we can look

trees

out through an opening, across a frozen, snow-

short, curving horizontals to express the texture

covered pond, toward a spruce woods beyond.

of the bark and give vibration. Occasional long

This will give us a chance to draw individual

vertical strokes help to

As an

trees,

By

exercise in

We draw our tree trunks in lightly and then proceed to render them with clean strokes; mostly

The

small groups, and massed growth.

move-

the very nature of things, the general

ment must be

ground

nishing the contrasting opposition.

We

range for some diagonals, too,

in the

it

may

suit

straight trunks, closely

our convenience.

and branches of the nearer

interestingly. Character

lot of

a

wood

find

is

to

them, they are

break up the darks

given to the band of

make

the

jagged silhouette of their tops describe their nature. Finally, our

ground shadows are put

in

with soft, undulating strokes of fluctuating widths

are unevenly spaced, of varying thickness

of trunk, and of different degrees of dark or light textures.

the lighter trunks

distant trees by simply taking care to

that the trees in

is

and help

clearly silhouetted

and equally spaced, would

What we

we

trees pass along or

across the darker ones behind

shape of

be deadly monotonous, to say nothing of their lack of reality.

Where

have observed them.

fur-

can ar-

A

their roundness.

following the growth habits of the trees as

branches, and can even have a tree or two falling

over where

model

interlacing branches are put in with long,

firm strokes that vary in thickness and direction

vertical, following the lines of the

trunks, with the horizontals of the

and our ground shadows are gray.

accomplished by rocking our pencil.

Within reason, we can play upon these

ful to

divergencies and create interesting rhythms.

add

to the receding effect

shadows closer

we are standing close we cannot include their our rectangular frame. We make the most

as

We are care-

by spacing these

they get farther away from

us.

have provided several other sketches of wood-

In the present instance

I

among the

land scenes in which you will discern the same

tops in

nearer trees, so

principles.

At

3, I

have emphasized the impor-

of this situation by deciding to group their slender

tance of clean, suggestive silhouette

trunks in an irregular and interesting rhythm.

my subject

We

a glance that the forest

little

choose to

make what we

opening our center of

interest,

a little to the right of center.

on either side

and one on the in

see

The

and place

two

at

a

the left

of the

pond

is

now needs some

line

this is

means.

You

can

tell at

of wind-beaten everis

into the water to drink.

I

have drawn two old dead

the forest's edge.

I

chose these two trees for

central topic rather than three because

placed in the center of interest to

Our

moose wading

In the picture at 5,

A slim, triple-stemmed birch at the edge

give the eye an anchoring post.

by

trunks standing out starkly against the pines of

clusters are all different

the number, size, and spacing of the trees they

include.

entirely

greens and that the creature in the foreground

it

We group the trees

in three clusters,

right.

through the

by describing

it

my

never

seems quite satisfactory to put three similar ob-

diagram

jects

horizontals which are conven-

prominently

or five

74

make

in a

group.

a pleasing

One

or two or four

unitâ&#x20AC;&#x201D; never three.

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WOODLAND SILHOUETTE?

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MOUNTAIN SCENERY When we

travel about in

we

country,

tainous

more ruggedly moun-

where the sun cannot

reaching up the mountainside

encounter striking

often

many

scenes that prompt us to reach for pencil and paper. The bold and striking natural forms we see are of noble and majestic proportions and re-

The

houettes.

more intimate views we have been dealing with. How shall we ever put these huge vistas onto a 9" X 12" sheet? Well, it can be done by

attention to

following exactly the same principles of arrange-

some

As you will was not so difficult

skyline

make

of the leafy

given especially careful

is

A

few wind-battered

added character. have seen by now, the change in

pines along the crest give

have taken for the following a little farm

after all. It

is

scale

just a matter of

Things that required many strokes

relativity.

now become mere

plate a mountain view that includes

before are

nestled close to a couple of steep and jagged

picture, to be described adequately with a

cliffs.

What

was once the rounded shoulder of

a small mountain,

now looms up

against the sky,

naked rocks

soil

its

well-placed strokes.

romantically

washed

A

of its mass, nature has chiseled a series of

The

details in the broader

thing that counts

we weave with

the pattern

clear of

by the action of centuries of wind and water.

Out

sil-

the crenellations count interest-

ingly in broken rhythm.

with smaller subjects. in point, I

broken up with

is

rounded crowns, with jiggly strokes here and there to give vibration to

than the

ment As a case

of trees

curving strokes that suggest the

short

quire greater scope for our canvas, so to speak,

as

The mass

reach.

few

is still

and values.

lines

couple of other arrangements of the same ma-

terial are

shown

directed

differently

at 3

and

4.

in

each.

Attention has been

them

Analyze

stony towers whose architectonic forms suggest

and strengthen your comprehension of picture-

some medieval fortress. Here is a subject has grandeur enough for broad treatment.

making.

The a

that

At

choose to

make this our it we assume

accentuate

We

the right.

have depicted

a

We

The elements

flows a broad river.

are big but

center of interest and to

they are simply expressed with a few value areas.

the sun striking in from

In rendering

place the sheer edge

somewhat

lively

to

it,

and sparkling,

as befitted

serenity of the distance

of strong lines leading to itâ&#x20AC;&#x201D; an approaching road,

its

shadowed

its

was expressed by merging

details into soft grays as they receded

See

trees, the roof slopes

made more nearness. The

the foreground was

the right in our rectangle and develop a series

the profiles of the

long vista through moun-

tainous forms skirting a valley through which

castellated ridge terminates dramatically in

perpendicular wall of imposing height.

5, 1

if

you can follow the

scheme

line

as

from it

us.

makes

and chimneys of the house, and the forms of the

use of directional lines, vanishing parallels, S-

mountains lend themselves to our purpose. In

curves,

sketch 2,

we arrange our

and

Then

lines in opposition.

try to

make

some broad views of your own.

values to highlight the

with darks and grays

We have come a long way, have we not, since we

which funnel the gaze to the exact spot of our

started out on our long excursion into the realm

cliffside

and surround

intended emphasis. close against the is

to

it

The

deepest black

is

placed

of picture building.

gleaming triangle of rock which

form our focus and

is

something

balanced by another

as

I

hope that you have learned

we went

but smaller intense dark in the foreground trees.

press both graphically

Grays are

important thing

also distributed so that they balance

around the central motif.

Rendering the in

the areas

final

worked

drawing

we have

is

model the

shadows

and putting

to define the

rich blacks inside the

deep

fissures

and

in

have tried words.

to ex-

The most

you have presumably

making drawing

after

drawing and

efforts

and the work of

this consistently

over a

period of time, you should have progressed

forms, leaving patches of white paper in the lighter grays

it,

and

that

shown here but your own others. If you have done

laid out with strokes of ap-

We

at

is

I

conscientiously analyzing not only the examples

a matter of filling

propriate weight and direction.

along, and that you have

absorbed the principles that

gate to

crevices

80

at

way beyond the threshold of the the world of creative art.

least a little

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THE LOFTY PEAKS We have now come to the final lesson in this book and it

is

we

since

started out at sea level, so to speak,

among

rate,

view

in the

ject a

scenery

I

have chosen for our

last

water

sub-

High up among

western mountains, where the

we

where

group of

a

Note that by making and down on the

stands out

The mass

peak.

foreground tree

of the trees roughly

we have here and the

to

make

sail

secondary center up the mountain top.

trifle to

cone a flat,

snow are put

We decide Our

Where

tree

farther out in the

same

direction.

edge are made

To

The

provide a barrier against escape

at

the

left,

the

with broad even strokes, close

in

snow has melted or blown away from

more or

' .

I

make and I

we

will leave

it

have

to

you

a

few

enough room

just

have earnestly tried

to

in this

to interpret

book

knew how

I

shaggy branches are also useful

Our

down and

from the

in

value diagram shapes up easily as

them.

in

with

and

trees

bits of

showing through near the peak are made trast

more

them.

softly with the gray

The dark

reflections in the

position of the trees which cast

ledge

do

to

hope that

I

what the

so,

mental

artist's

and executes

have impressed upon you the

to con-

what you need, and putting

maimer

in

such a

I

have not tried

of

may or may not

water accent the

it

together

as will produce pleasing results, to

make you overnight

That work and presupposes

finished artist.

shadows around

them and

I

selecting

the strongest dark of the trees against the bright

snow beyond. Other dark

you

fundamental ways of analyzing your material,

left.

at 2,

to give

helpful guidance. I have explained, as clearly as

which gives a strong contrasting

directing attention

remarks to

final

processes are as he plans his pictures

vertical. Its

them

make them.

put in the trunk and lower branches of a fulltree

your

less self-explanatory at this stage of

to yourself, for I

to in-

is somehow more much for the tech-

grown

fir

well to use

it

smaller sketches opposite are, or should be,

progress.

crease the sense of depth in our picture as well as to

the

Smooth shadows on the

nical points.

pond and returns toward our focus along the base of another group of trees. The angular forms of the mountain press down from above and some at the water's

mould

vertical strokes to express

expressive of the texture. So

the

foreground rocks

rendered with a combination

of each exposed patch. This

A

receding S-curve follows around the edge of

slope their planes in the right direction.

we

of the

short strokes going across the shorter dimension

the right of the axis, with the apex of the

little

The trunk

the rock formations, I have found

and a

in the rectangle

measured up

together and ending cleanly at the sun line.

the trees our center of interest, with a

group centers low down

is

the texture of the bark.

by the

to that furnished

down by the seacoast.

nearer

this strip of light

vertical plane of our picture,

form and some long

the opportunity to play up a

somewhat akin

contrast

gulls

cut a slender hori-

of short horizontal curving strokes to

echoes the shape of the rocky crest above them, so

vertical strokes for the

increase the illusion of depth.

against a snow-filled ravine on the slope of a conical

by

Through them we

the far shore rather than halfway,

lake and look

little

tall firs

and

placid

passed and caused a slight ripple to reflect the sky.

the infrequently trodden snows,

stand at the edge of a

across to

The

zontal streak of light where a puff of air has

the last level where substantial vegetation can

exist,

pure silhouette,

to stand out boldly.

best expressed

is

reflections.

noted for breath-taknig magnificence.

is

in

for their profiles are sufficiently descriptive

the snow-capped peaks above the timber

At any

handled almost

trees are

we want them

perhaps appropriate that we should end up

line.

at

The

is

have.

I

a natural talent that

you

do believe, however, that

you should have derived from these pages

also in-

into a

something that takes years

a better

tensify the importance of the farther shoreline.

understanding of pictures and their making than

When

you had before you began

our scheme

satisfies

our sense of balance,

we go ahead with our drawing

at full size.

Clean

I

and accuracy of definition of forms and areas now become important, and we display our hard-won knowledge of how to render textures.

have accomplished

this

yours has not been wasted.

detail

of success in both

and draw.

to read

much, I

my

time and

wish you the best

making and appreciating

and better picturesâ&#x20AC;&#x201D; Pencil Pictures,

86

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better

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