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    Famous Artist School #1

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    Famous Artist School #1

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    11 views63 pages

    Famous Artists Artist Materials - How To Use Them

    Uploaded by

    Jeff Decker
    Famous Artist School #1

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Famous Artists Course Famous Artists Schools, Ine., Westport, Connecticut The artist's materials and how to use them = «+ Albert Dorne Fred Ludekens Norman Rockwell AlPorker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helek George Giusti Austin Briggs Harold Von Schmidt Pencil The artist's materials and how fo use them All your life as am artist — no matter what kind of pictures you rake, or how infinitely varied they ate in sje or technique — ‘one thing wil alvaye remain constant: you will have toe a Iateials and the arti’ cools to make your pictues “The love ofthe arts for his materials i a old at it Behind every good picture you xe — whether iis an illustration in a magazine, a simple creative drawing for a booklet, or 4 major masterpiece of painting in a museum —there sands an fart with an expert knowledge of materials and. methods Without the srtis’s devotion to his materials, and his skill in using them, these pictures could not exist. ‘That is why, all {rough history, the arst as worked to perfect his materials and his methods I you area complete beginner, you may find your materials somewhat srange and confusing 3 fst, Dont et that worry you ~ every beginning artist has had the same experience, Nor man Rockwell, AI Parker, and all the other men who ereated your Cour make pictures that command high prices and de light millions of people ~ yet seen they fist tok pen or brash iinhand, they didnot know hose to eantrol these coos any bet ter than you do now. The fest strokes they put dawn on blank Paper were hesitant and uncertain, The fist pietures they drew ‘were crue and unprofessional, These artists had to experiment with their materials and Bnd ost what they could do with them, ‘They encountered many dificulties and frustrations, and had to Aiseard much of what they did inthe begining, But some difeuly is part of any exciting avense af expe iment an discovery. Before long, these ats felt more at home with their materials. Their pencils, pens, brushes, and paints no longer seemed to have a will of their own, but behaved like faithful, helpful fiends. Soom these sien were painting and Arawing pictures 36 good as they had ever dreamed of doing and better than they had ever dared to believe they really ou This is only the beginning ‘You are about o embark on the se wonderful voyage of ds covery that these famous artists did when they stared out. On that voyage do not look for shortcuts Don’t ty to force the hauural time it takes your hand to get accsonie to handling thee new tools and materials. Be patient — very patient — with yourself. Noone i looking over your shoulder to embarram you. We, your teachers, do not expect perfection from you, and we know from personal experience what your problems are. We ‘ill never judge you for lack of speed or peection So, co begin with relax. Lowe yoursel in what you are doing, and have fun. Remember, thie just your fist leon ~ you ate ‘only beginning to learn the use of materials All through your ‘This lesson is essentially o handbook of the fur besic mediums, end was designed will be enough, for this lessen, if you ‘nly acquaint yourself with these sie me- diums and loern the simple fundamentals of handling them. You wil have plenty of ‘portunity to Improve yours work with them throughout your Cours. Course, at well as forthe rest of your life, you willbe working at perfecting yoursell in the techniques to sehich we intrduce you here, We do not expect you to become a master craftsman fone fewon, No artist ever di Experiment with your materials In this Teson you wil find not only new knowledge but a new love as well the Tove of the art for his materials. Ay you ‘experiment withthe tools of your chosen cat, you will discover great joy in handling them. Like every ther arts before you you will respond with pleasure co the postive, clean directness fof the pen. the sisted, sensuous stroke of the brsh the Aeticacy an speed of the penal, that marvelous "thinking tol of ingnive capabilities. You will find drawing in transparent wash a wonderful way to express vigoroay,caelte feeling. And the myriad benutifl ellecs you wil produce with opaque water coors wll il you with delight. Experiment with thse materials and eects, play around with them. Discover what they ean do for you and what you ean do with them. Above all, enjoy them. And remember that this Bes Jesom is only the beginning. As you learn more about your iaterials you will gradually Become better able to expres your ideas and achieve your artistic goals. You can eventually maser these methods and materials 8 well as any other arts, no mat ter how distinguished he iy AIL i takes is practice and exper mentation ~ plus the improves skill and better judgment that Youlearn to draw by drawing AAs your skill with your ool nd materials vances, you wil be sin to develop your own personal style as an artis. You wil nd ‘hich medians give you the most pleasure to Work with, and ‘hich techniques ae best suited for the pete kes Yon want fo draw and paint Av you get further long in your taining ve wll explatn more ally the things you mae knw an do fn ‘sing these materials and techniques i yor drasings are tore produce wel in newspaper, books, and all other forms af print ng. We wil give you all the knowledge yow need 1 became = sees practicing commercial arctan strata ‘Now you are on your way. We have made that way as suaight and direc as we could. Te willbe far uraighter than our ow way wns — bot sill will not be easy. In at, even with the fies guidance in the wor, you mus sill "lor yoursell.” You ast experiment and practice and you must accep and over. ‘ome the fusteations that wll contront you. Every artist woth his alt has done so— and 50 can you. Always remember: You learn oda by dr Famous Arts Coun “l ‘The artist’s materials and how to use them. Pencil drawing The mos valuable tool you will ver wie ay an arts is your pencil 1c is your “thinking” tool. Whether you finish your pleture in ik, wash, color, or any other medi, you will start by planning or thinking it out on paper with a pencil “The pencil isthe mou venatle ofall drawing tools With it you can make lines that are thick oF cin, dark ot light. You ‘in create subele graye or the richest blacks ‘Thete i almost, fo end to the excting variety of textures and shading you can ‘create with a pencil It you wish to make a change in your “raving, pencil lines are easy co erae. Ad to these advances the fact that pencils are cheap and can be bought anywhere, fund you ca atest once why pencil ean ideal medium for the git aswell ae the professions ‘Commercial antits and illustrators we the pencil almost every day of theit lives. They make preliminary sketches and ftudes for their pictares with i, No matter in what medium they finish the picture, they Best draw icin pencil. Sketches submited wo a dient for approval ate often drawn in pencil 1 ie equally good for making loose, sketchy studies oF the most meticulous, detailed finished drawing. Many ousanding Pietares in the history of art have been pencil drawings You and the pencil are old Wrends. You may never have done any drawing Belore, but you have been using 2 pencil to write with since your childhood. A few pen, some sheets of paper, a sharp Knife and an eraser, and you are ready 1 ‘draw anywhere. Your materials For this leson, you will need an HI, 26, and & 4B pencil bu they ate not exential. You will need some sheets of bond paper for practic, a sngleedge razor blade or knife, a exible soft rub ber eraser, kneaded eraser a pice of Artgura and a sandpaper block for sharpening your pencil, A few thumbtacks ot 3 fll of masking tape wil be useful for ataching your paper to the Arawing boar You tiay find one or two other grades. hep ‘Lesson 1 ‘Famous Artists Louse The artist's materials and how to use them The pencils you will use the most are shown an the let. ‘These are ordinary drawing pencils and they come in dierent lends lasifed from hard to soll, The solr the pencil the thicker the lead —and therefore the broader the line you can draw with ie The softest pencils make a black line, and the point Js soon used up, so that it needs frequent sharpening. The harder ehe pencil the grayer the line I maker. Hard pencils can be sharpened to a very fine point, ad hold helt point Tonge. Becsie they ate hard, they are ikely to dig ino yout paper when you apply presre. So, if you want a darker, Ficher line, don't bear down on your hard pencil ~ instead tse a softer one. Naturally, you cam vary the darkness of your Tines with any pencil by varying the preure ‘There are thirteen grades of pencils commonly wed. Six are hard ranging from HI, which is only slightly ard, 4 6H, ‘hich is extremely hard. Six ofthe grades ate sft ranging {tom B, whieh is moderately sot, to GB, which is extremely soft. In between the hard pencils and the soft ones dere fs 2 medium one, the HB pencil Examples of the lines these pencils will make are shown below. At a profesional you ill Seldom use more than four or five diferent grades, Gi ¥¢ Sharpening your pencil A regular pencil sharpener sil give you comistentty sharp, yen points quite suiable for much of your pencil diswia, It you prefer, you ean sharpen your pencil with a singleedge razor blade ot a sharp knife an finish by shaping the point on sandpaper pad. Roll the penel beeween your fingers 4s you move it back and forth om the sandpaper, If you want a chisel point (explained later), 6st sharpen your pencil with the rafor and ten sul your penal on the ‘ndpaper withoue rolling i Ma Mi Hi on Erasers and erasing ‘There ate three good sypes of erasers for pencil work: the Aneaded eraser the Argun eraser, andthe Rexible wfe rubber craser. All ate popular with aria, and each is better chan the rest for certain clea up jobs Knead erator. Tihs emer has to special festures (I) It picks up and absorb the lead of your pencil work, Ie does not Tike the other eo types leave tiny particles of rubber on your drawing. (2) It can be moulded into point to clean xp oF pick our” even the tiniet area or detail in your drsting (You can make this ermer pliable by kneading it with your Fingers for afew seconds) These ae the reasons s0 many ast find the kneaded eraser ‘deal for cleaning their daseings and ‘making erasures while they work, ‘As you work on a drawing, you will occasionally get pencil smudges on i. You will need to remove these stmdges without erasing any pare of your picture. In auch cases rub your neat eraser gently over the suréace. Ie il pick up the light flan of ditt and only lightly lighten your penal Hines. If you "ub too hard the lines willbe ered AL times you will find it neesary to erase» heavy black ine for tone (hiding) that you have made by presing very hard on a solt pencil, To do this, fst pres a soft pieee of Knead fraser repeately on the line or tone. Bie by bit you wl Hi ‘off the looser particles. When the erser will absorb no more of the led, you can safely start erasing, but be sine co ise a gentle motion Because the kneaded eriser is sft i will not always com pletely erase heavily drawn lines, In sch ease, finish off with the feaibe ole rubber erase. Floxible soft rubber erator, his kind! is often calod the “nuh” eraser, though Tt albo comes in pink, gray and other colors and has many diferent ere names Wei silat to the feraier on the end of the common writing pencil, is main purpose isto enable you to erase completely lines mae with heavy presre. For erasing small ares, you can enily cut the eraser to sharp, slanted point. To avoid damaging the surface of your paper, erse slowly and cavelully, with a gentle circular motion, Alter you finish always remove any particles of eraser and grit by Micking oF dusting off your drawing with repeated light strokes of 9 clean Inandkerchiel or a piece of similar material, Don't rub or you ff eraser and grit they will jmterfere seth your pencil, and it will be impossible for you to add eat, clean lines) match the others in your drawing. ‘Aetgum, This solt eraser is favorite for cleaing up a éaw ing after itis Boished. You will find i especially good Tor removing all the pencil lines when you ave fnishet a pen and ink oF brush snd iok drawing. Arggum is fim enous > remove the pencil ines but not hart enough to injure the ink tines, ewan Bh Famous Ariss Course ‘The artist’s materials and how to use them A variety of effects with the pencil (On these two pages yo sea small sample of the many diferent elects your can get with your pencil They rellet the wide vai tty of movements possible with the pencil quick, light, heavy, flow, deliberate, ete. Examine these stokes and then Gy some ‘of your own, but don’ copy any ofthese exactly Experiments like these are not just doodling. ‘They have a deal goal —to acquaint you thoroughly with the exciting possibilities ofthis versatile too Hold your penell emy way you find comfortable ee ee eer) ‘oon Sve, tase anes of ec tp. Jerky, doing tole, red od Si gor i «Se, srg mtn rn ded ter tp ‘Svan el pee ‘tncton neon Cpeekdor sing wih i pet, og seed preys pea esate Ecclesia toad ‘oaeter yt pent Seti of shar po te hap se Fa ene aed wth ane ‘dion porch ‘soe ade peat ond wh pony" Seem Fomeus rit Cove The artist's mater a Is and how to use them Papers ‘There ate many Kinds of paper that are good for drawing in pencil. Most of them ate. inexpensive. Experiment with di ferent papers until you find the ones which you like bes. ‘When Jou selec papers, there are three things you should consider: surface, Wickes, and eruing quality, Surface. For pencil work you want a paper that has "tooth" that iy paper that is rough enough to take pencil. Ifthe paper fs tao smooth a glony it wll not take pencl well. A good [general rule to follow is that the smoother the paper, the fofter your pencil shouldbe. Thickness. The thinnest paper made for pencil work s acing paper. You can see through it, and so itis ideal when you are tracing over another drawing, Visalling paper (sometimes falled layout paper) i thicker and whiter, but is stl wans parent enough to sce and trace through. Bond paper~ the kind. commonly used for ypewriting is thick that You can just trace very datk lines through it ‘Ledger paper fs thick and opaque ~that is, you cannot see through i€ or use it for tracing Another opaque penell paper is Bristol boat, which comes in several thicknesses, called plies ‘One ply, the thinnest, i alighly heavier than bond. paper Bristol board ranges up to ve ply but one, two, and. Uvee ply are-most commonly used for pencil. comes in many furfces, from very smooth to quite rough "The thickest drawing paper is illustration boat, which raving paper mounted on cardboard to make i€ si. I, too, fan be ad in many surfaces, Erasing quality. Papes range From very soft, such as news ewspapers ate printed, 19 very hard, sich a3 yalty Bristol board. You can erase well on che hard papers, but on sot ones itis dificult ‘Good pencil papors for you to use. For practice work, use inexpensive paper such as ondinary tmruled ledger paper snd bond sypeseriter paper. White of lightcolored wrapping paper sich a your grocer mes will do. provided it isn't waxy or too sol, You can cut i¢ to any sie that i convenient Lor you For preliminary sketching, most arts use visualizing paper. “This comes in pads of various ses, has a good tooth, andi hard enough to take eracuses. Iti lightly transparent, and therefore is wel for tracing ever a previous sketch, "For your finshed work, try 2 paper shall to che kind on hich this lesion is printed. [thas & good tooth and will tke pencil well. At the same time, itis hard enough to stand frasng, and i i thick enoogh not to bend ot wrinkle when you handle it Kieinish Bristol bostd, which has a similar surface, fs ao excellent. Try one ply and two ply Don't draw with your paper resting directly on your drawing board, Any rough or uneven spots in the boaed wil show up jn your pencil fines. You should put several sheets of paper ‘or a piece of smooth cardboard under the paper on which you fare going to drse, This il give you 2 amooth, pleasant, even ‘working surface ‘Study the pencil drawings on the fllowing pages careelly ‘You will sce that pencils can be used to create many diferent Hines and ones of Tight and dark. Notice that some tones are sade with many pencil strokes, and that these strokes are Sennetimes side by side, sometimes overlapping. Notice, 10, that some of the ines are thin and Tight, while oders are Wide and dark. ‘The amount of space between the strokes, the fade of pencil, and the Kind of point all play a part in ‘eating many exciting eects Chisel-point drawing Besides drawing with your penal sharpened to & fine point, you can ine the chil poine or brondatroke method. This isa fine method for making finished pencil drawings because it enables you to obtain alm the quality of brush stoking in your work Soft pencils sich asthe 38 or 4B should be used. ‘The ius tions below demonsrate how to give your pencil chisel point fand how to draw both thin lines nd thick lines wih i for different purposes 10 _____—— 2 x cca Os arn 4 ) ri * AX ( : =i M4 Het - aS ee Ny Seat ij : = eae Fomous Atos Course =T Thinking with your peneil Good thinking i a important as good drawing in 2 picture: When you plan a picture, ou watt 10 {thoughts in rough skeches a quiely and cally ‘Your pencil i ieal for this it can speedily crest the many effects you need 10 think out Belore you can make a good picture. That's why we call the pencil your “chinking” tok ‘On this page you see how Fred Ludekens records and de- velops some of is early thoughts about + picture ‘working drawings ~ the artist made them for his om guidance, to he did not worry about their unfinished. appenrance, He ‘angel and erased whenever he fle it would help his peur, om hi et hh Lada gis et ek th Sg Wis ns Ber SE ira fave wan nt ‘The artist's materials and how to use them developing ecard your ‘s posible, ‘These are = asin ‘ein geo igo aa. son ee move the we ou fe rvs wh nly te mee te pours more val ond in, The a ds ee de ep ‘eu a aps Sekonda tr te hs Ho ing wd ng ac ang ae Making a pencil drawing “This demonstration shows you 2 logical, orderly way 10 the more detailed drawing later on. Tn the next stage, you develop your “values” — the light nestor darkness ofthe things in yur picture. Tn the later ages you give tem their final shape and draw in their textures and detail at in the main shapes fist, ehe details last when you rake a pictore~ whether in pencil or any other medium, lees You learn to draw by drawing even Bp Famous rts coun 4 The artist's materials and how to use them Pencil Style (On these wo pages you se five pencil drawings, each bya diferent arts and each in a diferent syle, These pletures show that shere sno one best way to se your pencil ech att works in hit own personal syle, Which he develops through experience. “To develop your own style, you most experiment and practice. Try liflerent grades of pencil pencil points strokes and papers until you find the best com Finations for the drawings you ate called on todo. It is mot enough to pick up a few ticks and ase them lover and over gala With the help of the knowledge you will ge in this (Courses your honest attempss to put on paper your own thoughts and observtions you wil develop your individual style. Ifyou have something interesting and personal to say in your drawings, you wil da per Sonal way to make your pencil sy it wo A Famous Ate Cour The artist's materials and how to use them— Pencil Here are the assignments you are to send in Assignment — TREE (Plate 1) Copy the pencil drawing of the tee, Ience, mailbox, ete. on Baie. Work directly within the outlines onthe drawing atthe right, We've incladd an extza plate for you to practice on ‘Our purpose in having you make this copy i to free you from problems involving drawing and composition and permit you to ‘concentrate fully on how to use the pencil. This plate has been carelully designed to help you demonstrate how well you ean contol the peel Assignment — LIGHTHOUSE (Plate 1-X) 4m pencil, complete the drawing ofthe lighthouse scene. Use the printed outlines as a guide for your drawing, Draw divetly on is plate Shade the tower, buildings, rocks, trees, sky. et at ‘hough ic were sunny day. Follow the working procelure shown on pages 12 and 18. Try fora vatety of pencil sober to show the roundness and texture of the fms. Review pager Sand? In eticizing this assignment, we will be chiefly interested in the variety of suokes and effects you make with your pencil and how well you contol the tones ofthe picture IMPORTANT ~SEND IN BOTH PLATE 1 AND PLATE 1X AT THE SANE TIME Here is the practice work you should do Firs read thoroughly and study pages ® through 15 for an over all understanding. Combine your study with actual practice, Reading alone isnot enough — you must ry out your penal and spply what you stud. Practice various strokes ila to howe on ges 6 though & ‘Make pencil drarings or sketches of simple objects, especially those on which you can we diferent stroke patterns show rss, wood, bat, foliage, ete Materials you will need Three pencils or drawing ~ HB, 2B and 4B, Some sheets of 11x whic drawing pape, Before mailing Print your name, addres, and student number eat. fully in the lower lefchand corner of each plat, (Do this with each ofthe asignments you sen in) How much time to spend on these assignments These assignments for Lesion 1A were designed o you could do {hem after several evenings of study and practice, We expect you to mail them tous within two webs afte receiving your Goutye Tes important for you to get our constuctive criticism of your frst ssignment as soon as posible beease it wll be of great help to you in geting of toa good sar in thie Course. Also, it will help you receive the maximum benef and satisfaction from the lesons and asignmente that follow We realize you are learning many things that are new to you. Don't let this worry you, Do the bes you can and send your a. signeuts in for our helpful ertcs, Don't expeet your work to be perfect atthe start we don't. ‘While you're waiting for this work to be crtcied and re: tured to you, go ahead with the ident work for Leson 1B on how todo ink, wah and opaque drawings TREE (Plone 1) Assignment - LIGHTHOUSE (Pete 1-X) 1 Return ship Famous Artists Course ‘Westport, Conn. uno 80 ry sosiog L Buymoap juowubissy L- ) Suynoap uowubyssy ene ny oun vom Drawing in ink with pen and brush Pen or brush and ink drawing has been a favorite with many fof the greatest artists im history because ofits simple, graphic (qualities and many satisfactions, Yu, too il find i€ a ect and fascinating technique Most of us enjoy doing 1 lot with very litle, This is certainly what you ean learn to do with your pen or brush and ink The drawings that you make with these tools are called “line drawings” In a line drawing you can make only olid black lines of areas on your white paper you cannor make graye But you can make 1 good submitute for gray tones by putting many fine lines close together to create the eect of gry The clover your lines, the lest white paper shows through ‘hetween them and che darker your gray looks Another satisfaction youll have will be from the great variety of lines yur can create with the pen or brush. As you Inccome anote skilled you can cre a smooth line that ill Took lke the sot outline ofa girl's cheek, ora rough line that siggests the rugged bark of a wee ‘You will also find the same pleasure others do in the actual {eel of the yen or the brush. Ar you move it across the paper you ease the presire to make a thin line, you press to sake it ticker and you vary the movement slightly to give variety and character to your line. Your shill with the pen or brush will be very important becate itis ape to ea you mach of your income, expecially in the early years of your carer. It is with this type of att ‘work that mor artists rt. Line drawings ae in geent demand, Since they cin be reproduced more easily and cheaply than any other Kind, They pring well on all sores of paper, especially soft newsprint, They fan be reproduced and ved seceolly Where pencil, ash oF opaque drawings cannot. The medism isa favorite one for newspaper and all other forms of advert ing and printing where economy is important. But it tends ite equally well to making exquisite line drawings for fine books, the highest grades of magazines and deluxe advertising, “There i almost no limit to the number of uses for line drawings, s0 it will pay you to develop your skill with this ‘medium. Throughout your carer, your ability 35 4 line artist will be one of your most valutble asset Your materials For this leson you will need three pen points —coare, medium and flexible 2 penholder for them and x cromquill pen and Doder and branes (xe page 22). You will also need a botde of Black waterproof drawing ink and a pensipcr, which you should we often — any small piece of soft cotton cloth that Ie free of lint will do, Your paper showld have fairly smooth surface and be hard enough so that your pen will not pick up fiers when you draw. Kid or plate fish Bristol board or illus tration board is good for your finished work. For practie, have plenty of good-quality bond typewriter paper or ledger paper. Accidents wll happen occssdnaly, so havea few blowers hand. Pens Pens ate cased according tothe dhieknes of line they make, A “coarse” pen makes broud, thick line. A “medium” pen makes somes thinner line. The word “fine,” as applied to apen, does not refer to ts quality: Re means that thi point ‘makes a thin line. Some pens are "exible" others ate "SUE" Ifa pen is flexible, a lee pressure on it will enable you 9 make = mich broader line. A crowquill pen is especially good for drawing very fine lines Lesion A Femous Ariss Course 1 ‘The artist's materials and how to use them Vi) ‘There are many manufacturers who make excellent pen points. ‘The same type of point is given a dflerent number by feach manufacture, 0 a chart has been inchided to help you select pen points sinilar to the ones mentioned in the lesson, For example, a Gillot 404 i approximately the some point as ‘Hunt 56, or an Exerbrook 858, Ie makes very lie eilerence ‘hich brand you wse it fe what you do with ie that counts, Use a penholder that lees comfortable. Most artiste use one that is about as thick as or a Ile thicker than a pencil. The rowguill pen is quite small and hs a special holder Ink Always use 2 lack ink that is opaque — that i thick or dark ‘enough to hide or cover the paper completely. Tt the ink i too thin it wil look gray and will not reproduce, propetly. Blue ink will not reproduce at all, Waterproot ink will not rum when you paint = wath over ie as described later on in {his lenon, under Ink and Wash "Technique. ‘The ink can Be applied with a pen or brush just as it comes from the bottle Always Keep your ink bot well corked wen notin use o the ink will thicken and not flow emily. it becomes too thich, thin it with a few drops of water. Using the pen Before you use a new pen, dampen ita bt with your lips then wipe ie cry. This will help the point hold the ink and make it flow better from the pen. With a lite use anew pen is soon “broken in Don't dip your per too deeply in the ink or you will pick up too much and it may blot and spoil your drawing. When fever the ink stars w cake on your pen, clean it with your Denvwiper, Wash your pen points ocasionally. Don't handieap yourself with defective or wornout pen points throw them away. New ones are cheap and easy to Buy To draw with your pen, hold iti your Gngers in a natural veay june as you would for writing rn erg ei, et yn Comparative chart of pen points (Approxinote relationship) illo Esterbrook Hunt Conte Ob BBB 56 Mediuas BB. BT BR Fine MI BBB. 69 Very fine and Beste 290... 100 Erasures Ink Hines can be erased with 2 sand erster—a hand ernser similar tothe kind used by ypists. Keep one end cut to a sharp, Hunted point so that you can get into small areas. In using the sand eraser, be very caeful not to rub ton hard of you will ruin the surface ofthe paper. Where posible, ase a gentle sireular motion and always dust the gee off your drawing before putting the pen tothe paper again. I is easier to erase on the beuer grades of paper without spoiling the sarace Instead of erasing. you can paint out unwanted nk liner With opaque vehiter which is explained Later i this. lesom However, you eannot draw new lines over the opaque whit. When you make a pen andl ink drawing, fist draw your picture im pencil. Then do your ink drawing right over the lines of your pencil drawing and al textures and tones s+ need. Whe the ink is thoroughly dey, we piece of Arigumn to erase over the entre picture. This will remove all pect Tines and dirt without injuring the pen tines and give you 4 dean, workmanlike Fine drawing. (An akemative method of drawing, using tracing paper, is pictured ant described below, Here, too. you will have to clean up afterward) Don't be afraid to make mistakes, Because you will make many betore you master the pen. Practice 4 ft with pen and: ink wo you will guin the skill and assurance nevesaty for this precise but fascinating and rewarding medivm, 2 Mt oe yur tig paper dein and esha ty ater \ Experiment with your pens i K( « 20 Aosion “Bl Fomous Ariss Coune 1 ‘The artist's materials and how to use them. Many textures with a single tool ‘This piewre, drawn by Albert Dorne for a newspaper adver: tement, shows some of the many effects you can bain with pen and ink. Tirst ofall, notice the wide vareey of lines made by dhe pen, and how the artist has suggested the textures of ferent things with them. On the boat in front, irtegular fines make the texture of rough wood, while clean, hard lines and shite space suggest the sleck sides of the modem veel. For the sky and ills the artists wed parallel straight lines but fon each of these subjects he has made them a bit diferent, Darne has used his lines most economically —he does. not raw everything in full detail. With just afew Hines he clearly says “loud — with a few more, “water” A. few wellplaced Tines beyond the big ship are enough to make us sce an entire town, Throughout his picture he suggests lot with Le Examine the patches lifted out of tht picture and see how the pen strokes (and the white of the paper) are used. The drawing andthe patches are reproduced in their actual size a neta rae Awell-planned line drawing Here Fred Ludckens has taken a large, complex scone and reduced its many features to their few, caential elements Observe how he has use diferent Kinds of pen lines co sugges the varied form ane textures of (1) clouds, (2) sagebrosh, (8) the man's clothing, (J) the horse's coat, () a distant forest of firs and (@) the dead ste, Portions of thee have been ited fut for you co study, and the drawing is reproduced in its actual Sie, Notice the way the artist has used the white f the paper — imakes up three quarters of his ptt! a Lesson Bh Fomous Ariss Course 22 ‘The artist's materials and how to use them Drawing with brush and ink You will enjoy working with your pencil and pen —but not sore than you will with your brush, once you dicover the ‘wonderful things you can do with i. The brush isso soft and Aexible that iv ansvers tothe slightest presre, With it, you can draw any kind of line you want, og the lightest hairline {o wide, heavy strokes, Fine, graceful, lowing lines can be made almost effortlessly with your brush. If your pictare calls far large areas of darks your brush will put Hem in sliy and effectively. It can make Arawings that only an expert can ell fran per deavings Brush and ink pictures eam be reproduced just as easly and ‘economically as pen and ink drawings, to, By all means, learn to draw with both the pen and the brush You can tse 2 combination of thee tols in the same picture Your materials Brushes cone ina great variety of sie, shapes and material, ‘The smallest brush is an 000. As the numbers increase, the brushes get bigger and thicker, Numbers 23, 4 and 5 are excellent allaroond sizes for line drawings, They hold. more ink than the smallest brushes and yet can take a line almost 8 fine a an 000, (Too fine a line will not reproduce well) ‘The best brushes fr line drawing are pointed sable water. color brushes, It pays to buy good ones you can get beter elects with them and they last much longer. and ink. Papers that will do for pe and ink will do for brush and ink. A paper with a kid or slighly roush finish Js prefered. I will hold or take more ink and therefore give you a tlcher line than a smooth surface, The brush can be Used on Softer paper, where the pen would pick ip the Bere and create rough lines or make a blot Black waterproof drawing ink ~ the same Kind you use with, your penis deal for brush work, To make eraures oF cor ection, use the sme materials and techniques we recommend foe pea and fol Using the brush Follow the same procedure as with pen and ink. First lightly trace the lines of your preliminary setch on your paper and then stare inking over them with & brush. sd pet ad inky don't just go over the pencil lines with your brash, Use your brush to develop the lies and give them character. ‘Alter dipping your brash into the ink, always pres t gently against the inside edge of the botle neck to remove exces ink. Before wuching the brush to your drawing, try it on Piece of scrap drawing. paper. A picce about x 2 inches, tacked to your drawing Board, will be very convenient 23 The artist's materials and how to use them Famous Aris Course a ‘The artist's materials and how to use them 3 exon Br 24 26 Wash drawing I you have never worked with this exciting and sometimes frustrating medium you have a thiling adventure ahead of you Arts who Have lad experience with wash drawing are ‘warm in their praise of this medium, which can be used in so many ways to create so many diferent elec ‘Wash dering bas 4 full ange of values, from solid black to the white of the paper, and you can conttol it to give any effect you desir, exactly a8 in watereolor painting, You can tse wa for every degree of bnished drawing, om Nat decors tive elfects to threedimensional realism that is hard to dis Linguis frou 4 photograph. On the other hand, itis a fu Spontaneous metium =the wash flows frely 3» you work swith it, and siggests ways to create pleasing and exciting fects. You don’t have to ait long for It to dry, ithe. “The fad and ropi-rying qualities of wash make it possible to work fast— and this makes wash a favorite chee of many artists when they have to do a tone deacing. I is especially Tine for quickly covering lage areas such as a sky or a back ‘round ina picure ‘Wash reproduces well, When handled simply and in flat toner ic cam be reproduced on all but the poorest newsprint When handled in its full range of tones, i excelent for reproduction in the finest publications Tt will tke 4 Jot of practice and experimenting before you sil know how to make a good wash drawing. It won't be any, so don't be too critial of yourself if your fist results don't come off the way your dhink they should. Remember, fnce you have mastered sh, you wil lke dhe ease and speed ‘with which it works, and the rie tonal eects you cam produce Ivth Patent efor is the ele to success here, ‘ ‘we at sate brah hod for What is wash? Wa is made by mixing a black pigment with seater. Te is applied to white paper. The lightnes of a tone depends upon how much of the white of the paper shows through the wash. ‘This is controled by the amount of water mixed with the pigment — (1) much seater for ight tones, (2) les water for Iedium cones, (8) very litle ater for dark tones, and (4) Siment pre pigment fr ac lac. Your materials ‘The materials you need for wash deasing are very simple—a. tube of watercolor lampblack, several ound sable brushes, # fat sabe brash illustration or Bristol board, x porcelain palete ‘or plate «lage bow! of clean water, a wad of cotton, a bower and pa ag Watercolor lampblade in a tube is che only pigment you reed for eish drawing. Orher blacks such as ivory Blac, gamma black, and illutratore black also can be used, Most Srciss prefer lampblach. (On page 40 well tell you about ‘pique’ white and opaque gray, which you can use to touch tap mistakes and pur in high lights) ‘Brushes. Your mov welul brush wil be round sable. fe will, toe good to have Numbers $ and 5. For large wash drawings you will find ie convenient to have one of two even lager ‘ones. Change your brush to &t your need. The general rile is lange brushes for large ateas, and small brushes for Hie aren, daily and Bie Hines For putting in large fat areas of wash, aswell a for moisten ing eas with pure water belore panting, 4 at sale brush i wson Bh Famous Ass Course ‘The artist’s materials and how to use them 21 best. One 34 oF Hy inch wide will meet mot of your needs 1 will pay you to buy good brishes and take goed care of udem by thoroughly but gently washing them when you are hough painting oF illustration board. Your choice of paper is ex tremely important bectuse of the major role it plays in seal drawing. One kind of suslace will tke the wash one way hile others will give diferent eflecs, Expesiment with vats textures to learn what you can do with each, IE you puta wash on paper, i will “buckle” or wrinkle ‘Travis why you should work on illstration board —a paper that has a heavy cardboard have tat keep it i. Tt comes in three general surfaces smooth, medium and corse — sme: times called “hot presed” “cold. presied™ and “rough.” Use Inoxpensive illustration hoard for your practice ork. Although i eos mote than paper ie ix well worth it because the surface stays at and the wash lows on smoothly and cai Palette, A white porcelain butchers tray va (aorie palette with many artis, Some also vse regular white china plates oF saucers Also available ate nests of small imvicalpaletes. You can mix a diferent one in each. They stack on top of cich other to save space—and also to save the mixtures of wash. You can try various types of setional palettes, ton How to make a wash drawing AAs with pen and ink, fst lightly draw with an H, HB. or B pencil on your illustration board the outlines of your picture, Remove any exces lead from the drawing by very” gently rubbing your kneaded eraser over it Now; moisten he illustration board by going over the sur face several times with your cotton wat or fat sable brvsh Tull of water. Let the boat dry thoroughly —yow shoald sce no water when you hold the boar so that light reflects from the sirtace Right belore putting ina tone, it good to moisten once again the precise aten to be covered, using cotton wad fra large bri with clean eter: Only practice will tach you how moist the unface muse be tor dierent fect, “Mix your wales in your pate, as shown in the picture on the facing page. Always mix more tone than you think yo wil need, lor while painting an area you cannot stop to mix more teash thoroughly so thatthe tne will be even, ‘Use as large # rush 3s you can in the area you are painting With a large brush, more work can be dene’ without teling up again with wash. With too smatl 9 brush, the wash aren will dey before you can cover ie up, and repented applications of tone will ili with steaks a sharp, dark edge Fo load your brush, dip it into the wash unul i is full, “Then genly press the brush on one side of your palette so that about one dbop of wath comes out. This will ually lave Este fare all feseogl persion rater bow, Refi it often with your brush ‘Clean your brut in you clean water, The larger the bowl the less frequently you will have to change the water, Never try to paint a ish with « brush that is to dy Before starting t paint tis good lew to tack, in a corner of your drawing board,» srip of drawing paper about 1 x 12 inches. This is helptel for testing tones andl for making trial stokes betore scually putting your brash tothe drawing 1 you can get the correct value of light or dark with one seas in a area, your drawing wil have a freshness not possible ‘chen you use several wishes. Ini one over the other, to get he ight shade ten on So oo eon ang Shy one ft 28 Painting o flat wash Frequently, in a picute, you will need to paint a smooth, fat yone, al of one shade of value. Begin by mostening your paper with clean water, ting a brush or piece of couion. When the paper his abiorbed the water lunil none of it shows on the surface, you cam proceed as shown. Once wh an yon you've sated, Keep working steadily don't stop anv don’t work back a oes Imo the painted area even though i looks uneven. When dy, it should be smooth and at. Natural, your rsuls will improve with practice 6 in 7 Stn i Si 7

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