PracticalDrawing 10846533

P RA CTICA L D RA WIN G
A BOO K FOR
THE STU DE NT AN D THE G E NE RAL R EA D E R
BY
E . G : LU TZ
W IT H E% PLAN ATORY I LL USTRATI O N S B Y THE A UTHO R
N EW YOR K
C H A R L E S S C R I BN E R S S ONS
’
I9 1 5
S C HOOL OF
LANDSCAP E ARCHl TECTURL L -
HARVARD u m v s n s n v
'
Corm cm
'
, 19 15 , By
CHAR E L S S CRI BN ER S SON S ’
P u bl ished S pt m b
e e er. 1 9 15
C ONT ENT S
CHA PTE R
I . BE G I NN I NG TO D RA W
II . PR O P O RTI O N S O F TH E HUM A N FI G U R E AN D
D RA W I NG W ITHO UT M O DE L S
CHA R CO A L A N D CR A YO N D R A W I NG
W AT ER -
CO L O R PA I NTI NG
PEN - —
AN D I NK D RA W I NG
HE L P F U L G E OM ETRY
P E R S PE CTI V E M A DE CL E A R
P I CTO RI A L CO M P O S I T I O N
ON LETTE R I N G
'
D R A PE RY AN D HI N T S O N CO STUM E
S I GN I NG
%I . CO N CE RN I NG M AT E R I AL S FOR, AN D O TH E R
MA TT E R S A B O UT, D RA W I NG
BEG INN ING TO DRAW
BEG I NN I N G TO D RAW
O d raw from the flat co py is not d i ficu l t ; but

few begi n n ers fin d it an easy t a s k to make a
sketch from solid or real objects The usual way
.
in elementary art instruction is to furnish the p u p il

with an outline of somethin g to be co p ied Now .
,
leavin g aside the question whether this is or is not

, ,
the ri ght way of teachi n g the rudiments of drawi n g ,
it seems true th at fo r most of us imitatin g by

, ,
—
d rawin g from a copy th at is another s renderin g
,
’
O f somethin g in the visible world — is easier th an

m aki n g one s own interp retation of actuality The
’
.
accom p lished master or native genius of course, ,
would find it irksome if com p elled to co p y another s ’
work .
But should drawin g from the actual obj ects be

so hard ? Wouldn t it be j ust as simple as worki n g
’
from th e flat if the student could let himself believe

th at the visual rays from all the points of the obj ect ,
or the view were brou ght forward to a supposed

,
pla n e directly i n fro n t of him This pla n e with the

object or view thus ideally outli n ed he would need
4 P RACTI CAL DRAWING
merely to consider as a huge flat co p y to be faithfully
imitated .
M any mech anical aids to drawi n g h ave been con

t ri v e d
. O f these the camera lu cid a and the camera
obscura both requiri n g the i n terp osition of either a
,
le n s or a p rism are to be regarded more in the nat u re

,
of o p tical i n struments th an as a pp aratus for aiding

or lightening the work of gra p hic delineatio n .
A favorite ex am p le cited in elucid ating the p rinci

p les of p ers p ective is th at of the wi n dow p a n e on -
which is traced a view of the S treet or buildings

outdoors This p ane of glass would corres p ond to
.
the hyp othetical p la n e j ust S p oke n of Somewh at .
on this order is the machine mentio n ed by Albrecht

D ii re r in his book on the art of measuring I t con .
sisted of a tra n s p arent surface p laced between th e

subject a n d a S i n gle eye p iece fixed in such a p osi
-
tion th at the artist could look through the o p ening

a n d trace o n the p la n e the outlines of the subj ect .
This gave him a one eyed view so to s p e a k of the

-
, ,
model Other i n ve n tio n s of a similar n ature have

.
bee n made some usi n g a tra n s p arent gauze th at

,
could be easily marked with a p e n cil I t would .
a pp ear by the bowl o n the table of the a pp aratus

i n D ii re r s en g ravi n g th at he used a liquid and
’
p ainted the ima g e o n the tra n s p aren t surface This .
i n ve n tion is p erh ap s more to be considered as a

curiosity th an as a p ractical aff air .
B EG I NNING TO DRAW 5
Th e suggestion ofiered here of regarding the ob

'
j ect or view as nothing but an ideal or su

, pp os e dly
flat p icture on an imaginary p lane to b e faith
,
fully t ranscribed o u p a p er seems at varian ce with

,
t he ideas of the realists who shudder at the notion
o f so loo king on the p erce p tible world Bu t fo r

.
by D fi r e r
beginners there is a p ractical utility in considering

everything we see as nothi n g more th an an a g
r
g ge a t i o n of areas
, outlined and variously hued
and sh aded The author is well aware of the i m
—
.
p ort ance of rendering on p a p er or canvas as the

—
,
case may be the eff ects of roundness bulk and , ,
dimensions ; but he wishes to em p h asize the S i g n i fi

canc e of beg in n ing the study of drawi n g by the
si m plest methods This he believes to be the re p
.
re s en t a t i o n of things by making the first strokes

on the p a p er in lines or forms more or less geometric

in aspect rather tha n attem p ti n g to sketch at first
,
the elusive be n ds of curves or the subtility of con

tours ; a n d that furthermore in the beginni n g it
,
would be better to work with S im p le straight lines ;

a n d whe n attem p ti n g to sh ade rou n d forms with ,
their fi n ely graded to n es h ard to p erceive to en

, ,
An u n ce r t a in w ay of m e a s Iu i
'
n g
’
d eav or to get the eff ect by a graduated series o f

flat tints .
I t may be asserted th at this does n ot re p resent

the form correctly P erh a p s but it is more likely
.
,
to approximate the truth than a drawi n g th at is the

result of tryi n g to co p y the exact blendi n gs of the
tints a n d sh adows at the first essay .
O f especial value is S implificatio n when one comes

to deal wi th curves R are is the draftsman who
.
c a n successfully get the curves of the human figure
without doi n g more or less blocki n g out with straight

li n es
.
“
But j ust how do I begi n ? is the first though t
”
B EGINNING TO DRAW 7
that e n ters a stude n t s mind when with p a p er

’
, ,
drawing board a n d charcoal he p resents himself

-
, ,
before a subj ect ready for work .
There are many methods in the making of draw

ings ; but there is but one way of st art ing and th at ,
“
is to S t art bi g a n d to start quickly
,
”
.
To be gi n at one p oi n t say the eye and gradually

, ,
bui ld the drawi n g arou n d th at in a fi nicky ticklin g , ,
small way is not the ri ght method N or as has

, .
,
been advised to be gin at the u pp er left h a n d cor

,
-
n e r a n d g radually work downward a n d to the right , ,
so a s not to smud ge the work .
P e rha p s the best thi n g i n answer to the query as

to ho w to be gi n is to give s p ecific exam p les show
i n g a n d ex p laini n g the p rogressive steps as we go
alo n g
.
S a y th at you are going to d raw the cast of a head

( see diagram in this ch a p ter ) P lace it
. directly
before you in a light th at will kee p the S h adows as
much as p ossible in large masses a n d the side i n ,
li g ht not too much broken u p with s p ots or sh adows .
This trying to get a p leasi n g distribution of li ght

and S h ade on the cast is p art of the busi n ess of learn
i n g to draw The doing of it will impress on your
.
mi n d the im p ortance of g etti n g a good li g ht a n d -
sh ade eff ect Of course you will remember th at in

.
,
tryi n g to g et a good distribution of li ght a n d shade ,
the half ti n ts must be considered They are needed

-
.
in order to bring out the form s Now p lace yours e l f .
distant from the c a st a little more th an three ti m e s

—
its greatest dimension breadth or height whi ch ,
ever is greater Never get nearer . .
A s to starting quickly : Witho u t delay m a rk
A A E O F OUTL IN E
CH R C T R .
A Sim pl st ai ght l i s a ss i g i g d a c tai ty i th d awi g

urn er e r
F mbl i g d i l l ti li s xact c t d btf l
. e r ne , v o r an n n n .
B ne e on ou r ou
W ak d i d fi it st D awi g lik l y t b abs l t ly cha a ct l ss
. u n an v ac a n u .
C . e an n e n e ro es . r n e o e o u e r er e .
something on your p a p er This does not mean to .
blunder in h astily without thought I t is p resumed .
th at you h ave studied the cast first for a few minutes

by mentally analyzin g it and seeing what it is th at ,
gives it its p articular ch aracter ; th at is to say wh at ,
diff erentiates it from other casts .
To co n ti n ue : Get somethi n g of the plan or the

contour of the subj ect as soon as p ossible fo r a b a s is
B E GINNING To DRAW 9
on whi ch to begin to criticise The faculty of being .
a good critic of your own drawin g whether you ,
work in a classroom or your own studio is one of ,
the most im p ortant matters con n ected with t he

S tudy of art .
METHODS OF BEG INNING THE SHADING .
A v t fi st a ly that f h half ti t T w k this way d

pu t on t e to
i c ti i g k p h shadi gs i sim pl b k t s
n e en on e r , ne r o -
n . ry or ; an
t e
Sh di g d c d agg gati f fl a as f ti ts f m h d a k st h
n on nu n ee n n e u n ro en on e .
to at t e to t e
li ght st A g d way w k i f v d ca i d f
a n re u e an re on o re o n ro r e
to n ot o too
T yi g x act fl f d ss with h fi st st k s f h p cil
e . oo or e r o n e or rr e a r.
h
'
to g e t t e e ec t o t e t e
cha c al This way f sta ti g will s lt i c tai d vag f ms l k
r n e ro u n ne r ro e o en or
l ss li k h s bj ct tha a d awi g m d i simpl fl ti ts N a g d

r o . o r n re u n un er n an ue or , oo
i e t e at n ot
way sta t
n g e e u n r n a e n e . oo
to r .
Think bi g a n d your drawi n g will have th at

quality of bi g n ess n ecessary for a com p lete work of
a rt
. The h abit of worki n g on o n e little p art of a .
d rawi n g a n d finishi n g th at first a n d the n goi n g o n ,
to another part is n ot likely to i n culcate any a p ti

tude for doing thi n g s ex p ressi n g unity a g reemen t , ,
P RACTI CAL DRAWING
an d —
h armo n y all qualities which are
p rese n t i n a n y composition to which the
ness can be a pp lied
”
.
H I NTS ON D RAW I N G TH E CA ST OF A HE AD
( SEE D I A G RAM S )
Sketch in the outli n e of the general mass of t he

head in lightly drawn li n es sim p le a n d S traight
, , ,
rather than curved o n es .
As it is not possible to make this whole contou r

i n one si n gle operatio n it is im p orta n t to know whic h
,
of the li n e s forming it should be the first to be pu t

down o n the paper .
Now the first li n e to draw is the longest the most

, ,
ch aracteristic or p romi n e n t o n e I n all cases it

.
should be the one th at you think fits the above re

q u i re m e n t.s If you have made a mistake you will ,
fin d it out duri n g the maki n g of the drawing This .
self discovery will be of more educational value to

-
you tha n if some o n e h ad told you of it .
The n ext li n e is th at of seco n d ary im p ortance ,
followi n g o n to the third a n d the n the fourth and ,
so o n u n til the ge n eral co n tour is su ggested Keep .
the idea i n mi n d th at the li n es are o n ly su gg ested ,
drawi n g them li ghtly so th at they ca n be erased a n d

cha n ged without di fficulty .
When lines are vertical or horizontal it is easy

DRAWING A CAST .
Con sTa u '

c rIv z Woax O N LY .
J M a k wi th l i s at p d b tt m i t d d si f d awi g th im p ta t l i s
to o n e ze o r n en or n ne
i d ic t wid th f h d awi g C m p l wi th li s 3 m 6
. r ne an o en
I an d a to n a e o t e r n o ete ne .
D ivid h h i gh t al l ly by li 7 N th at h b tt m f h chi l i 8 i s
.
3
ac ly i h m ixi f h l w s cti
. e t e e a ne . ot e t e o o o t e n, ne ,
ex t n t e e o t e o er e on
Th bas f h s l i 9 is a t i fl b l w h c t Th b ws m k d by
.
0 e o t e n o e, ne t e re. e ro ar e
li asy plac a s th y at h sam dista c f m h bas f h
. e . r e e o en ,
n e 10, a re e to t e e ro t e e o t e
s as th at is f m h b tt m f h chi
e e a re e n
no e ro t e o o o t e n
G tti g h f a t d p d s h p p d l i ati f l i
.
“
D e n t e e u res ev en e en on t e ro er e ne on o n e I I.
N w i dicat h f at s i simpl l i s k pi g i mi d th i p iti with

.
3 t e e u re n e os on
c li
. o n e ne . ee n n n e r
f
re eren e to ne H .
F Wi th q ick ly d aw bl iq l i s mass i h shad w sid i

u r n o ti nt n t n a n ev en
y t sh wh c ct v w
ue ne e o e
th g h pap w th y s i k
. .
,
ere Is en o on er or n ot on tru e
u ou r er o or
wa a t s g g
o e ou r
rr n wi th h d w g
oi n on t e ra
.
m .
enough to j ud g e them ; but whe n they slant it is an
e ntirely di ff ere n t matter .The way to estimate the
deg ree of the sla n t i n a n y oblique li n e is to com p are
it with a line th at ca n be readily j ud ged ; i e a ver . .
,
tical or a horizontal o n e As it is plai n ly a pp arent

.
that a plumb li n e is the simplest thi n g to use as an

-
example of a vertical li n e so it seems o n ly natural

,
to use o n e i n testi n g de g rees of i n cli n atio n of obli q ue

li n es
.
The great danger of a too freque n t ap p lication

of such a mecha n ical aid as the plumb li n e is th at -
its use may become a h abit I t is so easy to hold

.
u p on e to see how a p articular li n e sla n ts that a

slothful practice may be formed of n ot depen di n g
u p on yourself Use a p lumb li n e if you wish but
.
-
,
remember th at soo n er or later your unaided eyes

, ,
must be relied u p on i n jud gi n g sla n ti n g li n es .
Sometimes it hel p s a little to hold u p the p e n cil

—
horizon tally at arm s len gth i f you can hold it
’
—
actually horizo n tal a n d n ote the a n gle that the
slopi n g li n es make with the straight ed g e of the
p e n cil O r perh a p s hold the p e n cil out a n d move it
.
betwee n your eye and the model as if traci n g the

directio n of the li n e i n the air Getting the feeling
.
of the li n e this mi ght be called I t will hel p i n

, .
u n derstandi n g the cast to make occasio n ally such

i n visible drawi n g s i n the air I t may look odd to a
.
S p ectator to see you make mysterious gestures i n

P RA CTI CAL DRAWI NG
Th en when in p i cto ri a l com p ositions the demands
,
of p e rs p ective req uire th a t a figure be of a cert a in

si ze the doing of it will be much ea sier If between
, .
t he m a rks limiting t he si z e of the figu re a n y correc
tio n i s needed m a ke it withi n the s p ace marke d

, .
For instan ce i f you find that t he legs a re too sho rt

, ,
do not lengthe n your drawing but m ake t he body ,
shorter .
G etting the p ro p ortions and m a king m e a sure

m e nts a re p er p le xing matters Som e advoc a te fir s t
.
markin g of the classical or ideal height and co n

s t ru cti n g a figure to fit th at This m ay do when
.
d rawing a figure fo r some p ra ctical work Others .
begin by first finding out t he numb e r o f h e ads (7 o r

a s t he cas e may be) that t he m od e l before
t hem exhibits . They do this by arm lengt h mea s

-
uring I t is don e somewhat a fter this fashion : A

.
p encil i s held i n the hand so th at the thumb is fre e

to move a long its edge the arm extended and the
,
p e ncil held between the eye and the model N ow .
t he two v i sual rays from t he extre m iti e s of a lengt h
in q uestion a re me a sured on t he p en cil by seeing

—
where they cut p oints on it o n e p oi n t a t the en d of
the p en cil and the other along its edge which is fixe d
by p lacing the thumb there Thi s length is co m
.
p ared to some other similarly ascertained le ngt h .
So th at this way of going about it is in takin g the

size of the head relatively on the p encil a n d fin d
, ,
STARTIN G A LI FE CLA SS DRAWING .
FU NDAME NTA L Co n m -
U Crron Ou r.
Ma k b t f fig
top a n d d a li
ot om ohalf way b tw u re a n e een
S wh wid st f h hi p s c m s d i dicat its l p
r ne -
.
ere th e a rt o t e e.
D aw li f a cti
ee e o e an n e s o
h i l t e su pport n
D aw a p p dic la li c tti gh wh h a k l wi l l c m
r ne o on 0 eg .
ere t
M a k h p iti d sl p f g sh ld s Th c t f thi s li
r e r en u r ne u n ou e n e o e.
t (h d f ea
st m) will h p p dic la li
r e os on an o e o le ou er . e en re o n e o
cu t t n e.
Sk tch h h ad t sp cially its p i d tha t h li f h ck c ti s
ern u e e r en u r
t t e or t e ne
i t h li f h m v m l t Tacti f h b dy
e e e , n o e e e o se an ne on nue
o t or t e t e
I d ic t h a cti h h s k tch ght gi a s gg sti
n e ne o e en or on o o .
a e t f h
t e ot er eg on o f to
al m m t f h p s
n e e e so a r o u ve u e on
f h g
.
t e t e o e
D aw h li s f h a ms
o en e r ov e en o .
t e or t e
I b i i g h tli h b dy bt thatThh ch st is a s f b y b d h
r ne r .
to ou ne t e t e ort o ox. a n t e
i p s als a s t f m v m t f h fi g has a i if
n eg n n n o no e e on
i f h
reg on o t e or o ox o t e
h flex bl pa t f h s b w h m l ss
o e o e en u re s gn
fix d
.
i ff
ca n t e ect on t e i e o t e tor o et een t e
f f ch st d hips
e
r ore or e
orm s o an
ti k p i mil d lp p ti s d m m t d th at h fig
e
As
.
you con n u e, ee n n ro or on an ov e en an see t e u re

s d s wi th h f t w l p ac d h fl
tan t e ee e e on t e oor.
,
I6 P RA CTI CAL DRAWING
in g out how ma n y times arithmetically it goes i n t o
, ,
the whole hei ght of the fi g ure .
I n worki n g this way remember th at it is a b

,
s o l u t el y necessary th at the arm be extended th e
same length every time a n d the p e n cil held exactly

,
vertical Ag ain you must not move but hold your

.
self in the same p osition so that the eye is each tim e

at the same level a n d at the same distance from t he
model If it were possible to kee p the head fixed
.
like a n automato n the arms moving mech anically

,
a n d the p e n cil i n the same p icture p lan e or n o ,
ch a n g e i n its dista n ce from the eye this would b e ,
an excelle n t way of worki n g .
But is n t it rather mech a n ical ?

’
If the stude n t wishes he may try this p encil

,
measurin g He will discover very soo n however

.
, ,
th at after all the eye will be the best j ud ge How .
“
ofte n will he fin d after a lot of careful surveyin g ”
th at his drawi n g does n t look ri ght a n yway %

’
Learn to de p e n d o n your own eyes .
The best way of seei n g wh at is wron g with you r

drawi n g is to S te p back from it a p ace or two fro m
time to time lettin g critical gla n ces go from t he
,
subject to the drawi n g a n d from the drawi n g t o

the subj ect You wi ll the n see e n ou gh faults s o
.
—
ma n y probably th at you will not know where to
, ,
be gin maki n g the correctio n s .
An other good way i n cast drawi n g if it ca n be ,

B EGINNING To DRAW 17
arran g ed is to p lace the drawing alongsid e of the

,
subj ect a n d view the two from a distance or from

the p l ace where you are worki n g .
To co n ti n ue with the suggestions fo r drawing

from life : After marki n g li n es at the to p and bottom
for the hei ght of the fi g ure make another line ex ,
S t p back a pac
e e or two fro my w k
ou r or ; mi stak s th wil l b
e en e qu ickl y t d
no e .
a ct ly in
the middle of this space Then on the model .
see where the h alf way p oi n t comes This is often

-
.
at the widest p art of the hi p s I n dicate here with a .
li n e the axis of this widest p art Slant it the way .
you thi n k it goes .
Before goi n g on wi th the next stage of the draw

in g (i e indicati n g the directio n of the limbs a n d
. .
,
the moveme n t in g e n eral of the whole fi gure) it

would be well to give a few mi n utes attention to the ’
question of equilibrium .
The centre of equilibrium of a fi gure at rest with ,

18 P RACTI CAL DRAWI NG
out leaning against or holding on to anything is a ,
p erp e n dicular line cutting through the middle of

t he neck , and below near the fl oor through t he ,
ankle o f the su pp orting leg At the neck v iewed

.
,
from the front this li n e be gi n s at the to p of the

—
,
sternum or breast bone and at the ankl e o f the

-
,
—
su pp ort ing leg c uts th rough the mass of the ankle
bones .
W hen the figure lean s against anything is in ,
action or is falli n g the line from the head of the

, ,
sternum to the a n kle is not p er p endicular A little .
exp erime n ting in drawin g a few single line a ction -
figures will make this clear .
Since you now understan d th a t a figure in an

ordinary standi n g p ose with the weight on one leg
—
h as these two points i n the neck and a n l x
a ctl y at the e n ds of a vertical line you should b e,
g i n to obse rve th at the swin g movement

, or actio n ,
( three terms used rather i n discriminately by artists )

takes p lace between the two p oi n ts The p oise of .
the head to be sure h as an im p ortant sh are in thi s

, ,
movement The way it is held must be noted and

.
drawn as p art of the action .
You go on with the drawing now by sketching , ,
in the li n e of action of the su pp ortin g le g I t is not .
to be drawn as if following p recisely the direction

of the bo n es nor will marking it as going th rou gh
,
the e x act centre of the fleshy mass always indicate it .

B E GINNING TO DRAW 19
N o, you must draw it as you feel it to be An d

.
this kn owledge will only be gras p ed and felt by

thinking of the line as p art of the m ove m ent of the
whole figure .
I n the same way when drawing the line fo r the

,
other leg or any line for that matter it m ust always

, ,
be as you feel it S hould be I t is a q uestion too

.
enigm a tical too argu m entative for any one p erson

, ,
20 P RA CTI CAL DRAWI NG
to insist on your seeing it his way Yo u must see

.
,
understand and gras p the idea fo r yourself I f

, .
you have not succeeded here and h ave made a

—
mistake the result p oor drawing in the finished
,
—
work will betray it .
R emember this when drawing the figure : The

chest and p elvic re g i ons are two box like form s ;
-
nearly fixed and unch anging on account of thei r

bony S tructures All movement that takes p lac e
.
in the torso is due to the fle xible mass that con

n ect s them . When an arm moves of course th e
,
muscles of the S houlder alter or modify somewh at

this box outline .
A nd the folds of muscles of the thigh and thos e

running to it vary the outline there a little in cert ai n
movements .
But remember these box like forms

-
.
When drawing from life it is a good p lan to pu t

yourself in the same p ose as the model ; that is to
say imitate as well as you can the action t he
, , , ,
disposition of the limbs and the p oise of the head .
—
This mimicry it will only be that sometimes a s ,
you will find that diff erent p ersons have different

ways of carryi n g themselves a n d you can p erh a p s
,
—
only a pp roximate the p ose of the model will give
you a better u n dersta n di n g of the p ose a n d i m
p ress itself o n you mentally and further the work
of p icturi n g it .
22 P RAC TI CAL DRAWING
AN OTHER WAY O F STARTIN G A LI FE CLASS DRAW ING

I- z Aft ma ki g h h i gh t that th fi g is b c py i as f w l i s as y
t e to ne ou
h c t d fi i g h silh tt f h fi g
. er r n e e u re e, o , n e
ca n t e on ou r e n n t e ou e e o t e u re .
N xt p i h p i ci l da k mass s d fi th i p att a s p ci s l y a s p sibl

,
3 t n t re e os
whi l w ki g q i l y
. e u e r n a r e , e ne e r ern e
e or n u c .
4 N w t th g al m v m t h p i f th h ad h w t th ck d t e e ne
h b dy G h f li g sh w that d sta d th m
o no e e e n er o e en o se o e e o se on an
k
. , , ,
m t—h li
h
t e n ec to t e et t e
i g f ml h h ad t h ck b d y d th gh h
o y . ee n , or o ou un er n e ov e
t e t e t e ne t e
w i ght b a i g p i g g M ak c t i that th fi g is sta di g d
en ne ru n n n ro e o , o , an rou
rt n
th b gi d fi sh d ws m acc at ly If sa ti sfi d wi th y w k
e -
e rn o r su e . e er a n e u re n n an
to e a ur e ou r or
wi th th d awi g
en e n ne e o o re e .
so f a r,
g o on e r n .
differently sized and sha p ed areas of d ark shades ,
middle ti n ts and high lights if carried too fa r i s

, , ,
somewhat like co p yi n g the p attern of a rug I t is .

,
nevertheless an excellen t way of working i f you ,
can kee p in mi n d that it is life that you a re ”
drawi n g I n goi n g about drawin g i n this way and

.
,
carryi n g it to extremes there is a likelihood of t he ,
artist becomin g nothi n g but a copyist a n d lookin g

o n the subject as merely a collection of variously
B E GINNING TO DRAW 23
formed an d tinted p atterns a n d forgetting the Sig

,
n i fica t i o n of movement p ro p ortions and character

, , .
However in some unusual p oses of the model

, ,
this way is useful if combined with the first method

a dvi sed, in which the figure is built on a S im p le
framework exp ressive of action movement and
, ,
g eneral p roportions
.
METHODS IN DRAWING GRA PHICALLY E%PLAINE D .
(S p lat pp it pag ) ee e on o os e e .
A B its l f h i cl i ati ft e bliq li is ha d p c iv C p a it with to er e om re

a v tical li th h a gl f m d will sh w h d g f i cli a i at
.
y e , n n on o an o ue ne r e.
t e or e t e e ree o n n t on
c U a p l mb l i
er n e, en n e so o
on e. se u -
n e.
B Th s btl ti
e u f v s b tt disc d d d aw by fi st ghi g th m
e es o cu r e are e er ern e an r n r rou n e
with st ai gh t li s
.
ou t r n e .
C Th sh a p f i c m p l x p la f m is a s p I d awi g a ythi g f to n o
i a i t icat
e o
c t w at s m l la m a i mat
ea s r n n n
e an n
g o e n e or r
g p p pp x
. .
l f ou r see i e ne or ro es
cl s it D aw that fi st
n rre u r or a n on
a n r e
It , or ca n en o e . r r .
D A mb f spac s f al l th ha d fih d Eq al l gth s to g et o
'
are
m ch m asi ly stimat d ma k d d aw F i sta c wa t
. nu er o e o u n eq u en g a re r an . u en
to see
wh a c tai p i t c m s b tw w th p i ts Divid h spac with
u ore e e e , r e , or r n . or n n e, you n
t o o e t
y m tal i t half th wh h p i t i q sti c m s i l a
ere er n o n o e e ee n er o n . e e
e re t e o n ue on o n re
ti h h alf w pit
ou r en e ye n o , en s ee n e
on to t e -
ay o n .
I D li s i cl siv ma k plac s d divi si s that w ld b h l pf l i

I to
sta ti g his si tch b h d i i
on e u
al d d t mi d dily
n ne , n u e, r e an ou e n
r n t e ; ut t e v xs on s a re u n eq u an n ot e er ne rea .
(b) A s q idi sta t m as ts asily di c d p c iv d d btai d u rem en s e rn e o

divid h h ight f h fi g i t f q al p a ts
. e u n e a re e , er e e , an ne ,
e t e e o t e u re n o ou r e u r .
( ) N w h p siti s f h li s
c . o t e o 5 i cl siv
on oq ick ly fix d tha t i
t e ne I to , n u e , are u e , so n
(d ) Y . ou with h sk tch
ca n go on t e e .
D all his
o t tall y h dia g a m is ly att pt xpl ai h m att
m en ; t e r on an em to e n t e er.
M ETHO DS IN DRAWI NG G RAPH ICALLY E% PLAI N ED .
P R O PO RT I ON S OF THE HUMAN
FIG URE AN D D RAWIN G
WI THOUT MO D ELS
3 0 P RACTI CAL DRAWING
outri valling modern fashion p lates which are rarely
-
,
drawn to exceed nine heads .
PROPORTION S OF THE HUMAN FIGURE .
The classical p ro p ortion of eight heads is th e

s cale in g e n eral usa g e ; although i n actuality figures
, ,
are more likely to be seven or seven a n d one h alf -
heads Figures made in these latter p ro p ortion s

.
,
THE HU MAN FIGUR E 3 :
in ordinary p icturi n g look correct ; but in idealisti c

,
com p ositio n s a n d in drawi n g s i n which di gn ity ,
grandeur or the heroic are to be exp ressed the

, ,
classical canon of eight heads is better .
Very careful measurements for an ideal human

—
form h ave been worked out width s such as those of
the calf the knee thigh neck and so on ; but as a
, , , ,
rule it is not necessary fo r drawing that the artist

should burden his memory with suc h details To .
do so i s more likely to lead t o confusion than to aid .
Tryin g to remember and to work by the mi n or

meas u reme n ts may p revent the exercise of good
judgm e n t and the m s t het ic sense .
E ven if wh at are thought to be accurate measure

“
ments could be taken the words a pp roximate ,
”
“ ”
an d about would always have to be tagged on
a n yway For the lack of h ard fixed p oints and t he
.
flabby nature of the muscle and S kin make it im po s

sible to get de p e n d able p oi n ts from which to measure .
I t is only esse n tial to remember a few ge n eral

idea s of symmetry such a s : ,
H ea d an d bo d y
Lo we r lim b s
Le g , to p o f k n ee to ba se o f h e el
Whe he a rm i s h a n gi n g by t he s id e the e l bow i s o n a l ev e l
n t
wi t h t he wa i s t, a n d the ti ps of the fin gers re a ch to a bo u t

t he m i dd l e o f t he t h i g h .
The vertical measureme n ts for the female fi gure
are usually calculated as above ; the p ro p ortions
—
across varyi n g ge n erally smaller exce p ting the ,
hi p s Here the width is I % or p erh a p s 2 heads

.
, , .
Accordi n g to an ideal model of human p ro p or

tio n the s p a n of a ma n s exte n ded arms exactly
,
’
equals his hei ght This is not ofte n fou n d in nature

. .
The arms are

g e n e r a l l y too
lo n g to com p ly
with this test
of p hysical p er
fect i o n .
Kee p ing the

above pro p or
tio n s i n mind
whe n d rawin g
figures is o n the
wh o le a c t i n g
with sou n d a r
I id al fig h spa f h xt d d a ms d h t l S t j ud gm en t
u re t t e e an t e
h i ght q al
n an e e n o en e r
e a re e u .
Such min o r
matters as relative thick n ess of neck a n d sizes of
ha n ds or feet d e p e n d o n the subj ect ty p e or ch a r , ,
acter to be depict e d .
Some sort of a re lative proportio n of head to

e n tire figure sh ould be kept i n vi ew W he n the artist
is d rawi n g without models Whe n maki n g wh a t .
THE HU MAN FIGUR E 33
are known as S trai g ht illustrations that is , ,
pictures in which models are used a n d the human

fo rm is re p resented with as much faithful n ess as p os
sible to li fe the scale of 7 % or 8 heads is em p loyed
, .
P r o p o rti o n s of th e Fe m a l e F i g u re
In A c tu a l Li f e a n d P IC IO '
H EA DS 6 HE A DS Gfi HEA DS
‘
7 3
In f a shi on .
In h fe
On the other h and most of the humoristic drafts

,
m e n a n d cartoo n ists make fi g ures pro p ortio n ed i n

no p ossible sembla n ce to the normal .
“
D rawi n g fi g ures in actio n or out of o n e s head
’
,
is do n e somewhat i n this wise :

M ake a S i n gle li n e sketch of the action wanted
t fi fl
o
PROGRE SS IVE STEPS IGURE DRAWING WITHOUT USING MO DELS

IN F -
.
with j ust e n ough drawi n g to give the ch aracter of

the desired action or moveme n t D raw a n oval
.
THE HUMAN FI GUR E 35
Fi g u D r a wi n g
r e.
W i thou t the Us e of Mo d e l s
Fr a m e wo r k
like contour for the head kee p in mi n d its relative

,
siz e to the i n te n ded figure height indicate the body

, ,
a n d then suggest the ge n eral outline of the muscular
for m. This so to s p eak is filli n g out the S keleton

, ,
ize d actio n figures wi th flesh . P roceed with the

drawin g by covering the figure with app arel .
3 6 P RA CTI CAL DRAWING
You will note i n the diagrams explai n ing the

m ethod given above th at the body is S hown as a
,
firm inflexible torso I t is not always that way

, . .
You ca n see in the n ext e n gravin g a method which

explains p erha p s a little better how to go about
DEAL MALE HEA D AS PROPORTION E D BY DURER AN D THE S AME HEA D

I
W ITHOUT THE N ETWORK O F L IN E S
.
drawing the fi gure without m odels Allowance is

.
made here for the flexibility Of th at p art of t he

torso between the box like chest and the box like
- -
hips The S ketches in the engraving were made with

.
the aid of a little ma n ikin about 1 2 i n ches high .
The head chest etc were whittled out of wood

, , .
,
a n d joined by pieces of lead wire to re p resent t he
limbs n eck and S pi n e

, , .
I t might re p ay the S tudent to construct o n e of

these maniki ns ; the mere maki n g o f it will p e rh a p s
3 s P RA CTI CAL DRAWING
th e “
PROPORTIONS OF THE HEAD AN D FACE
The a x es of the eyes coincide with

ce ntre of the
the space between the top of the head and the bot
to m of the chin .
THE HU MAN FI GUR E 39
S IDE
V l EW
CO NTOUR .
W ITHIN
A S %UA RE
PROPORTIONS OF FACE
.
B
A s q uare l ose s the
en c side view of the head .
C
The face i s divided equ a lly into th ree p a rt s
40 P RA CTI CAL DRAWING
( )
I Fro m t he roo t s of the h air t o t he e y e b rows .
( )
2 From the eyebrows to the b ase O f the nose .
This division is referred to as the len g th O f t he nose ,
and is s o m etimes used as a unit of m easurement .
No mat what ty
te r pe of fa ce you d aw k p i m i d the id al di i si
e on o f the fac i n to
th q al pa ts
r , ee n n v e
ree e u r .
(3 ) Fro m t he base of the nose to t he bo tt o m of t he
chin .
The ab ove p oints A B C wi th t h at im p ortant

, , , ,
m atter of getting the e a rs pro p erly placed with t e

latio n to the m iddle division of the face a re the ,
thi n gs to be especially re m embered in drawing faces .
Other details are the following :

I f the lower division of the face is divided equally
i n to three the middle of the mouth comes at the
,
li ne Of the first divisio n or one third down Note ,

-
.
this in both front and profile views .
Loo ked at from the front the width of an eye , ,

THE HUMAN FIGUR E 4 1
PRO F I LES DI FFE RING IN CHA RAC TE R YET K EEP IN G TO THE I DE AL

,
DIVI SION OF THE FACE INTO THREE E%UAL PARTS .
t he width between the eyes and the width of the

,
n ostrils are all the same A n d this measureme n t

.
,
considered as a u n it is o n e seve n th the height of

,
-
t he head or about one fift h its width

-
.
The p o sition of the ear is best understood by

P RAC TI CAL D RAWI NG
conside ri n g it a s v i ewed i n a p rofile head I t Sh o u l d

.
be s o p laced that a line fro m the to p of the e a r t o

t he eye b row or the root of t he nose i s p arallel t o a
,
line running from the lower edge of the ear to the

b ase of t he nose I n other wo rd s the e a r is o n
.
,
the s a me level and i s the same len gth as the n os e .
These two p a rallel lines define the m iddle divi s ion

THE HUMAN F I GU R E 43
of th e fa ce as noted above E xce p tions to and devia

.
tions from this rule will consta n tly co m e under your

observ ation a n d there will be many too th at you
, , ,
will n o t s ee for the ear is often hidden by the hair

, .
Bei n g mindful of the above m entioned sym m et

-
D iv l S l ON S OF TH E HEAD 6 FA CE
tical relationshi p of the features will hel p when draw

in g faces whether from models or without them
, .
A n eff ective way whe n drawing faces without

a ctu a l visa g es before you is to u s e in co n structi n g
them the li n es that are used in defi n in g the propor

tions These co n structio n or g uide li n es or some of
.
,
them are of especial hel p in faces a n d heads th at

,
a re to be drawn in three qu a rter views

-
.
Three qu a rter view faces a re rather h a rd to draw

-
.
The American artist R embra n dt P eale ( 1 778

,
su gg ests that the features be drawn o n a n e gg he —

—
recomme n ds a h ard boiled o n e a n d then usi n g it
-
as a model for getti n g a variety of views by tur n i n g

it arou n d at diff ere n t a n gles
.
I f you h ave a n y ability in the plastic art it mi ght

,
C HA R COAL AN D C R AYON D RAWING
C H A R COAL AN D C RAYON D RAWIN G
ORKIN G with ch arcoal or fusain on a

, ,
s p ecial pa p er for the p urp ose is the generally

,
a cce p ted method for the be g inner in drawing when
he gets down to serious study from casts or life .
I t holds its su p eriority as a medium for the student

on account of the ease with which the materials
can be mana g ed .
Cont é crayon and crayon sauce are also enlisted

in the service of art instruction . Their use is es p e
ci a l l y recommended in elementary work from casts .
Four of the principal makes of ch arcoal p ape r

are as follows
There are other kinds too all good The beginner

, , .
n eed not be too solicitous about which one he should
use ; when he becomes p roficient in h andlin g the

charcoal and the few requisite tools his artistic ,
49
so P RAC TI CAL DRAWING
likin g will decide for him what p articular make is
best ad apted to his way of workin g .
The above p apers can be used for either ch arcoal

or crayon but are the preference for ch arcoal A
, .
p aper with a smoother surface is commonly em

p loyed for crayon or crayon sauce drawi n g .
The side of the p aper on which to make the draw

ing is ascertai n ed by holdin g it up to the li ght .
When you h ave it held so th at the water marked -
—
name reads correctly th at is to say n o t b ack ,
—
ward the side th at the n faces you is the right o n e
for drawing .
Ch arcoal is made in various degrees of softness

and h ardness The soft ki n d makes the deepe st
.
black li n es while the h ardest grade marks some

,
wh at grayish li n es There are a number of makes

.
,
among them :
There is a n ordi n ary quality which com es i n

bu n dles of fifty and which perh aps is the best
, , ,
ki n d for the student at the start Later on he ca n

.
— —
try a n d appreciat e the better g rades He will .
then fin d too th at p articular quality of charcoal

, ,
best suited to his h and a n d i n dividuality .
First comes of course in startin g work, the p re

, ,
CH AR COAL AND CRAYON DRAWI NG 5 :
aratory blocking out of the subject and a su g

p
-
ges tion of the sh adow masses This h as been ex

.
“ ”
plai n ed in the ch apter on beginni n g to draw .
When the p ri n ci p al S h adows have been put i n

roughly by quickly drawn p arallel oblique li n es ,
they should b e smoothed over with the tip of the

fi n g er or if you p refer it a larg e Ch amois stump
, , .
This first sh adow mass th at you have blocked out

5 2 P RAC TI CAL DRAWING
and smoothed over should re p resent a de g ree o f
ti n t between the darkest a n d the li ghtest Th at .
is a pp roximately the h alf tint or wh at you thi n k

,
-
,
the h alf ti n t to be
-
.
The whole idea is to h ave something to start

with on which to build your drawi n g
, .
Now you p roceed with your work by d arke n i n g

where you think it should be d arker a n d li ghtening
the tints where you thi n k they n eed it .
Some comme n ce the sh adi n g by maki n g with t he

ch arcoal p oi n t S ketchy li n es with a b ack and fort h - -
moveme n t of the h and a n d the n massi n g this in an

,
eve n tint with their fin g e r tips a piece of Chamois

-
, ,
or a larg e stump Others work more deliberately

.
in maki n g a series of parallel oblique li n es which ,
they smooth over eve n ly Then a g ai n others

.
, ,
produce ti n ts with charcoal dust To do this they .

,
rub a bit of soft ch arcoal to powder o n a scrap of

p aper or a stumpi n g palette This latter article ca n
.
very co n venie n tly be held in the left h a n d while

worki n g .
A broad ex p a n se of tone can be obtai n ed by the

use of a ra g The ra g is folded over the e n ds of two
.
fingers care bei n g take n th at it is n o t wri n kled

, ,
the n used to spread pulverized charcoal in a u n iform

ti n t over the p aper The ra g c a n also be used i n
.
l i g hte n i n g a ti n t that is too d ark or i n smoothing

,
over a n d taki n g out i n equalities of a to n e .

54 P RACTI CA L DRAWING
art i fici al li g ht This way of cutting out lighte r
.
,
tints and hi gh li ghts from a g eneral tone previous l y

s p read over the whole p a p er results in stro n g forcibl e
, ,
d rawi n g s A p ractical plan for worki n g this way i s

.
to indicate the drawing first then S pread the ge n er a l

,
to n e over the paper outlines of the first drawin g

,
and all The markings of the p relimi n ary outl ine s

.
will show throu gh the tone just su ffi cie n tly to e n abl e
you to go on with the d rawi n g if you h ave e m pha
sized them with very h ard ch arcoal .
A clean piece of Ch amois is employed in li g hte n

ing tints a n d white spots or nearly white tones a re
,
obtai n ed by the use of a p ellet of bread or t h e

kneaded rubber .
Kn eaded rubber is es p ecially serviceable and a

convenient article For the high li ghts and wher e
.
sharply defi n ed outlines are required the h ard

p ointed rubber is best This article however must
.
, ,
not be brought i n to use until well toward the finish

i n g of the drawing as much rubbing with it destroy s
,
the surface of the p a p er and will cause subsequent

workin g with the ch arcoal or crayon over the rubbed
out spots to result i n u n even ti n ts .
Charcoal sticks are poi n ted by strokes of the

knife blade exactly op p osite to those employed i n
-
sh arp e n in g a lead pe n cil ; to wit from the poi n t

,
b ackward But the most practical way of shar p en

.
ing charcoal is by the use of sand p a p er This com es.

CHAR COAL AND CRA YO N DRAWING 55
in the form of little blocks consistin g of pieces of

the p a p e r glued together at their ed g es
. You c an
get th e m in a n y artist s su pp ly sho p They can also
’
.
be used in p ointi n g crayo n s a n d pe n cil leads The

.
d ust from sh arpe n i n g ch arcoal sticks should be

saved for s p reading tints over the p aper with ra g s
or stum p s.
A large area of ch arcoal tint or a b a ck g ro u n d

th at is too d ark can be lightened a little by the u s e
of a s p on g e rubber The soiled m argins of the p a p e r
.
can also be clea n ed with this rubber .
The water mark lines in certain kinds of charco a l

-
p a p er which are sometimes very evident in finish e d

,
work are not considered detrimental to a drawing

, .
For the crayon especially when studying from casts

, ,
a S pecial crayon p a p er is p referable This p a p er ha s

.
n o t th at rou g h n ess of surface ch aracteristic of t h e
ch arcoal p apers ; but is grai n ed uniformly and gives

smooth u n broken tones that render successfully
,
the trans p arency of the sh adows in a p l aster cast .
—
Tinted p apers gray and li ght blue are best
both for ch arcoal and crayon ca n be used for cer
tain subjects The tint of the p a p er takes the p lace
.
of the h alf tint and white crayon is used to get still

-
,
lighter tones and the high li ghts .
For fine crayon work a s p ecial p a p er mounted on

muslin is stretched taut on a frame or strainers .
To p revent finished ch arcoal and crayon d raw

“
in g s from g ettin g s m ud ged they must be fixed .
”
To accom p lish this fixative is sprayed on the face of

,
the drawin g with an atomizer When the p a p er has

.
bee n mount ed on a frame the fixative is sometimes

,
applied to the back with a flat brush The general .
way thou gh is th at of applyi n g it directly to the

, ,
face of the drawi n g .
You c a n pre p are the fixative yoursel f with S hellac

CH AR COAL AND CRA YO N DRAWING 57
and p ure alcohol ; but care must be taken n o t to

get the mixture of a yellowish tinge or it will dis,
co l Or t h e d ra win g
. TO obviate any such occurrence
Fu rn i fu r e,
restnz g on h a s
an d l ea n in g
a ai n sf a trestl e
g
Pl a in fol d i n g
e a s el
f ast by cl i ps
you h ad better get it all pre p ared from the shop .
M ost of the atomizers are made with the two parts

o f which they are co n structed hin g ed I t is n eces
.
s ary when using one always to hold the two p arts
b e n t at the correct a n g le Bu t you ca n g et ki n ds

.
m ad e with the tubes fixed at the required a n g le .

To use the atomi zer : P lace the small tube into
the bottle of the fixative and blow into the O ther
the one with the mouth p iece N ow if you h ave .
,
blown with j ust the right amount of force and the

tubes have been held at the p ro p er an gle one to the ,
other the result will be a fine s p ray of the va p orized

,
liquid You must be careful in p lacin g yourself at

.
the correct distance from the drawing which h as ,
been previously p inned to h a n g vertically o n the

wall or an u p right board I f you get too close to
.
the drawing instead of a fine va p or dro p s of fixative

, ,
will gather and run down the surface of the p a p er .
J ust one little splotch with a track of the trickli n g

liquid will of course ruin your drawi n g This can
, , .
be easily avoided by first getting the ri ght distance

by trying the o p eration on the board alongside of
the drawing Be sure to clean out the atomi zer
.
after using as any fixative left in the small tube in

, ,
drying will cause it to become clogged To p reven t

, .
this blow water throu gh it immediately after using .
D rawi n gs for reproduction by the p hoto e n g ra v -
ing processes can be made with ch arcoal or crayon .
I f they are intended for the ordi n ary line or zi n c

e n graving they must not be rubbed over I t is i m .
p ortant to remember this The lines or markings.
are not to be smoothed over with the Chamois or

stum p s as the depressio n s in the roughly grai n ed
,
p a p er must S how a clear white E x actly as in p e n.

CH AR COAL AND CRAYO N DRAWING 59
and i n k the requirements are th at black marks and

-
,
li n es b e of a n i n te n se black and not of a grayish

a p peara n ce .
For the h alf tone p rocess you need not trouble -
about the blackness of the marki n gs but see to it ,
that you produce with all the artistic skill at your ,
comm a n d a d rawin g distinguished by good and

,
artistic co n trasts Ofte n a drawing started with .
ch arco al if washed in with mo n ochrome results in

, ,
an eff ective compositio n givi n g a soft blending of ,
shade s and pleasin g co n trasti n g tones .
TH I N G S N E ED ED IN CHA R C OA L AND C RA Y O N
D RAW I N G
Ch r o l
a c a .
Bl k cr yo
ac a n .
Cra yo s u ce o r elo rs i s a u
n a , Com es in v ia l s or wra pped
v u ce .
i n fo il .
P p r ch a rco a l a n d crayon
a e , .
Cra yo h o l d rs o r po rt rayon s
n e , e- c .
Ra gs t o s prea d ti ts o er l a rge a rea s

, n v .
C h a m o i s l th r ea e .
St u m p s o f Ch m o i s l a rg pa p r o n es a n d o f co rk To sm oo th
, a , e e , .
ti n t n d ca rry cr yo n s u c
s, a fro m th Ch a m o i s pa l ette to a a e e
th e d r wi g a n .
Torti ll o s o r s pill s Sm a ll pa per s t m ps fo r d e ta il e tc Th ey

n , . u , .
co m e i n b n d l s o f fifty u e .
Kn ea d ed r b b r a n i n d i s p n b l
u rt i cl e fo r m a k i n g
e , h a n ges e sa e a c ,
ligh te i n g ti ts tc It a n be pu h ed i n to a po i n t a n d u s ed
n n , e . c s
to s h rpen o tli n es o r d t il s
a It h u p r a ct i c ll y t a k en t h e a . as a e
p l a ce o f b rea d w h i ch wa s fo rm erl y u e d i n c h a rc o l w o rk s a .
Poin ted era se r o r ru bber s tu m p to ta ke o u t h igh ligh ts

, .
C h am o is pa l ette to ho l d the crayo n s a u ce
, .
R ed u cin g gl a s s or l en s On e a bo u t two in ch es in d i a m e ter

. .
Exa m in e yo u r d ra win g wi th i t from tim e to tim e V l u s . a e
n ot in k eepi n g S h ow o u t v e ry con s p i cu o u s ly wh en v i ewe d
th rou g h it .
W h ite Con té crayon for h igh ligh ts w h en tin ted pa per i s u s ed

, .
In work in g on wh i te pa per l ea rn o to m n ge yo u r m a te ri a l
s a a
th a t the wh i te pa per will repre s en t the h ig h ligh ts .
Spon ge ru b be r .
Lithogra ph ic or wax crayon to g et a j et b l a ck Bu t rem em ber

, , .
it be era s ed
ca n n o t .
Fixa tiv e A n excelle n t q u a li ty com e s prepa re d Bu t if yo u wi s h

. .
to m a ke i t yo u rs el f, d i ss o l v e d ry w h i t e s h e ll a c i n p u re a l co h o l .
A tom i zers .
Sa n gu i n e, or red ch a l k M a k es v e ry effecti v e s k e tch es ,

. e s pe
cia l l y i f the li n es a re n o t s m oo t h e d ov er i n to t i n t s .
Block s of s a n d pa per to s h a rpen the ch a rco a l o r cra yo n s .
E a sel s .
Portfolio On e 20 by 26 in ch es i s the exa ct s i ze fo r h o l d i n g the

.
s h ee ts o f ch a rco a l pa per I n s te a d o f a bo a rd , a po rtfo lio o f

.
th i s s i ze will a n swer The pa pe r i s fa s ten ed a t the to p by

.
wood en or m eta l s pri n g cli ps .

—
WAT E R CO LOR PAI NTI NG
H E R E are, whether eff ected in colors or sim p ly

in mo ochrome two kinds of water color
n ,
-
p aintin g ; namely
( )
1 P ure water
-
color ,in which the washes are
ke p t trans p are n t and unmi x ed with white ; the
p aper left for the high lights and not p ai n ted in
with white Neither is this p i g ment combi n ed with
.
a ny other to obtai n lighter tints or hues .
( )
2 O p aque body
-
color in,which a certain amount
of white is mixed with some or all of the p aints to
“
g ive them body
”
or density .
P u rists and sticklers for formula and tradition

i n sist th at mixi n g the p igmen ts with nothi n g else
but water a n d worki n g in clear washes as the only
true water color p ai n ting They barely forgive the
-
.
sli ghtest afterthou ght or correction touched u p

with white or a color blended by white .
Working in p ure trans p arent washes however , ,
is much the better way when studyi n g from a model

or in landsca p e sketchi n g as it inculcates if not
, ,
63
the habit o f getting at least the habit o f trying t o

,
get the correct shade or hue in the first wash In

, .
body color one can too easily ch ange or lighten a n y

-
,
p art that has been made d arker th a n it should be .
The hints in this cha p ter are chiefly a pp licable

to the making of monotint drawings for proces s
re p roductio n .
For p ractical work and general illustrating body ,
color is the method most often used as it allows ,
more freedom and gives p le n ty of sco p e to t he

artist s individual wa y of handling and using pig
’
ment and brushes .
I n distem p er a kind of water color the diff erently

,
-
,
tinted dry colors are mixed unless they are them ,
selves very o p aque with a certain p ro p ortion of whit e

,
together with water and a size or some adhesive

vehicle This is the method em p loyed in scen e
.
p ainting and sometimes interior decorating It .
was the a ncien t way of p ainting easel and p a nel r
p ictures .
Now the kind of water color p ainting that i n

-
t eres t s the illustrator mostly is th at of simply mi xin g
the colors with some white or p erhaps using t he,
p igments just as they come in the tubes pans or , ,
j ars and adding white only where needed or desire d

,
during the course of making the drawing Thi s .
method allows for the most p art the same freedo m ,
of handling as oil p ainting The artist can give t o

.
WATE R COLO R PAINTING
-
65
hi s brush strokes as great a degree of cris p ne ss a n d

v i g or as he chooses .
The black pigments universally used in il l u s t ra t

i n g are
( )
I I ndia or Chinese ink in sticks the best thing ,
to use where clear trans p arent washes are de s ire d .
fi e s Fo r W a te r Co l o r Wor k
i s i n k sl a b
Ch i n a s l a n ts f or wa s h e s or
m on o chrom e ti n ts
al e tt e
p
Watergl ass wi th l i ps Pl a i n chi n a W I
The ink must be rubbed u p in a little saucer or a

chi n a slant On e of the latter articles with de
.
p ressio n s or wells to hold the graduated tints is

servi ceable .
( )
z I vory black A brow n ishness.of the washe s
i s the p eculiar p ro p erty of this pi gment P rod uce s .

dee p rich blacks Some prefer this of all the black

, .
p aints .
(3 ) Lam p black This does. not h ave the su g

gestion of brown in the p ale washes I t is liked by .
many on account of the facility with which large

areas of li ght tints can be washed i n a n d also b e ,
cause a ti n t if too d ark c a n almost be spo n g ed o ff

, ,
without much harm to the texture of the p a p er .
I vory black and lam p black are both used for

combining with white i n body color work Some -
.
p refer o n e a n d some the other Soluble liquid .
d rawi n g i n k is also employed i n wash d rawi n g

- -
.
There is o n e p oi n t to which the artist worki n g for

the half to n e p rocess must be a ttentive ; a n d that
-
is to g uard a g ai n st gettin g his ble n ded ti n ts of white

a n d black of a bluish to n e In a drawi n g made with
.
a n y of the black p i g ments where the ti n ts are pro
d u ce d by mixing with water only the seque n ce of ,
washes from the lightest to the d arkest a p pear to

the camera s eye the same as they do to ours That
’
.
is to say the relation ship of the varyi n g ti n ts on e

, ,
to the other will come out in the en g ravi n g p retty

,
much as they are i n the drawing But if a white .
pi gme n t is added to the black mixture the result ,
will be a gray of a bluish to n e .
Now in photo g ra p hy as is well k n own comp ared

, , ,
to the i n flue n ce of rays from yellow brown or red , , ,
the blue rays h ave a n exa ggerated eff ect o n a se n si

WATE R COLO R -
PAI NTI NG 67
tized p late so th at a resulti n g p rocess re p roduction

,
o f a sketch with bluish grays i n it does not interp ret

th e values correctly .
This dis p arity a g ai n is stron g ly em p h asized i n

, ,
t h a t most washes of black are brown in tone so ,
E a s 6 15
For g e n e ra l work .
t h at , when blue gray is laid a g ai n st them there will be

-
,
alto gether diff ere n t photo g raphic values produced .
In other words you will be g reatly disa p pointed i n

,
s e ei n g th at brush strokes th at you took such care ,
as you thou ght i n getti n g i n the ri ght value have n ot

, ,
come out as you i n te n ded .
O f course d rawi n g composition a n d t ech n ical

, , ,
s kill are all required i n turn i n g out acceptable illus

t ra t i on s
for the engraver ; but in the m atter o f
technique the thin g to watch is getti n g all the grays
relatively in value a n d n o t h avin g several diff erent
ki n ds of grays i n the same drawing O ne way to .
avoid this bluishness of the grays is to add a touch

of brown with the white a n d the black Bistre is .
an excellent medium for this purp ose S epia or .
Vandyke brown can also be mixed with the g rays

to neutralize them .
These latter p i gments can also be used in maki n g

very pleasing mo n otint d rawings .
M A TE RI A L S FO R M O N O C H ROM E WA TE R C O L OR -
PA INTI N G
L a m pbl a ck .
I ry b l a ck
v o .
Ch i n e e wh i te t
s o m ix wi th o th e r pigm en ts .
P r c s wh i tes t
o es , o m ix wi th the b l a ck s a n d to g e t p u re wh i tes
in t he re pro d u ct o n i .
I n d i a o r Ch in es e i n k in s ti cks .
C h a rco a l gray .
So l u b l e liq u i d d ra wi n g in k -
.
S e pi a .
Bi s tre .
Va n d yke b row n .
Ch in a s l a bs a n d s l a n ts to ru b u p the s ti ck s of I n d i a i n k .
Ti n t i n g s a u ce rs i n s e t s L i t tl e b u tter pl a te s a n d s m a ll b owl s
.
-
i n ord i n a ry ch i n aw a re a re li k e ly to a n s we r the pu rpos e o f

co n t a i n e rs fo r t i n t s a n d m ixe d pigm en t s .
R ece pta cl es to hol d w a ter On e f gl a s s wi th li ps on the rim

. o
fo rm e d s o a s to t a k e o u t t he s u rpl u s w a te r from t he b ru s h .
An ord i n a ry ch i n a bowl ca n a l s o be u s ed .
7o P RACTI CAL DRAWING
brush more th an one trial ; p erh a p s yo u h ave not
sh ake n the water out with the right force the first
time .
E very water color bru sh worthy to be used for

-
the wo rk when tried as described above will s p ring

, ,
into the p ro p er ta p eri n g form .
B ru sh es f or W a te r -
Col or
s p ite of your care in buying a brush

Sometimes , i n ,
may have stra gg ling hairs or these may a p pear

,
after the brush h as been used some time I n this .
case such hairs ca n be sin g ed off with a lighted

,
match while the brush is wet .
Besides the re gular water color brushes do not

-
,
be afraid to make trial of the various ki n ds of

brush e s you s ee i n the sho p s Yo u may perhaps .
WATE R COLO R
-
PAI NTI NG 7 :
find i n this way b rushes exactly suited to your h and .
Brushes for oil p ainting are sometimes available

-
,
their p articular stiff ness or s p ri n giness may be just

the thin g for certai n p urp oses or touches which you
wish to get i n your work They must be n ew a n d
.
never have bee n used for oil p ai n ti n g

-
.
Always clea n out brushes after usi n g and see that

they d ry in the ta p erin g form They are very soo n
.
rui n ed by leavin g p aint es p ecially W hite p ai n t to

, ,
dry i n them Kee p s p ecial b rushes for p uttin g in

.
solid blacks with drawi n g ink as this black liquid

-
,
has a way of getti n g into the b ase of the brushes

where the h airs are held by the ferrule The dried .
ink stays there a n d causes the h airs to s p read out

a n d s p oil the brush for general wash ma n i p ulatio n .
Always remember to ru n a moistened s p o n ge over

the whole surface of the d rawi n g p a p er after sketch
-
i n g out the p icture an d before p utti n g on a n y water

color This p re p ares ir better for the rece p tion of
.
the washes .
A n outli n e d rawi n g i n water proof i n k ca n be

-
turned into a very good co py for h alf to n e by wash -
in g flat tints over it in places W here your j ud gment

tells you that it will add to the artistic effective n ess .
These ti n ts should be tra n sp are n t Good washes of .
this sort are obtai n ed by rubbi n g up sticks of I n dia

ink or by either liquid sepia or soluble d rawi n g i n k -
.
PEN —
AN D IN K D RAWIN G
/
— —
P EN AN D IN K D RAWI N G
—
P EN AN D IN K drawi ng is a work executed
-
with a pen in black ink on p ure W hite p a p er

a n d i n tended ,p rimarily fo r re p roduction by the
,
ordinary li n e or zi n c engravi n g .
I n the early d ays of photoengraving whe n ever a

draftsman made a drawi n g for th at p rocess he was ,
S trictly enjoined by the en g raver to use nothi n g
but smooth white cardboard and not only to make

,
the lines intensely black but to be most p articular

,
as to wh at kind of a p en line he made

-
.
This was whe n the p hotochemical engraving

process was in its i n fancy but since the n there have
,
been so many im p rovemen ts in the craft a n d the ,
e n g ravers h ave become so expert th at almost any

,
ki n d of a line ca n be rep roduced by them very

satisfacto ri ly So i n these d ays a n illustrator n eed
.
n o t trouble hims e lf very much about the mech a n ical
requireme n ts of the process .
This does not mean however th at the artist

, ,
should disre g ard the rule i n respect to the i n tense

black ink and the use of a good quality of cardboard
75
or p a p er Ki nd and quality of line should be con
.
s id e re d too
, .
And so before startin g i n to work the S tudent o f

'
pen and ink drawin g will fin d it profitable to give

- -
some attention to the diff erent sorts of p en lines

and their distinctive qualities .
On the followi n g four p ages are grou p ings of the

various li n es used in pen work This list is n ot .
off ered as a com p lete or comprehensive enumeratio n

of all lines p ossible in this p articular method of p ic
to t ial ex p ression I t is merely p resented to su ggest
.
to the draftsma n the hel p ful n ess of S tudyin g a n d

analyzin g for himself li n e technique and of bei n g ,
constan tly on the lookout for and trying new ways

of h andli n g the pe n .
W e are im p ressed i n looki n g over the various

illustrations in the p eriodicals by the diversity of
styles in p en and i n k rendering there dis p layed
- -
.
P ictures will be fou n d exem p lifying many sorts of

p en technique from the unembellished outline sketch
to the hi ghly wrou ght drawin g in which every a t
tem p t is made to S how form and color value as well
as the whole p lay of light and sh ade .
Some of the different methods of technic in this

b ranch of art are described in this list of kinds of
p en drawi n gs .
( )
I S imple outline in which no attem p t is made
to show local color tints or li ght and sh ade
, ,
Some .
P RAC TI CAL DRAWI NG
VA R I O US K IN D S OF LIN E S .
W ri tin g p-
e n s tro k es .
A b ptly
ru en d i n g li n es A s tu b pen u s ed
. .
H y li
ea v n es m a d e wi t h a v e ry b ro a d n i bb e d p en , l ea v in g
a t h in wh i te lin e be tween th em .
Coa rs e pen s tro k e i rregu l a r a s to l en gth a n d d i re ction

s, .
A l a rge wri ti n g p n u d
-
e se .
Wrigglin g lin s som wh a t i m i ta tin g th u m b im pres s ion s

e , e .
Fo r de co ra ti e d ign
v es D rawn with a s . d po in ted ro u n -
pen a n d u s i n g b u t li ttl e pr s u re n the p n es o e .
I m i t tin g woo dw rk r gra in in g Try a do u b le po in ted

a o o .
-
p e n to g e t th i s effe ct .
— —
PE N AN D INK DRAWING 79
C R O S S H A TC H IN G
-
.
At igh t a n gl es
r .
Ob liq u ely .
C ros s ed th ree tim es .
Un ev en a fa v o ri t e way o f s o m e ca rt oon i s ts o f pu tt i n g in
,
s h a d ows or a con t ra s ti n g ti n t b a ck o f a g ro u p o f figu res .
Pa tch es of cros s h a tch i n g s et on e to the oth er a t v a rio u s ly

-
,
o ppo s ed a n gl es .
Se ri es o f cro s s h a tch ed s q u a res L i k e a l o t o f li ttl e ch eck er

- .
bo a rd s . D ifficu l t to m a ke a n d g et a n ev en tin t o er a v
l a rge a rea .
M I S C E LLA N E O U S .
G i
ra s s , a v ery co n v e n t o n a l way o f i n d i ca ti n g it .
i l
St pp e he w y
, t a t h a t li t h o g ra p h e rs m a e
—
k i t th
e d o ts in
row s o f co n ce n t ri c a rcs .
St i ppl e i n pa ra ll el row s .
Dou b l e po in ted pen s tro k es

- .
R a pid ly d rawn lin es en din g in h oo k s N ot good in the .
en gra i n g a s d u ri n g p ri n ti n g t he h
v ,
oo k s ca t ch i n k a n d
s t a y fill ed wi t h i t .
Th in li n es d raw n wi th a fin e pen
,
a n d a ft e r wa rd re t o u c h e d
a n d s t re n gt h en e d wi t h a co a rs e pen i n pl a ce s .
— —
PEN A N D IN K DRAWING SI
times certain lines are made a little heavier to i n

dicare the sh adow side of a form The lines are .
S ketchy broken here and there yet intelligent and

, ,
sensitive in feeling .
( )
2 P ur e outline only with flat tints,in p laces to
suggest local color and take away from the monot
ony of mere outline A larg e mass of solid black
.
or a p attern like b ackground is sometimes worked in

-
.
(3 ) O utlines bold and sketchy

, broken in p laces,
where there are w rinkles and angles The only .
S h adin g is a general eff ect in p laces of tinting with

, ,
oblique lines These are drawn in a direction natural

.
to a right handed p erson ; th at is slanting from the

-
,
up p er ri ght side to the dia gonally o pp osite lower

corner This way of shadin g is the favorite method
.
of those who must do quick work for news p a p ers

and who must evolve p ictures without the use o f
models P lenty of white s p aces are left and the
.
,
p arallel oblique line tints are p ut in where they

will give the maximum of effect with the minimum
of labor .
(4) E x p ressive and im p ressionistic lines These .
are as few as p ossible The artist seems to be most

.
s p aring with p en strokes and ink ; but very liberal

with leavin g areas of pure white p aper The lines .
h ave been quickly drawn but much thou ght is ,
shown by their forcible interpretative qualities .
There is never a superfluous line D rawin g s of .

this kind are best made on thin tra n s p arent p a p er

laid over a p reviously worked out pencil sketch -
.
I n this way you can see wh at to leave out and only

d raw the absolutely essential .
(5) Thin lines very

, d ainty and d rawn with the
finest p en More thou ght given to attaining this
.
“
d aintiness than to wh at is ordinarily called d raw ,
Meaningless lines p ut in sometimes merely

”
ing .
to fill spaces A style Characterized by leavi n g

.
large s p aces of untouched pa p er or it may be m arked ,
with only a few sketchy lines in bi g curves all —

leavi n g mu ch to the imagination and saving the
'
artist a lot of h ard work that is serious d rawi n g

, , .
A ch armin g style but if carried to extremes lacki n g

all qualities but th at of d aintiness a n d a certai n
decorative feeling Working in this style is some
.
times the refuge of those who can n ot draw .
( )
6 I m p ressio n istic p atchwork of tints The .
whole work characterized by a series of irregularly

shaped patterns of ti n ts E ach one of these p atches
.
is composed of nearly p arallel lined shadings the -

,
differe n t p atches co n trasted and relieved one against

the other by their stre n gth and the con trary di
rectio n s of the lines Sometimes special p ens h ave
.
been used for the lines of diff erent weights There .
is h ardly a n y cross hatchi n g which is a good p oi n t

-
, ,
by the way A drawi n g i n this style always m akes

.
a good p rinti n g p late is attractive and engages the

, ,
— —
attention But if this p atchwork way of think

.
i n g is car ried too far the result seems more like an

”
,
exercise in p en strokes and not as it should be a , ,
symp athetic art work The drapery renderi n g of

.
fi g ures i n this style is apt to be merely a study of

drapery and not a p icture of a clothed human being .
There is lacki n g a symp athy for life At no times .
does the artist lose sight of the fact th at he is h a n

d l i n g a pe n.
(7 ) S ketchy lines confidently

, put in and easy
flowi n g. The li n es are d rawn quickly and in long
strokes I n important p laces as a face the li n es
.
, ,
are marked with more deliberation The whole .
drawi n g h as a finished app earance in spite of the

sketchiness of the pen work There is a perceptible
.
touch in the bold n ess a n d vigor of the tech n ical

ski ll which assures one th at the artist ca n draw a n d
th at he does n o t work in this ma n ner to co n ceal
any b ad d raftsmanship Such d rawi n gs are generally
.
made with a fine but tractable pen point .
( )
8 M arked by a g rayish quality of nearly all
the tints over the e n tire drawi n g ; u n less perhaps , ,
a forcible d ark spot h as been h appily placed i n a

contrasti n g positio n There is n o cross h atchi n g
.
-
,
to s p eak of N o h ard outli n es nor ti n ts bou n ded

.
,
by a line P laces where ordi n arily a limiti n g out

.
line would be marked are left blank The imagina

, .
tion sup p lies the line .

(9) A style fullp ower that shows S kill and
of
ability The p en h andled with p erfect freedom
. .
D istinctly a pen drawin g yet showing th at the

,
artist never once thought of the poi n t in his h and

as a p en p oint The general eff ect o n ly thought of
.
,
and not the individual lines The certai n ty with .
which the masses of li n es are drawn and the con

fid e n ce exhibited in the delineation show th at the
artist knew exactly what he was about and h ad a
mental p icture all the time of wh at he was strivin g
for .
( )
1 0 C onventional and matter o f fact style A-
ll -
.
the com p one n t p arts of the com p osition faithfully

drawn An endeavor to re p resent the full round
.
ness of form and co p y all the lights and sh ades .
P rinci p al figures usually strongly outlined No .
broken lines The directions of the p en strokes

.
su ggested by the forms of the obj ects casts of the ,
dra p ery folds or the way the sh adows fall There

, .
is much cross hatching a n d a p roneness to cover

-
the entire surface of the p icture with p en lines .
I
( )I P en and ink
-
etchin g A contradictory
-
. term ,
but descri p tive of the style under consideratio n as ,
it simulates somewh at the work of the etcher s ’
needle A S teady h and is required for this m anner

.
of drawing as it must be executed with a very fine

,
p en The pen too must be firm and res p ond to

.
, ,
every degree of p ressure th at the artist im p arts to

painted in over a solid black I n fact in some .
,
places a method of paintin g in li n es with a small

,
brush ch arged with white h as most p rob ably been

em p loyed .
M A TE R I A L S N E ED ED IN PEN - —
AN D I NK WO RK AND
D I R E CTI O N S FOR TH E I R US E
i
Br s to l -
Boa r : d an d P a per: .
—Bri stol board
-
is
mostly used for makin g pen drawin g s for engravi n g .
The white of some cardboards is of a creamy tin ge ,
but it is best to use th at with as pure a white as it

is possible to get A perfectly smooth surface is to
.
be preferred i n bri stol boards but a n other surface -

,
“
called kid finish c a n be used at times Bristol
”
.
boards come i n a number of sizes ; the most e co n o m

ical way is to g et the regular size as h andled by
cardboard dealers or p ri n ters supply men This ’
.
is 2 2 by 2 8 inches O rdi n ary cardboards should

.
not be used as they are mai n ly of a p orous texture

,
a n d will cause the i n k to spread or give ragged
li n es The ri ght ki n d of a surface is necessary too

.
, ,
to sta n d a n occasio n al scratchin g out of ink lin es .
W riti n g paper if smooth makes a good surface on

which to draw with the pe n Your S tatio n er .
should be able to g et you larg e sheets of it if the ,
art material dealer ca n not supply you

-
A sk for .
heavy li n e n l e d ger paper .

— —
P en hol derr
.
—Almost any s ort will do but it is a
,
god plan to h ave a number of kinds so as to rest the

o
P en s an d P e n h ol d e rs
han dby the vari ously sh aped h andles On e way to

.
m ake the grasp of the h and easier and more com

fo rt a bl e is to roll and p aste stri p s of p aper around

the socket of the handle M ake this as thick as .
you desire then if you gras p it before the p a p er

,
and p aste are completely dry the roll of p a p er ,
will con form cushion like to the gras p of your

,
-
,
fingers
—
.
P er m For m any years G il l o tt s p ens N os 2 90

’
, .
and 1 70 h ave been the favorites with p en artists

, .
You will find also other g ood makes of d rawing p ens -
in the art m aterial sho p s The crow quill is a very

-
.
-
good p en that fills nearly all the re q uirements of

the p en drafts m an I t can make the finest hair.
line and h as a p oint th at res p onds to enou gh p res

sure to make a line nearly one eighth of an inch -
thick First class S tationers now kee p a su pp ly of

.
-
drawing p ens on h and together with m any other

-
kinds th at can be used in line drawing Stub pens .

,
for instance are sometimes very good in coarse

,
work ; likewise large writing and double p ointed -
p ens When a line is wanted thicker than any p en

.
will make it is advisable to try a s howca rd wri ter s

,
’
bru sh This is a sable bru sh wi th very long h airs

. .
I f it is managed with a S teady h and long firm lines ,
can be m ade with it

—
.
h u h The water p roof variety is the one gen-
e ra l l y em p loyed Some who like to work in delicate

.
thin lines choose the soluble ink Bourgeois s French .

’
ink comes in a bottle which is conveniently held in

— —
the h and Most workers to be sure fix the ink

.
, ,
bottle in some sort of a stand that is not easily

upset ; but artists who work on larg e easel like ,
-
t ables with the p aper fastened down work with ,
the p en in one h and and hold a bottle of ink in the

other I t saves a little time in ch arging the p en
.
with ink I f lon g and thick lines are made the

.
,
fine drawi n g p e n s h ardly hold enou gh ink for two

-
s uch lines a n d reaching over to a table to dip the

,
pen in an ink bottle every two strokes means a

-
real loss of time .
Lea d P en ci l r A medium p encil is best to use

.
-
a s the marki n g s of a very soft p encil will soil the
p aper and necessitate so much erasin g th at the

s urface is somewh at s p oiled for p en work H ard .
pencil markin g s are di fficult to erase Some find it .
e xpedient to first draw their composition on manila
p aper and then tran sfer it to a sheet of cardboard .
This is accom p lished by rubbin g pencil dust on the

b ack of the manila p a p er a n d then traci n g the
details of the drawi n g throu gh with a hard pencil
or a stylus As p ale blue markin gs do not p hoto
.
-
g raph when set u p before the p hotoengraver s ’
camera newspa p er pen artists sometimes make

,
their preliminary sketchi n g with a blue pencil I t .
is not necessary in this case if the blue markin g s

, ,
are not too heavy to clean off the drawing with

,
the eraser .
E ra : er r
. .
—
A very soft white rubber eraser is t he
best kind to use while making the p re p aratory

pencil S ketch fo r a pen drawin g Take care not .
to use an eraser in which the rubber h as lost its

elasticity a n d is h ard and lifeless as it will smud g e ,
the p encil marks And other rubbers h ave a way

.
of breaki n g u p i n to p articles that stray around the

board and table get into the ink and cause the pen
, ,
to get clo gged up Be sure and have the right kind

.
of an eraser on your d rawin g table Fo r cleanin g -

.
the drawi n g at the last use a sponge rubber ; it

,
will take off the p encillin g s and yet not weaken

the black of the i n k
—
M a ki n g Correcti on r If the ri ght kind O f b ristol
.
board has been used a n y ink lines not wanted can

,
be taken out with an i n k scra p er or a sh arp bladed

- -
p enknife The roughened surface of the scratched

.
cardboard can be smoothed over with a bo ne bur

n i s he r ( make one out of an old tooth br u s h h andle ) -
before redrawi n g with p en and ink W here a .
cha n ge is to be made over a larg e surface it is better

to p aste over it a piece of li n e n pa p er Use a very .
thi n but not tra n spare n t p aper a n d see th at th e

, ,
edges do not come at a n y important part of the

p icture as a n y b reak in the tint or sh adi n g is likely
,
to S how i n the e n g ravi n g Sh avi n g the b ack of .
the p aper alo n g its ed ge so th at this ed g e shows

,
h ardly a n y li n e W here it cli n g s to the cardboard ,

— —
PEN AN D IN K DRAWING 9 1
will p reclude any p ossibility of a break in an ink

line or ti n t drawn over it I f a n y corrections are
.
to be made by p ai n ting i n white or to sharp en,
ragg ed ink lines be sure and use a p igment that

,
will p hotograph white Al b a n i n e or one of the

.
p rocess whites should be employed .
FU RTH E R SU G G E S TI O N S IN P E N AN D IN K
- -
D RAW I N G
Sometimes the eff ort to get good firm li n es in ,
pen work results i n stead i n a series of h ard li n es .
Now here the i n k scraper can be used to softe n them

-
by zigzagg i n g scratches across the e n ds of the li n es

or borders of the ti n ts This procedure however
.
, ,
i s not recommended as an habitual p ractice as it ,
has a tendency to rou ghe n the paper a n d li n e s a n d

give poor p ri ntin g li n es in the plate I t is only .
applicable to bold and vigorous drawings th at are
to be reduced %g reat deal .
The term Chiaroscuro is ge n erally applied to or ,
used to describe the picturi n g of thi n gs i n blended

,
and graduated tints This is the way of workin g

.
in oil and water color p ai n ti n g and ch arcoal d raw

-
in g . Although pen drawi n g s can be made th a t

n early re n der the whol e e ff ect of li g ht and sh ad e ,
the art is for the most part to be considered a s

h avi n g certai n limitatio n s The gifted tech n ician
.
,
eve n thou gh he be o n e of the best must not expe c t

,
to use his tools a n d medium in represe n ti n g every

subj ect with the ma n y adva n tage s p ossible i n oil
or water color In this bra n ch of art p en and
-
.
— -
—
i n k we cannot ordinarily disassociate ourselves
from the idea of lines a n d are com p elled to be mind
,
ful of how and what ki n d of li n es we draw .

94 P RA CTI CAL DRAWING
h ave a few stock skies which they rapidly p ut into

their drawi ngs This is not such a se rious fault
.
,
co n sidered from a practical poi n t of view as it at

,
least keeps them from attempting thi n gs beyo n d

the technical limits of pe n work For i n pictu rin g
.
skies and clouds by this method the less you do

,
“
the better One might add th at the best render
.
,
i n g for S kies i n pen drawi n g is white p aper .
I t is very h ard faithfully to p ortray trees in pen

a n d ink
-
,a n d the best thing seems to be to use i n
t e rpret a ti v e lines th at sugg est rather th an draw the
foliage You adopt for example some p articular

.
, ,
p en stroke for the folia ge of a tree a n d repeat it

throughout the e n tire foliage mass of that tree .
Bu t in doing this it must be remembered th at it

is nothin g more th an a conventionality and that
there is need of varyi n g the strokes The monotony
.
of the regular folia ge touch or characteristic can

— —
be b roken by h aving white spaces where the light

strikes the mass es of leaves a n d causes a glittering
’
F o l i a
Ch a r a ci e o f r'
p e n s tro
-
ke s
i n th e
A COARS E PEN US ED
t h at p reve n ts defi n ite outli n es from being seen .
A gain in the shadows u n der folia g e S prays and on

the side away from the li ght you n eed only put in
d ark li n ed tints without any su gg estion of foliage
-
d etai l .
P RACTI CAL DRAWING
A
I
‘
‘
-IN E OARS E PEN US ED
PEN AN D A C .
5
.
AS a rule whe n drawi n g folia ge the direction of

, ,
the li n es whether i n pe n cil or with the pen should

, ,
be as if they radiated from the ce n tral p art of the

tree K eep thi n ki n g how leaves radiate from a
.
spray and the sprays from bra n ches a n d these

,
a gai n from the mai n tru n k .
Give a g reat deal of atte n tio n to the bra n ches

th at poi n t toward you a n d to the poi n ti n g toward
.
'
-
,
yo u leaves o n these branches I t is easy enough to

.
Fo l i a
g
% u a l i ty o f
l i n e s i n th e
d r a wi n
g
A NEW 1 7 0 PEN US ED .
m n trunk to start i n by drawi n g the side bra n ches

ai , ,
a s they so plai n ly give the ch aracter of the tree .
Bu t It might be j ust as well to draw first those

br a n ches of the tree th at poi n t toward you as they ,
a re h ardest to get right a n d require more thought
a n d care .
In fore g rou n d trees or shrubs the leaves that ,
a re nearest to you should be somewh at detailed

— —
PEN AN D IN K DRAWING 99
Foli a
g e,
l o ok e d in .
MADE WITH AN OLD MUCH USE D P EN

,
-
.
an d m a rked wi th stro n ger li n e s th an t he l e a ves on

th e sides or those farther a w a y fro m t he e ye .
For effective pencil fol i a ge re n d e ri n g o r e ve n i n

,
t h e p re li m i n ary rou g hi n g o u t fo r a n i n k d ra wi n g
-
,
u s e a chis e l poi n ted le a d o r hold t he p e n ci l b e t we e n

-
,
t h e thumb a n d the fo u r fin ge rs a n d n e a rly pa r a l l el
wi th t he surfac e o f t he p a p e r a n d u s e t h e s i d e O f
t h e lead . In t hi s wa y bro a d s k e tchy m a rk s a re
,
p roduced fo r quick interpre t a tio n o f the sh ado w

m asses .
M ADE “m I E
A F N P EN .
VI
H E L P FUL G EO M ET RY
RTISTS, illustrators , and designers rarely need

to be skilled i n mecha n ical drawing nor to
have any s p ecial scholarship as geometricia n s A .
knowledge of a few S imple p roblems in p lane g eo m e

try however can ofte n be advantageously turn ed
, ,
to accou n t in certain cla sses of their work .
The sure methods of g eometry are much better

than guesswork in the co n struction of regular pla n e
figures elli p ses etc to say nothing of savi n g both
, , .
,
time and labor .
Take for instance the dividing of a line into a

, ,
certain n umber of p arts The first diagram of this

.
cha p ter shows how to do this You will n eed a .
straight edge and a t ria n gle A scale marked off

-
.
i n to cen timetres and millimetres is also available ,
as it is very easy to calculate the divisions with it .
You can also use a T square wi th a shifting head

-
adjusted so as to run the p arallel oblique lines I t .
is n ecessary that the ed g e of the d rawin g board be -
absolutely straight in d rawi n g p arallel li n es with

the T square
-
.
1 04 P RACTI CAL DRAWIN G
The method as shown in the diagram on page

,
1 06, of marking off the radius of a circle on its

circumference and getting six p oints on which to
construct a hexagon can be used in drawing the
,
network of lines for the groundwork of a rep eat

p attern M ake the circle in the middle of the p aper
.
and find the S i x equidistant p oi n ts then through

,
the centre of the circle and the six p oints d raw the
two sets of parallel lines as shown in the diagram .
By using the p oints and lines so obtained and the

degree of obliquity of these lines the whole surface
,
of the p a p er can be covered with a found ation on

which either ornamental or floral re p eat p atterns
can be desi gned .
scribed within a circle and then if you wish with

,
the same p oi n ts a pe n tacle or fiv e poi n ted star

-
.
A n y re g ular polygo n c a n be made by the aid of a

circle D ivide the diameter of the circle equally
.
i n to the same n umber of p arts as there are S id es to

the req u ired polygo n Now from the e n d s o f the
.
diamet e r as ce n tres describe arcs with radii eq u al

, ,
HEL PFUL G EOM ETRY m7
CON STRUCTIN G THE GROUN DWORK FOR REPEAT PATTERN S

‘
to the diameter a n d inters e cti n g at a poi n t outside

,
of the circle Then from this poi n t where the two

.
,
arcs intersect draw a li n e through the second of

,
the divisions on the diameter to and intersectin g

the circumfere n ce of the circle Here from this
.
point to the nearest end of the diameter you now ,
h ave one side of the required polygo n This is the .
most p ractical method of dividi n g circles or i n

scribing wi thin them re g ular p olygo n s when the
required number of sides is a n odd n umber like 7 ,
9, or 1 1 I t
. is im p ortant to remember that it is a l
ways the seco n d divisio n ou the diameter through
which the line from the poi n t outside the circle is
d rawn .
When designers h ave need of oval o r elli p tical

forms or p arts of such forms they will fin d the way
,
1 IO P RACTI CAL DRAWING
of making them exp lained in the two p lates in this

ch apter.
I t is a good p la n if o n e needs say an oval to draw

, , ,
it first on a piece of stout p a p er carefully cut it out

,
HELP F UL G EOM ETRY III
with the shears a n d the n use the pattern so

, ob
t a i n e d to trace t he oval with a firm outline on t he
fresh drawin g p aper

-
.
through the m ajor axis and one through the minor
’
axis into four equal p a rts ; whereas an oval ca n be

,
divided into equal p arts bilaterally only ; that is ,
by a line throu gh the long axis .
Sp ecial instruments h ave been invented to out

line ellipses ; ordi n arily though a n art ist ca n make
, ,
the method do that is shown here of using pi n s a n d

th read .
The S h adow of a circle u n der certai n co n diti on s ,
the section of a cone cut obliquely and a circle in

,
I I6 P RA CTI CAL DRAWING
perspective are elliptical in form A rtists can make
.
the di ffi cult work of drawi n g wheels i n perspective

easier by rou ghly sketchi n g out the size wa n ted and
then constructi n g an ellipse of th at size on an other
piece of p aper which whe n cut out c a n be used t o
,
trace a firm a n d certain outline of the p ers p ectively

viewed wheel .
On accou n t of the facility of co n st ructio n and

because fine li n es ca n be made with the pen com
passes a method is illustrated of making an a p
,
proximate ellipse with i n struments A way is also

.
s hown o f d rawin g a curve resembling th e arch of a
brid g e .
Often in orn amental or i n d u s t ri al work the de

si gn er h as need not only of an accurate but of a
, ,
firmly li n ed scroll or spiral Two dia g rams in thi s

.
ch apter make it plain ho w to construct two such

forms mech a n ically with the comp asses .
The next en g ravi n g explai n s the maki n g of a

in u ch more g raceful spiral ornament : namely the ,
I onic volute To draw this cu rve proceed i n this

.
ma n n er : A line which re p resents the hei ght of the

i n te n ded volute is divided i n to ei ght equal p art s .
I n the fifth divisio n counti n g down describe a

, ,
circle This will be the eye of the volute I n scribe

. .
wi thin it a square resti n g on o n e corn er D raw i t s

.
dia meters and divide each i n to six equal parts ; On

the points so obtained construct three squares .
I I8 P RACTI CAL DRAWING
N umber consecutively as S hown in the enlarged
,
scale of the eye of the volute the twelve a n gles of

,
these equidistant squares Now these numbered

.
,
an gles are used in their sequence to describe quad

ra n ts that complete the spiral R adii are made
.
En l ar i
g gn by
smaller as required The sides of the little squares

.
,
if extended i n li ghtly drawn co n struction li n es ,
mark limits of quadrants and S how where they

join each other .
An i n tricate desi g n or a small S ketch can be e n

l a rg e d by ruli n g it off into a number of small square s
a n d the n ruli n g the lar g er area with the same number
o f but lar g er squares

, , . The drawin g is then copied
HELP F UL G EOM ETRY I I9
mech anically square by square O f course draw

.
,
ings can be reduced by squares too , .
This is one technical method in practical art that

is as old as the pyramids for it seems to h ave been
,
used by the ancie n t E gyptia n s I n almost every col

.
lection of a n tiquities from the la n d of the P haraoh s

there are exhibited one or more scul p tor s copies ’
little S labs of S tone with p ictures over which are

,
ruled squares in scratched lines filled in with a red

pigment or ch alk .
Sometimes a draftsman wants to enlarge some

desi g n by t his method the ori ginal copy of which
,
must not be disfigured with p encil markin g s To .
overcome this di ffi culty take a sheet of gelatine

,
the kind used by litho g raphers and etchers and —

scratch with a S teel p oint a series of squares on it .
R ub powdered red chalk into the scratched li n es a n d

then lay the gelati n e over the co p y The desi g n .
can now be seen divided into squares by the red

ch alk lines.
When you send a large drawing to the p hoto

engraver to be reduced to a certai n si z e you want ,
to know so m eti m es the exact hei ght of the e n

g raving I t is n Ot di ffi cult to ascertain this Re
. .
member the rule th at rectangles h avi n g a common

di agonal are in proportio n and draw over the sketch
, ,
i n light pe n cilli n g a diago n al from corner to corn er

, .
Now hold a ruler alon g the edge near to the lower

I20 P RAC TI CAL DRAWING
corner where the dia gonal comes then keep ing t he

, ,
ruler p arallel with the b ase and at the required wi dth

,
push it u p until the end touches the dia gonal line .
From this p oint on the di agonal to the b ase line will

-
measure the hei ght of the en g ravi n g Some seem

.
to h ave trouble i n remembering on which side to

P ER S P ECT I VE M AD E C LEA R
I2 6 P RAC TI CAL DRAWING
conventionally shown in rows of zi gza g li n es The .
bordering trees and plants looked as if they had

been flattened out and poi n ted in the four direction s
of the comp ass The two fi g ures i n the pictu re
.
S LAVES DI PPI N G WATER FROM A PON D .
Pa t f a ci t Eg yptia pa i ti g
r o an n en n n n .
were drawn totally out of proportion to t he rest of

the compositio n To indicate that there were grow
.
in g aquatic pla n ts lotos blossoms were merely

,
placed about .
All to our eyes very decorative a n d symboli c ,

PE RSPE CTIVE MA D E CLE A R 1 27
but to the ancient artist a faithful rep resentatio n ,
perhaps of the obj ects a n d view

, .
The human fi g ure was drawn in rather a queer

way by the artists of ancient E gypt I t would be .
somethin g like this : the le gs and p art of the body

in profile the shoulders twisted around to a fro n t
,
view then the face in profile a n d the eye carefully

,
—
outlined as it is seen i n a full face view all showin g
th at he did not attempt to portray the fi g ure as
his eyes reflected it photo g raphically I t would be
.
hard to say whether he worked in his quaint way

through lack of technical skill disinclinatio n or
, ,
n o n realization of how objects and scenes actually

-
looked to his eyes .
The ch aracter of the drawi n g i n the P ompeian

wall paintin g s shows th at the artists of those times
-
were beginni n g to n otice th at if they wanted to

produce the semblance of reality in picturin g solid a n
gular thin g s they must h ave certain lines slant either ,
downward or upward .Bu t they did not seem to

g rasp the idea of conformi n g co n sistently to fixed van
i s hi n g points in the directio n s of these slantin g lines .
Then too the drawin g s of some modern O riental

, ,
a rtists betray in their simplicity i g norance of the
elements of perspective They have slantin g li n es

.
to define their buildi n g s and strai ght edged solid -
obj ects ; but the respective slantin g lines do not

go to vanishin g points .
P RAC TI CAL DRAWING
Now p erspective could be easily com p rehen d ed
,
if the external world i n stead of being thought O f

,
—
as solid and material which fact our tactile a n d
—
mental faculties constantly remind us o f is i n
P i ctu re P l a n e
be ore you
f
( fl u
ima gination projected forward and outlined on

an ideal pla n e directly before our eyes D oi n g .
this considerin g the natural obj ect you wish to

,
draw as merely traced out on a supposed p la n e

before you is the first lesson in the study of pe r
,
s pe ct i v e .
The black and W hite draftsman is interested

- -
mai n ly in linear perspective Curvilinear pers pe c

.
tive is used in pla n nin g cycloramas a n d aerial per

,
s pect i v e is of interest to the la n dscape painter a n d

-
does n o t b ri n g the questio n of li n es into use but ,
co n cern s itself with differe n ces of the tints a n d

I30 P RAC TI CAL DRAWING
A FAN CI FUL AN ALOGY .
into square feet with the crosswise lines p a rallel to

the hori zon A view of a hu g e checker board placed
.
-
o n the floor with one edge directly before you would
do to illustrate it
.
PE R SP E CTIVE MA DE CLE A R 13:
A FAN CI FUL AN ALOGY
M ost drawin g s requirin g pictorial proj ection are

m ade in a n g ular perspectiv e In this method the
.
p rincip al obj ect is placed in such a way th at some

corner or an gle points toward the observer and the
lines boundin g i t s edges converg e obliquely toward

vanishi n g p oints .
The best way to make perspective clear is to

give a p articular example and S how the way of
p rocedure from the beginning and carried through
to the end You will find then illustrated in these
.
, ,
p a ges seven plates with explanations of a simple

,
The Hori zon ta l Li n e i s al ways on a Lev el wi th the Eye
problem i n a n gular perspective I t will be a d v i s .
able thou gh th at perspective terms first be studied

, , .
T E RM S US E D IN P E RS P E CTI V E
Hori zon ta l Li n e —
. A line on a level with the o b
server s eye not always app are n t Visible in a view
’
, .
o f the sea or the open flat country .
—
P oi n t of S i ght A point o n the horizontal line
opposite the observer s eye In p arallel perspective
’
.
this is also the vanishi n g poi n t I t is sometimes .
called the centre of vision or the centre of the ,
p icture .
as the li n e represents in actuality an imaginary

’
level one ; i a the line of vision from the observer s
.
,
eye to the centre of vision or the point of sight .
—
S ta ti on P oi n t The position of the observer s
.
’
eye opposite the poi n t of si ght and at a distance ,
from it equal to the width of the picture This .
position of the station poi n t makes the optic angle

for viewin g thin gs a proper one ; th at is within
sixty de g rees I t will help i n worki n g out problems
.
in perspective to think of the S tation poi n t and the

li n e of dista n ce as not o n the flat surface of the
paper but jutti n g out toward you The station .
poi n t is only placed on the p aper to us e in establish

in g the positions of vanishing and measu ring points .
I f there is no room below on the d rawing board the -

,
station point can be placed above the horizontal line .
Ba re Li n e
- — A line p arallel to the horizontal line
.
a n d below it at a dista n ce equal to the hei g ht of the
observer s eye The base of the picture p lane and

’
.
the fro n t line of the g round plan meet at the b ase

-
line I n worki n g to scale measurements are marked

.
,
on the b ase line I t is sometimes called the ground

-
.
line .
P i ctu re P l a n e — An imagi n ary p la n e restin g on

the base line The horizontal line crosses it at th e
-
.
hei ght of the observer s eye The line distanc e

’
.
m eets it at the point of S i ght at ri ght an gles The .
picture plane ca n be likened to a transp arent screen

PE R SPE CTIVE MA D E CLEA R 135
to which the points of the V iew are brou ght forward

by lines th at ce n tre or focus at the eye In pass
, , .
i n g throu gh this screen these li n es leave their i m

press a n d produce a hu g e picture of the V iew .
—
Va n i s hi n g P oi n t A point to which conver ge
.
—
in a perspect i ve drawing lines which in nature are
parallel to one another Fo r level li n es the vanish
.
in g poi n ts wi ll be fou n d somewhere on the (level)

horizontal line I ncli n ed li n es h ave their va n ishin g
.
p oi n ts either above or below the horizo n tal li n e .
S econ d Va n i s hi n g P oi n t —If the first vanishin g

.
point is k n own the second ca n be found by draw

,
i n g a li n e from the first va n ishi n g point to the station

point and from here at a ri ght angle another line
, ,
con tinued to the horizo n tal li n e Where this line .
cuts the horizo n tal line marks the position of the

second vanishi n g poi n t Note a n d remember : in.
pict u ri n g ri ght an gled obj ects the two li n es joi n i n g

-
,
the va n ishi n g poi n ts by meeti n g at the station poi n t

always meet at a ri ght a n gle .
—
M ea s u ri n g P oi n t A point on the horizo n tal line
.
to which a li n e is drawn from a measurement or a

scale on the base li n e This line is called the meas
-
.
urin g line.
A measuring point is obtained by centring the

com p asses at a va n ishin g poi n t a n d d rawi n g an
arc from the station poi n t to and cutti n g t he , ,
horizo n tal line The measuri n g poi n t so obtai n ed

.
P RA CTI CAL DRAWING
is used for determining or fixing lengths on lines
going to its particular vanishing point I n parallel
-
.
perspective the measurin g point and the station

p oint are equidistant from the point of sight .
—
M ea s u ri n g Li n a A line to the measuring point
from a measurement on the base line Where it -
.
cuts its respective vanishing line it will determi n e ,
p erspectively the measurement

, .
Va n i rhi n g Li n en — P arallel lines th at in a per

,
s pect i v e proj ectio n ,recede and converge to a vanish

in g p oint
-
.
S ca l e: a n d M ea s u rem en ts are marked on the b ase

li n e A Verti ca l S ca l e can be erected on the base li n e
.
-
.
O f the two kinds of li n ear perspective parallel , ,
ge n erally speakin g is the less complicated Any

, .
thi n g ca n be prese n ted accordi n g to its rules a l ,
thou gh i t is not always the most practical way of

working . Bu t the method is easily explained .
% % R 1
. .
VERT C I AL
MEASUREMENTS IN PARALLEL PERSPE C TI VE .
Th dia g ams h w h d l fab d its

t e i i h fl d h fl i ox a n t on o n t e
p sp t v wi th b aw t
r s o u n an o s oo r, a n
p p p
e e oo r n
. .
er ec i e e ox r n In Its ro er a ce.
V ical m s m ts b btai d i w ways n t

—
ert ea u re en ca n e o ne o :
D aw p p dic la s h bas l i A d B Th to t ei d h ight ( f )

c d m h scal h ba li ma d th dic la s va ish
1 r e r en u r e- ne an e req u re e
k p p 3 t
. .
.
f t e on t
li s ts wa t d wh th y will ma k h q i d h ights
ro u re ro e e se- n e, r e on e er e n u
p
h p
r an n
In g ne ru n to t e a n n e e re e r t e re u re e
q i d h ight ( % f ) f that d g f h b sti li C is f d

, .
Th 3 t o d e t ox re
a k d 5 m h i s li C
2. e re u re e . e o e n g on ne ou n an
.
m r e 0 fro t ne .
PE R SPE CTIVE MA DE CL E A R 1 39
the g round plan are copied on the perspectively

-
proj ected block of squares This however gives

.
, ,
you only outli n es of things as they appear i n a

g round pla n-
To get u p a n d down dime n sions ver
.
- -
tical measurements are necessary These i n parallel .
perspective are obtained i n two ways .
Now as the picture plane rests o n the base line

,
-
,
sizes marked on either would be the same So a n y .
size wanted can be obtained from the scale on the

base li n e set off on a vertical on the picture pla n e
-
, ,
and carried back ; that is beyond the picture plane

,
by convergi n g lines to the va n ishi n g point which -

,
K
p o i n t in p arallel p ers p ective is also the poi n t of
sight .
The other method is to take measureme n ts from

the diff ere n t horizontal li n es beyo n d the base li n e -
.
For instance if each of the horizo n tal divisio n s of

,
the plan represents one foot th at can be divi ded

,
i n to twelve i n ches Then a desired height at any

.
point ca n be established by erecti n g there a vertical

li n e and marki n g the desired height from the scale
of i n ches to be fou n d on the particular horizontal
line on which it rests .
An gular perspective is demonstrated by the

seve n plates i n cluded i n this chapter They S how .
,
step by step how to picture a cube in perspective

, .
I t wi ll help i n worki n g out the problem i n first mark

i n g a floor wi th the specifications of the problem .
AN UL R G A PE RSPECTIVE .
PLATES (S ee on TH E F O LLOW IN G S ev en Pa c es ) .
A cu be with dg 3 ft l g i s t
e es . on o be d aw
r n in a g la
n u r p er sp ti
ec v e.
Ob s s y 5 54 ft high
’
erv er e e . .
a li
B ft fl
se- n e Io . o
'
Wid h f p ict pl a ft
—
t o u re n e to .
O f h c b
n e corn er o t e u e tou ch ba s l i f—
es the t h l ft f h t Pl a it at
e ne 2 to t e e o t e cen re. ce
y a gl with f c h ba s l i that pl a s
.
an n e re ere n e to t e e ne you e e.
Mak h l i s i h
e t e ne n t e or er d as mb d nu e re .
F ky
or abb iati
e to re v on s
, g a i g pag 33
see en r v n on e 1 .
I st d f a c b tak
ea e, e a n or d i a y w d b d i ts d im si s A cha i a t bl
n r oo e n ox a n u se en on r, a e.
g p f bj ts al s b s d as m d l s
n o u .
or ou
r o o ec ca n o e u e o e .
I 48 P RAC TI CAL DRAWI NG
Two M i s ta ke s F
A s th e r i m
s h ou l d b e d rawn .
AD D ITI O N A L M A TT E RS A B O UT P E RS P E CTI V E
A direct fro n t view of a circle assumes no ch an g e

i n form and can be described wi th the comp asses .
Bu twhen it takes some other position wi th refere n ce

to the eye it has a n outli n e th at can n ot be co n
,
structed with the ordi n ary drawi n g instrumen t .
In this case the outline is a n ellipse The way t o

.
DRAWING ED WIN DOW OPEN INGS

CURV IN PERSPECTI VE .
curvi n g line ca n be copied by n oti n g the points

where it cuts the li n es th at define the small s q uares .
A similar method is applicable for curves of

window openi n gs and doorways Enclose t he p lan
.
PE R SPE CTI VE MA D E LEA R
C 151
of the curve i n - —
a ri ght a n gled form square or
ob
long W hichever ki n d it suits P u t a like form in

, .
perspective withi n which draw wh atever dia go n als ,
verticals and va n ishi n g li n es will help i n fixin g

,
points that make the copyi n g of the curve easy .
D e te r m in in th e s i z e of t h e p i ctu
g re
Then rule the enclosi n g right angled form with -
correspondi n g lines a n d copy the curve as you

would i n copying by squares .
I t is a simple matter to find the centres of rect

a n gles or squares i n perspective by drawi n g the
dia gonals This is the way to fin d the middle o f an
.
e n d wall o f a buildi n g s o as to draw a vertical li n e
to the ridge of the roof .

1 52 P RACTI CAL DRAWI NG
The slanting lines definin g the ends of an ordinary
,
ridge roof could be drawn to vanishi n g poi n ts But

,
.
in most cases these points are beyo n d the limits of the
I I G THE CENTRES OF S%UARES AN D RE C TAN GLES IN PERS PE C TI VE

F % N .
drawing board so th at it is necessary to draw them

-
,
i n some other way . This ca n be do n e by first put

ting a box i n perspective of the proper size a n d then
, ,
with dia go n als a n d ce n tre li n es fi n ding the points to

which the slantin g lines are drawn .
1 54 P RAC TI CAL D RAWING
the board one below and one above the horizo n t a l
,
line The three p arts of the centroli n ead are so

.
—
set that they are like the letter Y the ruler the
stem a n d the arms like the upper parts of the letter .
CE NTR O LIN E AD
Wh en using the i n side edges of the arms are ru n

,
a g ai n st the two n ails an d radiat i ng lin es p rocured

i n moving the instrument alon g .
The a n gles at which the arms are set to each

other a n d to the ruler and the places and dist a nces
, ,
apart of the n ails in the board determine the deg ree

of divergence of the vanishing lines .
P I CTO R IAL COM PO SI T I ON
resented by a S pot of light a n ote of color or a , ,
“
figure or grou p in bold and clean cut silhouette -
against the rest of the diff ere n tly to n ed p icture .
O r agai n it may be a face stro n g in ch aracter or

, , ,
ONE THEORY OF P ICTORI AL COMPOS ITION .
1 .
1 i cl d l i s i hapha a dl y l ack s l i t st
Cr e an ne pu t n z r ; rea a rt n ere
Att acts att ti at c beca s it sh ws that h h w s d i

. .
2 .
B
r
h d si
tt e
en
e
on
I e
on
d a v id t l av s hi g h magi ati too e
e u e o
n ot
t ou g t
to t e I
as u e
-
n the a agm t
rr n e en .
u gn en ; e e n n on .
3 . 4 .
3 Agai th ght is xhibit d i h—disp siti f h c m p t n t t e o n en s The n o n sy m t ical

m e r
a a g m t xcit s i t st h l m t f myst y h
n ou e e e o on o o .
-
rr n e en e e n e re t e e e en o er t ere .
4 . S im p l p ic
e ial c m p si i b ilt th p c di g diag am
to r o o t on u on e re e n r .
expressio n p roperly lighted a n d set off by contrast

,
i n g tones or b ackgrou n d But this is n ot all ; the .
poi n t of i n terest whatever it may be to gether with , ,
the other compo n e n ts of the picture must be so ,
arra n ged th at they form a pleasi n g totality .
Now exactly why one combi n ation of lines

, ,
P ICTO R IAL COM PO S ITIO N I 59
masses of tint s or s p ots and areas of colors p leases

, ,
a n d another does n o t is a di fficult question But

, .
it is the functio n of the theory of p ictorial com

p osition to a n swer it by formulating a n d setti n g
forth rules and p rese n ti n g them in a n elucid ati n g
way so that they will help i n p roducing p leasi n g
works of art .
Seemi n gly without a n y s p ecial striving some ,
craftsmen create eff ective a n d charmi n g things ;

but most of us are obli ged diligently to apply our
selves until we understand and absorb the rules
governi n g good picture making and the principles of
-
beauty in co n structing art obj ects O n exami n i n g .
the work of some artist of talent these qualities are

,
seen to be co n spicuously i n evide n ce : si n cerity con ,
fid e n ce skilled tech n ique a n d a reveali n g through

, ,
out the work of a thorou gh mastery of tools and

material These qualities are all essentially p resent
.
i n a good picture yet they are not dwelt upon as

, ,
a rule i n a treatise on pictorial composition

, .
As generally u n derstood good composition means

,
the groupi n g of the diff ere n t parts of a picture i n

a kind o f geometrical arra n gement of li n es a n d
s p aces
.
The sim p lest type of the well composed picture

-
is the diagonal or a n g ular In this a n oblique li n e

.
separates the s p ace i n to two tria n g ular are a s one ,
in light and the other dark or in sh adow Now if .

,
1 60 P RAC TI CAL D RAWING
the dissi m ilarity between these two contrasting
areas were exactly marked alo n g the diago n al the ,
result would be somethi n g not at all a p icture .
To approach the p ictorial the dark p art must be ,
broken u p wi th li ght a n d some of the darker sh ades

,
must run over or break into the li ght space .
DIAGONAL COMPO S ITION S .
Two of R mb a d t s
e r n
’
e tchi g s i which h lights d shad
n n t e an o ws hav b
e e en si pl ifi d
m e .
A knowledge of what con stitutes good com p osi

tio n is best gai n ed by observi n g S tudying a n d , ,
reflecti n g o n the works of the masters For on a t .
t e n ti v e l y consideri n g good pictures you wi ll n otice
how certai n of their com p o n e n ts are dis p osed so

that they form some ki n d of a geometrical figure ;
plai n ly appare n t yet n o t obtrusively obvious
, .
E specially deservin g of study i n this respect are

the works of R embra n dt His p ainti n gs a n d etch
.
i n gs with their eff ective ha n dli n g of light and sh ade

would e xhibit a series of concentric ellipses the ,
cen tral and smallest holdi n g the poi n t of i n terest .
This i n side ellipse is n ever i n the ce n tre of the area

of the picture but a little below and either to the
ri ght or the left of the centre .
Tu
'
rn e r s
Compos i ti on s
CHICHES TER CA NA L
ULYS S D 01 mm YN IHUS
POL
A P PROACH TO V EN ICE THE TIGHTING TEHIRAIRE
Another dia g rammatic representation , agai n of ,
a type of compositio n used by him S hows radiati n g

,
lines with the p oi n t from which they start a little

bit aw a y from the centre of the picture space .
M a n y of Turner s compositio n s exemplify the

’
importa n t part character a n d ki n d of li n e play in

carryi n g out a n idea or in helpi n g to explai n the
P I CTO R I AL COM PO S ITIO N 1 63
story of the p icture For i n stance in a p astoral

.
,
“
c a lled Norh am Castle all peaceful a n d tra n qui l
,
”
the li n es are S traight a n d most of them vertical

Th e S i g n ifi c a n ce of Lin e s h o wn
in t wo o
f Tu rn ers p i ct u r es
Simpl e stra i ght l i nes

mostly v erti cal ,
expressi v e of
'
tra n qu il l i ty .
p p
ro er to t h i s
pe a cef u l
pa s t raol of
Norham Ca stl e
Short broken l i n es ,
s l a n ti n g at
Va riou s an gl es .
fu l l of m ea n i n g;
i n th i s pi ctu re of
restl es s i i ess call e d .
Th e S hi pwreck
a quality of the com p one n ts all thoroughly ada p ted

to this q uiet scene .
A s a contrast is a turbulent watersca p e entitled ,
The Shipwreck I n this composition the lines

.
”
are short broken a n d goi n g i n diff ere n t directio n s

, , ,
all a pp are n tly in a co n fused j umble but withal a ,
defi n ite and forcible design arrangeme n t is evide n t .

A n excellent way of getting an insight into picture
com p osi n g is to make mi n iature sketches i n your
n ote book when studyi n g the canvases of the mas
-
ters . Arrange the chiaroscuro in simple broad

eff ects of white and black and do not trouble about
the details M ake them i n in k say with a fountai n
.
, ,
pen I t will be a good test of sim p licity this mi n ia

.
,
ture pe n sketching Some works for i n stance that

.
, ,
a re a n i n tricate collection of highly finished costumed
fi gures do not come out well in this sort of a trial

, .
You will understand why such works in s p ite of ,
all the scru p ulous care bestowed u p on them ca n n ot ,
be considered as great works of art because they

—
lack on e big thing simplicity .
—
W hen sketchi n g from n ature pencil water color -
—
, ,
or oil carry in your kit a little view fi n der of

cardboard to hel p i n selecti n g well com p osed bits -
of la n dsca p e I t is easily made consisting of but

.
,
a frame of cardboard with the o p e n ing a rectangle

of the same p ro p ortions as the larger rectangular
sh a p e of your ca n vas or sketch book page The -
.
cardboard should be of a dark tint or blackened ,
with drawing i n k -
.
Hold this little frame between the eye a n d the

contemplated view a n d move it along until it en
compasses a section of the landsca p e to your liki n g .
M a n y unex p ected pictorial eff ects are found by the

aid of this little contrivance .
1 66 P RAC TI CAL D RAWI NG
“JA G
x i
x/
S —
MALL FRAME OF CAR D BOAR AN AID D ORIAL COMPOSITION
IN PIC T .
The use of this view fin d e r also enables the sketcher

-
to fix the place of an important item i n a landscape :

n amely the horizon In a landscape sketch the
, .
horizon should either be above or below the middle

of the p icture Th at is the p articular sha p e th at
.
,
you have decided on for the p icture must not be

divided i n to two equal parts by the horizon .
Accordi n g to some artists every la n dsca p e to be , ,
considered as artistically put to gether should h ave ,
these three planes n o t n ecessarily obviously but

, ,
discern ibly o n a n alysis marked : ( I ) Foreground

, ,
( )
2 middle g rou n d (3 ) distance
, .
S k e tc h i
f ro m N a t u r e,
Pl a ce th e
h o ri z o n e i th e r
a b ov e or b e l o w
th e m id d l e
Tr y t o g e t
‘
.
'
th c s e 3 D i s ta n
. ce
Thr e e P l a n e s M iddle
in 3 .
G o u n d r
La n d s L Fo r e r o u n d
ca p e
g
I%
ON LETTE R I NG
S every one learns to write th at is draw the , ,
letters of the alphabet as they a pp ear in the

ordinary running h and so every one should learn
,
to draw them in the forms that they p resent on the

p rinted p age .
The Roman al p h abet the ch aracter of the type

,
with which books and p eriodicals are printed is the ,
b asic form of nearly all modern ornamental and

decorative lettering A rtists as well as designers
.
,
a n d draftsmen should understand the constructio n

,
of these letters and become proficient in delineating

them with exactness and artistic nicety .
For general lettering or sim p le marki ng and

,
labelling an alph abet of ch aracters of a less complex

,
form is more suitabl e th an the R oman For this .
the single stroke letters as shown in the two p lates

-
are good ones to study an d use They are very .
“
easily made and a knack of p rinting out words
,
”
with a facility almost equal to writing can be a c

q uired with a little p ractice .
1 7 :
1 72 P RA C TI CAL DRAWI NG
G E N E RA L H INTS FO R ST U D Y IN G A ND P RA CTIS IN G
TH E SIN G L E STRO K E LE IT E R s
-
'
( )I To indicate the hei g ht of the capital letters ,
li ghtly rule two p arallel lines and exactly h alf way -
between them another li n e to show the size of the

small letters These three li n es are the g u ide lines
.
-
.
They should always be made i n design i n g work

a n d drafti n g ; but for ordi n ary l abelli n g or card
i n dex letteri n g you will n o more n eed them after
, ,
a little p ractice th an you do g uide li n es i n writi n g

,
-
.
( )
2 Use a stub p e n held , i n the ordi n ary way ,
or with the p enholder between the first and second

fi n gers and the thumb placed against it near the
insertion of the pen i n the socket .
(3) K eepin g the letters broad a n d full will fix

a h abit of makin g them disti n ct a n d readable .
(4) N ote how the various letters fall i n to classes

with similar co n structive eleme n ts M a n y of th e .
small letters for i n sta n ce ca n be formed with a

, ,
circle as a fou n d atio n I t is a great hel p to keep

.
this circle idea always i n mind .
(5 ) In p ri n tin g out words keep the letters

, some
—
wh at close one to the other ; and which is very i m
—
porta n t have ple n ty of space between the dif
fe re n t words . This i n sures legibility .
( )
6 Try , whe n practisi n g to make , the letters .
with the simplest possible strokes i n dicative of that

1 74 P RA CTI CAL DRAWI NG
p articular letter . A n i n dividual style, which mea n s
adding a little flourish or curve here a n d there a n d ,
to which no obj ectio n ca n be made will develop ,
later on when you begin to make a p ractical use of

your skill as a letterer .
(7) The cross bars of

-
the capitals E F and H are , ,
p laced a trifle above the central guide line -

.
The letters of the R oman alph abet are much more

d i fi cu l t to draw than the si n gle stroke letters It -
.
would be a disti n ct advantage nevertheless for , ,
every one who draws to learn how to construct them .
When you are able to draw the Roman ch aracters ,
even with slight skill you will h ave your h and

,
trained to execute any style or ki n d of letterin g .
E xam p les for co pyin g can be found everywhere .
The printed ch aracters on the text p ages of a book

or magazine are too small for study but a glance ,
through the advertising p ag es of a periodical shows

a g reat diversity of faces of this p articular family of
typ e characters .
I M P O RTA NT TH IN G S TO NO T E A ND R EM EM B E R IN
D RA W ING TH E LE TT E RS O F TH E R O M A N A L P HA B E T
( )I Poi n ts
on letters like A M N V and W, cut , , ,
through the guide li n es -

.
( )
2 R ou n d letters or curved p arts of letters as ,
i n O G S a n d R g o sli g htly over guide l i n es ; or

, , , ,
-
,
better said are a little bi gger than the other letters

, .
ROMAN ALPHABET SMALL LETTE RS
. .
(3) Cross -
bars in E, F and H are a trifle above
,
the m iddle .
(4) Upper p ortio n s of B S % and

, ,Z are a , shade
smaller tha n the lower p ortion s .
( 5) I n P a n d R the u p per p ortio n s are also generally

smaller ; but it i s n o t always n ecessary to adhere
to this rule if maki n g them diff ere n tly helps spacin g .
6
( ) A lways draw guide li n es before
-
begi n n i n g let
teri n g o n e at the top a n d o n e at the bottom a n d
, ,
o n e a trifle above the middle to mark where the
cross bars come and help i n g etti n g the slight dif

-
fe re n ce s i n sizes betwee n the upper and lower p art s

of certai n letters .
( 7) Use where
,
practical the s p ri
, n g bow drawin g -
i n struments ( pe n cil a n d pen ) i n maki n g the curved

p arts of letters .
In the se l etters u pper pa rts u su a lly abov e m i dd l e l i n e bu t

,
th i s may be cha nge d for v a ri e ty o f if i t he lps s pa cmg

.
'
Now the reaso n th at poi n ts of letters a n d curve s

are drawn sli g htly over the g uide li n es is that they -
would otherwise look too small a n d n ot kee p to ,
the ali gnment if they were made the same sizes or

kept withi n the limits of the guide lines This will -
.
be clearly u n derstood if you test it by drawing a

ON LETTE R I NG 1 79
AMPERSAN D S .
st f cha act s
The fi r ou r e r o f the to w l g t p sf o r ct (a n d ) cc i g i s m a ly
pi tdb y
s
r p ro a re o o e , o u rr n n o ee r
rn e oo .
row of letters of a u n iform hei ght a n d amon g them

make A s V s G s a n d 0 s keepi n g the whole
’
,
’
,
’
, .
’
body of these letters within the guide lines You -

.
will see at o n ce that they appear to be smaller th a n

the rest of the letters To h ave them look right it is .
n ecessary to draw them as advised above .
I f E a n d H are made with the cross bars exactly -
i n the ce n tre they look ungai n ly a n d top heavy -

.
Likewise S B a n d % if drawn with the to p a n d

, , , ,
bottom exactly the same size do n o t look well , .

I 80 P RAC TI CAL DRAW I NG
E specially is it very esse n tial i n the case of S that
this diff ere n ce in size betwee n the two p arts be
made Sometimes artistic letterers if it pleases
.
,
—
their fa n cy break all the rules of letteri n g it seems
,
as if they have learn ed the rules only to tra n sgress

—
them but there is one thi n g that n ever looks well
a n d that is to h ave the S draw n to p heavy -
.
Spaci n g or the p laci n g of the letters in a word

,
side by side so th at the i n tervals between them

a pp ear relatively to be the same requires a great
, , ,
deal of skill Those e n dowed with a natural talen t

.
for decoration do it i n tuitively a n d draw a li n e of

letters with the s ame ease th at is ordi n arily em
p loyed in writing Bu t if it h a pp en s that you
.
h ave n t this gift n aturally you must study u n til yo u

’
c a n s p ace letters with facility and

— —
seemingly with
out eff ort .
M ech anical draftsme n usually i n letteri n g make

, ,
the dista n ces betwee n the characters exactly the

same This they do by careful measuri n g But it
. .
is n o t spacing N o doubt you have n oticed such

.
,
letteri n g ; it has a quai n t n ess all its own a n d whe n

the method is co n siste n tly adhered to has a certai n
i n dividual quality .
The ki n d of spaci n g that i n terests the artist a n d

desi gn er is th at in which the letters and i n terve n i n g
spaces of a word are so disposed t hat they make a
h arm onious arran geme n t This cannot be a c
.
I82 P RACTI CAL DRAW I NG
Sometimes the forms of certai n letters are cha n g ed
or a scroll or a curlycue added to fil l i n where too
much white s p ace S hows In words di ffi cult to
.
s pace properly a line or a ti n t like a cast S hadow is

,
put i n .
Havi n g the letters S a n d N goi n g the wrong way

are two of the commo n est faults of which novices
are g uilty And in certai n other letters they put
.
the heavy st rokes o n the wron g side There is no .
excuse for these mistakes as examples of t he p rinted

,
type are always at h a n d Then a g ai n these mistake s

.
c a n be avoided by rememberi n g how the letters look
whe n writte n in the S pe n ceria n S tyle of calligraphy .
A little expedie n t that helps in letterin g espe ,
ci a l l y i n s p a ci n g i s that of first blockin g out the words

,
o n a n other piece of paper a n d markin g them from
that to the p lace i n tended for them For this p ur

.
AR IATIONS IN LET TE R FORM S MAIN LY BASE D ON
V , THE ROMAN
CAP ITALS .
1911 thi n s a re the 3 3 me

«
g
MI is S trai ts
'
vi III
the pres en t
VIVERE ES T COGIT
A RE
Th i
e no se a n d cro w
bs of a cit
y
Watch Come
Life i s ev e r c ha n g i n g
Al l o f the ab v fll tt s w mad with the sam b ad ibb d d ifl
'
e re n oes in styl e
d by h w a y h d h h ld w h ld
o e e er e re e e ro -
n e p en ;
e ecte t e t e pe n an t e o er ere e .
p ose the p ractical worker kee p s a number of long ,
narrow strips of p a p er always at h a n d Alo n g the .
ed ges of these the sente n ces to be lettered are first

“
sketched out and the n ticked off to the drawin g ”
.
You ca n see by p ushi n g the stri p alo n g to the ri g ht

,
or to the left where the letters and words should

,
come This i n sures too a g ai n st the surface of the

.
paper bei n g rui n ed by much p encillin g a n d erasi n g .

I86 P RA CTI CAL DRAWI NG
SM ALL CHARACTE RS OF A TYP ICAL BLACK LETTE R ALPHABET

-
.
In studyi n g the Ol d black letter so m e of its

,
p eculiarities will no doubt p uzzle yo u AS a help

.
i n u n derstandi n g the why a n d wherefore of these

p eculi arities a n d the arra n gement of thi n and heavy
li n es it is a g ood pla n to copy the letters with a pe n
as n early as p ossible like th at with which they were
L Y L L
CAPITA S OF A T P ICA B ACK
-
LETTER ALPHABET
.
I88 P RAC TI CAL DRAW I NG
anciently li m ned A real goose q uill cut with a
.
-
,
broad nib would be the p roper instru m ent if you

,
could get it But i n default of it an easily yieldin g

.
, ,
stub p en or a broad letteri n g p en will do A reed .
p e n is a m ost excelle n t tool to use in st udying the

black letters .
R eed pe n s are used by A rabians and kindred

p eople to write their ch armi n gly decorative ca l l i g
ra phy. This pen is made fro m the hollow S talk of
a reed growi n g i n E gypt I t is about the size of a n.
ordi n ary pen holder o n e end cut obli q uely some

, ,
wh at p en like with the p oi n t or nib either broad or

-
,
narrow as wa n ted M ost likely you will not fin d

.
a n y of these pe n s at the statio n er s and if the local

’
rug re p airer or Orie n tal shopman ca n n ot supply you ,
the best thi n g is to co n te n t yourself with a broad

nibbed letteri n g or e n g rossi n g pen D rawing i n k .
-
does not flow very readily fro m the reed pen and
you will fin d it better to use ordi n ary writi n g i n k -
.
Letteri n g pe n s are the o n ly ones to employ for

drawi n g or rather writi n g the beautiful Fren ch
, ,
scri pt so as to give it its own particular i n dividual

,
character I n this case a g ai n writi n g i n k had best

.
, ,
-
be used so as to i n sure a free flowi n g of the i n k i n

formi n g the letters I f the desi gn so made is i n
.
te n ded for reproductio n it ca n be S tre n gthe n ed with

drawi n g i n k
-
.
Here is a way of maki n g lettering sketches where

1 90 P RAC TI CAL DRAW I NG
“V IT O
”
ll / WW
RON DE OR FRENCH
, R
SC IPT S MALL LETT ER S .
di fficult to make The g enerally accepted materials

.
are heel ball thi n but firm textured paper and bits
-
,
-
,
of wax to fasten the pa p er in place i n case there is

no one at hand to hold the p aper to k eep it from
shifti n g Heel ball is a waxy substa n ce which cob
.
-
b l e rs use i n blackeni n g heels I t ca n be procured

.
at the dealer i n shoe fi n di n g s However a large .

, ,
thick black crayon used i n marki n g p arcels th at is

, ,
fou n d at a n y statio n er s will do quite as well

’
, .
Before be ginni n g the rubbin g place the pa p er ,
over the i n scribed letteri n g and faste n it in posi

tion with the wax N ow rub a flat Side of the heel
.
ball (or the crayo n ) rapidly across the paper so that

it makes an impressio n of the letters or desig n A ll .
RON DE
, OR F RENCH R APITAL LETT E RS
SC IPT, C .
this as you see is like taking a n i m pression from a
, ,
m edal or a n a n cie n t coi n by rubbing the flat side of

a p encil lead across a piece of p aper placed over the
coin or medal .
THING S N E ED ED FO R LETT E RING
pe n cil ; drawi n g boards a n d p apers

Besides -
, an d
cardboards of various kinds o n e n eeds : ,
—
T s q u a res ; o n e wi th a s h i fti n g h ea d is h e l pfu l in d rawin g the
o b liq u e li n e s o f I ta li c l e tte rs .
Tri a n gl e s o r s e t s q u a re s
,
-
.
S prin g bow co m pa s s e s bo t h pe n cil a n d pe n

-
, Us e t h em in .
d ra wi n g s m a ll ro u n d l e tte rs o r the cu rv ed pa rts o f l a rger

le tters .
Pen s ; coa rs e w ri tin g s tu b l etteri n g Goo se q u ill s a n d the ree d

, , .
-
pe n .
Tra ci n g pa pe r .
N a rro w s tri p s of pa pe r to e e p o n k han d , fo r preli m i n a ry s k tch

e
in g ou t o f wo rd s a n d s en ten ce s .
D wi g
ra n o r ru lin g l a rge le tters
pen s t o i n k in .
Sh ow ca rd w rite r s b ru s h e s for l a rg e free h a n d l ette rin g

’
- -
.
Bl a ck d rawi n g in k fo r pro ces d e ign s

-
s s .
W h i te pa in t to s h a rpe j a gged a n d ro u gh lin es o r ed ges in

n ca re
fu l work i n ten d ed fo r pro ce s s re prod u ct io n .
Sh ow ca rd w ri ter s m o i s t co lo rs fo r l a rge d es ign s

’
-
.
1 96 P RAC TI CAL DRAWI NG
been developed a n d selectio n is shown by the way
,
the artist s p erso n ality asserts itself i n choosi n g

’
those folds creases and furrows that make a suc

, ,
ces s fu l piece of work .
The illustrations i n this chapter from the en

gravi n g s by D urer a n d Scho n g auer and of the ,
statuettes o f the mour n i n g mo n ks show n i n simple

outli n es are prese n ted to bri n g out a certai n ch ar
,
a ct e ri s t i c feature o f dra p ery This is that folds and

.
furrows co n sidered as sim p le outlines or areas o f

,
to n es exhibit somewhat tria n gular or at times

,
trapeziform co n tours Agai n lines defi n ing dra

‘
.
,
p ery forms are n ever p arallel E ve n i n a curtai n with

.
lo n g horizo n tal ridges a n d furrows there will be a ,
te n den cy to the tria n gular i n th at the defi n i n g li n es

,
co n verg e to poi n ts of attachme n t and sli ghtly flare

out at the lower border o f the curtai n .
A se m blance to the tri a n g ular seems to be the

most freque n t form that folds take in a S i m ply .
dra p ed piece of material This p eculiarity is well

.
exe m p lified whe n so m e stuff is faste n ed a n d loosely

hung between p i n s ; the materi al will fa ll i n to a
series of festoo n s that are outlined by the radiatio n s
that start fro m the faste n i n g pi n s R oug hly de .
scribed these festoo n s ca n be said to be for m ed of a

,
p air of lon g tria n gles each I n this illustratio n .
g ravity pulls the material down ward a n d the two ,
pi n s acti n g as resisti n g forces m ake as it were , ,

DRA PE R Y 1 97
three forces at work This produces i n so m e thi n

.
fabrics very sharply defi n ed tria n g ular forms but

,
i n thicker or very heavy textiles a fourth force is

brou g ht i n to play i e the stiffn ess or special
, . .
,
n ature o f the threads a n d filame n ts o f which the

stuff is wove n which has a marked effect i n mod
,
i fyi n g the triangular character of the drapery

folds.
I t is importa n t that the artist re m ember this

tria n g ular feature of drapery ; n ot wi th the idea o f
1 98 P RA CTI CAL DRAW I NG
getti n g a mo n oto n ous repetition of it in every study ;
but to help in seein g a n d understa n di n g wh at he
sees Compare the ma n ifold forms occurrin g i n the
.
di fferent ki n ds of materials that come under your

eyes whe n studyi n g from draped figures .
I n some goods of a pliable texture the outli n es ,
an d a n gles will be softe n ed a n d the three si ded -
for m s be n early lost ; whereas a stiff fibre i n a coarse

material causes a nu m ber of u n ex p ected breaks at
places especially at the a n gles
, .
Laces and some delicate materi al cannot be suc

ce s s fu l l y depicted by li n es particularly S trai g ht
,
o n es So it seems that here there is a n exceptio n

.
to the rule On looki n g closely however it ca n be

.
, ,
seen that the flo u n ces for m ed by such stuffs are

defi n ed by what ca n be called curvili n ear tria n gles .
P erhaps a n example of what yo u co n sider a poorly

worked out bit of drapery comes under your o b
-
servation There is somethi n g about it that does

.
not satisfy your artistic expectatio n s Very likely .
you are ri g ht A critical exami n atio n will p erhaps

.
S how that it is characterized by an e n tire abse n ce
of this tria n g ular or trapezium like feature of folds -

,
creases a n d wrinkles
, .
Of course o n e must count upon some exceptions

,
to this as well as other rules For i n sta n ce i n

, , .
,
some subj ect for a character sketch s ay a needy , ,
perso n who has wor n the same garme n ts so lon g

200 P RAC TI CAL DRAW I NG
Now place side by side for the sake of co m pariso n
, ,
a fashio n ably dressed perso n a n d a m a n i n ra g s a n d

tatters Note how the ele g a n t attire o f the one has
.
ri gid creases precise a n d for m al li n es a n d curves

, .
N o provisio n is m ade for hu m a n elbows or k n ee

joi n ts i n the tube like sleeves a n d trousers a n d
-
,
whe n the limbs are bent the occurri n g creases break

in a stiff and mecha n ical way In the other subj ect .
the apparel has lo n g si n ce lost its disti n ctly textile

character a n d has g radually m oulded itself to the
fi g ure that it covers a n d i n sketchi n g fro m him the
,
hu m an form must be co n sidered Bu t n o t so i n the .
case of the other subj ect Here the whole obj ect
.
of the tailor appare n tly has been to conceal the

outli n e of the hu m a n body so that sketchi n g a n y
,
o n e clothed with fresh examples o f the sartorial art
requires j ust the knack o n e mi ght say of drawi n g

, ,
d ra pe ry we l l This acco m plishme n t is attai n ed by

.
merely payi n g atte n tio n to the tria n g ular ten de n cy

i n drapery forms .
This peculiarity of which we have been s p eaki n g

, ,
holds with respect to statuary as well as pictorial

deli n eation A visit to a collectio n of plastic art
.
will S how th at we ca n get hi n ts o n the treat m e n t of

drapery from the sculptor s works ’
.
An d from his way o f worki n g too we can lear n , ,
wh at will aid us i n drawi n g the attire of the clothed

fi g ure You n eed to sketch fo r i n sta n ce a bit of
.
, ,
FOUR OF THE STATUETTES OF THE PLEURANTS OR MOURN ING
MONK S IN THE D IJON MU SEUM
,
.
,
Ex mp lifyi g h t ia g la i d ap y f ld s
e n t e r n u r n r er o .
—
drapery i n actio n a floati n g ma n tle som e thi n g
,
flutteri n g i n the wi n d or part of a dress of a fi g ure

,
i n moveme n t To h e lp i n ge tti n g th e se effects use

.
a pi e c e of coarsely wove n cloth moiste n ed W ith a
thin mixture of p laster of P aris a n d water This .
you fasten to a board a n d arra n ge W hile still moist

, ,
i n accorda n ce with t he d e sired e ff ect Th e n W he n

.
it has dried and the plast e r has set you can sketch
it with e ase .
An oth e r way easi e r a n d likely to a n swer every

,
purpose is to take heavy but soft textured wrappi n g

,
paper moiste n it a n d push i n to such S imilitude of

,
movin g drapery as you c a n a n d then leave it to

,
me n t ca n be suggested in this clay or plaster tem -
p ered material by blowi n g on it while it is still moist .
A s a matter of course more or less skill is n eeded

,
in carryi n g out these little expedie n ts j ust men

tio n e d
. A feelin g for the decorative is required i n
fixi n g folds a n d cr e ases in easy flowi n g li n es a n d
to make them fall in harmon iously proportio n ed
masses .
For the artist with a n ori gi n ality of co n ception

or the faculty of givi n g his work a whimsical turn
there is n o department of practical art that affords
more scop e fo r t he exercise of his tale n ts tha n that
of designi n g stage or fancy dress costumes E spe .
ci a l l y is this so in the plan n i n g of the multicolored
ap pare l for spectacular e n tertai n me n ts .
Sketches for the dressi n g of a classical play or

a tra gedy of some stated historical period require
serious and dili ge n t research for correct details of
the costumes of the respective period For this ki n d.
of work the artist besid e s co n sulti n g the reco gn ized

,
authoritative books o n costume such as Ra ci n et

, ,
“
Ho t t en ro th K retschmer a n d Hope s Costumes of
’
, ,
the Ancie n ts ca n fin d a g reat deal of material by

,
goi n g over o l d e n g ravi n gs and in studyin g the de

tails of early pai n ti n gs .
In desi g n i n g classical costumes or fa n cy dress in

a quasi classical ma n n er n othi n g could be better
-
,
DRA PE RY 20 5
om P
t
Cos ume S u ggestions fr ain tings byAItist
s
“Tl “
tha n goi n g direct to the G reek p ainted vases and

Ta n agra fi g uri n es i n art museums A study of the
.
vase p ai nti n g will repay you n o t o n ly on accou n t

,
of the k n owl e d g e which you will acquire i n re g ard

to the ancient dress but also i n teaching you to
,
a pp reci ate the straight fo rward n ess of the line work
i n these p ictures .The Ta n agra figurines make
clear ex actly how the lar g e mantles e n velo p ed the
figure .
I n designing fancy dress of a s p ectacular or an

extravagant order the artist s imagination is a l
’
,
lowed full p lay Besides g etting his details from

.
any p eriod or S tyle he pleases he can fin d motives

,
—
in p eculiar natural forms shells flowers a n d leaves
, , ,
fo r exam p le An d as for color co m bi n atio n s what

.
, ,
more inspirin g hints could be asked than those

contai n ed in the coloratio n of the plant and an imal
li fe of the sea and in feathers minerals and
, , ,
crystals ?
The Sf m en e s s and want of variety of the fi g ure
p oses in costume design ers sketches is a con v en
’
t i o n a l i ty which cannot very well be hel p ed as the

,
208 P RAC TI CAL DRAWI NG
bi n ation of the two In additio n there are a few
.
little devices that ca n be employed in produci n g

S triki n g a n d sparkli n g sketches They are as follows :
.
Thick white pai n t (Al b a n i n e is g ood ) for lace a n d

fl u ffy effects P ut it o n i n relief i n rows of dots or
.
,
spatter it .
Gum water or as it is sometimes called water

-
, , ,
color varn ish P ai n t it in to bri g hte n parts of the

.
d e si gn a n d to add rich n ess to materi als like velvet

a n d silk .
I ridesce n t flitter a powder of minut e pieces of

,
colored metallic foil P ai n t g um water W h e r e yo u

.
-
want the play of m e tallic colors a n d th e n dust the ,
flitter over the plac e Good to S how brocade a n d .
the glitter of colored spa n gles .
Frosti n g or mi n ute particles of mica Al s o to be

, .
powdered over gum water for silver ti n sel a n d -

,
span g les .
Bron ze pai n ts of gold a n d silver to i n dicate j ew

e l ry. I t should be put on thick somewh at i n re lief , .
The showi n ess of bijouterie can be emph asized by

paintin g the bro n ze o n a rais e d or embossed fo u n d a
tio n The raised gildi n g as do n e by illumi n ators i s
.
worked out by pai n ti n g the l e tters in a thick compo

s itio u of pipe clay a n d plast e r with gum water This -
.
found atio n whe n dry is sized a n d covered with gold

leaf On e ca n imitate this effect by maki n g the
.
raised fou n d ation with a thick white pai n t to which a

DRA PE RY 209
little gum water has bee n added then covering with

-
,
an ordin ary bro n ze p aint Gold or silver p owders

.
ca n also be made to a dhere with gum water

-
.
steady a n d hard to budge The to p which can b e .
,
slanted at a n y desired angle makes an excelle n t ,
Pl a i n
p i n e ta b l e
R e s t bo a rd on kn e es
f
o
ta b l e.
A con v en i e n t
f
s i ze or
d rawing boa rd-
x 26 i n ches
S l a n t bo a rd by re s ti n
g
it on a bl o ck
o
f woo d
Com bi n e d
surfac e for those who like to work on a piece of

cardboard or pa p er th at they do n ot wish to fasten
down wi th thumb tacks ( D o n
-
o t destroy the
.
surface of the top by stickin g tacks i n to it ) Some .
artists fin d that an ordi n ary un p ai n ted kitchen

table is good e n ough for their pur p oses This they .
use i n conn ection with a drawing board which they -

CONCE RNING MATE R IALS 215
rest on their k n ees and lean agai n st the edge of

the table The table to p is used to keep i n k pe n cils
.
-
, ,
and other materials A sort of desk sla n t can be

.
improvised by prop p i n g up the board with a block

of wood .
—
Li ght N ot ma n y are so fortu n ate as to h ave a
workroom with a studio skyli ght but must content ,
themselves with o n e li g hted by a n ordi n ary wi n dow .
They can make n evertheless a room of this sort do

, ,
by fixi n g the shades a n d curtai n s so that it is p os

sible to control the way the li g ht falls The usual .
custom of furn ishi n g a W i n dow is to put a spri n g

roller S hade at the top keepi n g it pulled part way
,
down a n d so shuttin g out the li g ht from above and

allowi n g it to e n ter o n ly from below That is a .
fashion n ot well ad apted for the artist s require ’
men ts ; it makes a p oor li g ht for drawi n g For art .
work li g ht S hould fall from above and the spri n g

, ,
roller S hade S hould be p laced if a n ywhere at the

, ,
bottom The avera g e window should be scree n ed a

.
little at the bottom as li g ht rays comi n g from below

,
caus e a ti ri n g g lare in the eyes A screen or small.
curtain if stretched across the lower p art of a window

S hould be of a dark materi al ; a deep sh ade of g reen
is good a n d restful to the eyes The hei g ht of this

.
curtai n depe n ds on the positio n of your drawi n g

table I f a roller shade is used the hei g ht ca n be
.
,
regulated by an arra n g eme n t of cord and pulleys .

I f p ossi ble work in a room with the wi n dow
,
ex
p osed to the north ; but if you h aven t y

’
choice an
about the matter and the sun shines into the room ,
t he window must be curtai n ed wi th a thi n white
mate ri al A g ood scheme by which you can get

.
p rotection from the sun s rays and at the same time

’
—
allow air to enter the room a n im p ortant matter
—
in a sunny room in summer is to cut off the g lare
with a screen made by coverin g a wooden frame
wi th a very t hi n st u ff like cheese cloth This frame
-
.
S hould be wide enough to fit inside of the wi n dow
j ambs and j ust a little bit short of the hei g ht of the

window R est the frame o n the led g e S lant it i n ;
.
,
ward and hold it in p lace by a cord that runs over

p ulleys to a fasteni n g hook The degree of the sla n t
.
at which the frame S hould be ke p t de p e n ds u pon

the way the su n light falls and the eff ect on the
drawing table This arra n g ement p erm its a i r to
-
.
enter over the to p of the frame and at the same time

gives protection from the g lari n g sunlight .
Studio tables a n d such fitti n g s should always be

so p laced with refere n ce to the direction of the light
that i n falli n g o n the artist s work it does n ot throw
,
’
,
a S hadow on that p art of the p aper where he is

drawin g In other words li g ht should come from
.
,
the left This is important N o o n e ca n work well

. .
if a ti n y shadow comi n g from the p encil is con

s t a n t l y followi n g the h a n d around as he works on a
who draws will find occasion a l use for a good p air
of com p asses O ne 5 % inches long would be suit
.
able for nearly every p urp ose There S hould be a .
len gthenin g bar a p encil p oint and a p en p oint wi th

, ,
it also Those who do g eneral lettering and desi g n

.
in g S hould kee p a set of sprin g bow in struments on -
their d rawin g tables The bow pen and bow pen

-
.
- -
cil especially are indispensable to the letterer

, , .
Ru l i n g or D ra wi n g P en — The architect a n d the

mecha n ical draftsma n rule their strai g ht i n k li n es
with this In strume n t Free ha n d artists whe n they
.
-
wish to draw a S trai ght pen li n e usually make a n

ordi n ary pe n do by ru n n i n g it alon g the back ed g e
of a ruler I t would be best if they used a rulin g
.
p e n , as it makes g ood sh ar p
—neither
, j a gg ed nor
—
broken ink li n es D o not dip this pe n i n to the i n k
.
,
but fill it by carryi n g the i n k from the bottle to t he

pen with a small brush or a common writi n g p en -
.
,
—
Tri a n gl es or S et S qu a rer W ooden o n es either
-
.
,
of a solid piece or of strips mortised at the corners ,
are not apt to keep their sh ape lon g They are .
inexpe n sive and may do for some work ; but a

b etter investme n t would be to purch ase those made
of a tra n spare n t amber like compositio n -
This .
tra n spare n t quality enables you to see better what

—
you are doi n g whe n marki n g li n es A 30 6 0 degree .
trian gle a n d a T S quare are used in isometric

-
proj ection .
CONCE R NI NG MATE R IALS 2 19
T S qu a re
-
.
—One
of cherry wood about 24 i n ches
lon g with a fixed head is ad apted for the usual run
of work althou gh a better one with transp arent
,
ed g es and a shiftin g head would be more desirable.
P a n togra ph —
.A handy little implement th at the
p ractical worker will sometimes find useful A s a
.
220 P R AC TI CAL DRAW I NG
rule an idea for a desi g n or a n illustration can b e
,
rou g hed out better and with more spirit i n a small

comp ass th an on a larger scale Now here is where
.
,
the pa n to g raph comes i n to use in e n largi n g your little

experime n tal sketch You ca n make the enlarg e
.
ment twice th ree times or as ma n y times bi gg er as

, ,
ment is nothin g more than a flexible ruler held i n
p lace by nails a n d a wei ght ; or instead of a wei ght
held to its place by the hand .
Thu m bs Ta ck: or Dra wi n g P i n r

- —
-
Use those o n ly
.
made out of on e piece of metal or the ki n d with a
W a ys f
o D r a wi n g P a ra l l e l Li n es
he ler
ru
fi rml y a n d m ov e the tri a n gl e
ms w i th the fore fing e r
Ja P a ra l l e l R u l e rs
solid brass head th at does not allow the pin to brea k

throu gh the head and run i n to your thumb To .
take out these tacks use a thumb tack lifter I t is

,
-
.
a very good thing to h ave o n the drawi n g table it -

,
saves not only pocket knife blades and scissor ed ges

-
, ,
b Ut sometimes human fin g e r nails -

.
E ra : err —
.To take out pe n cil marks use a soft
white rubber I f a rubber of this sort g ets so soiled
.
with p encil dust that it smears the pa p er clea n it ,

CON CE RNI NG M ATE R I AL S 22 3
by a S imple washi n g in soap a n d water But be

'
sure that it is thoroughly dry before usin g a g ain .
In some work especi ally crayo n a n eraser is wanted

, ,
with a chisel S h aped or poi n ted en d I n this case

-
.
whe n you cut the rubber wet the blade of the p en

,
—
k n ife i t the n cuts very easily An ink e raser can .
-
be used to take out thi n i n k lines or to smooth over ,
the surface of cardboard th at h as been rou g hened

in scratchin g off i n k wi th the scra p er Spon g e rub .
bers and very soft white erasers are used in clean

i n g off the pencilli n gs from fi n ished pe n drawi n gs .
- —
Red u ci n g Gl a JJ A lens which gives a greatly
.
diminished ima g e of anythin g viewed throu gh it .
A useful article I t helps you to see your drawin g

.
from a differe n t p oi n t of view so to speak I t makes

, .
noticeable in Wash drawin g s spots or places th at are

,
-
,
“
out of keeping Pe n drawin g s beheld th rou gh
.
it a pp ear a little bit as they will look when reduced

in the en g ravin g Get one of these lenses n ot less
.
th an two inches in diameter I t need not be mounted

.
with a metal rim and h andle .
—
In this con n ection looki n g at your work from
—
another poi n t of view i t may be well to speak of
the helpful n ess of viewing your work through half
closed eyes I t is a good way of j ud gi n g of its e f
.
fect i v en e s s in the matter of tone a n d value .
Bl u e P en ci l r —
. A s blue marki n gs do not S how in
ordinary p hoto g raphy a blue p encil can be used
,
to lay out any pre p aratory work for drawings to b e
reproduced by photoe n g ravin g ; thou gh the blu e
marki n gs must not be too heavy The blue p e n cil
.
is the only one to use i n making the first draft o n

scratchboard or for drawi n gs in wax or litho g raphic
crayons S ave the broken points of this pencil to
.
rub u p into powder to make blue tra n sfer p aper

—
-
.
P a l ette K n ife O ne with a blade about 3 % inches

'
-
.
lo n g is a suitable size for the water color artist Use

-
.
it to take the white p i g me n t out of the little j ars .
I f you keep it on your table for n o other p ur p ose

tha n this it is worth while as dippi n g a brush int o
, ,
a j ar of white is not a g ood h abit I t spoils the .
brush and g e n erally discolors the pi g ment with the

i n variably prese n t black paint i n the brush The .
palette knife is also good to softe n a n y white p ai n t

-
that has h arden ed on the china slab .
Lea d P en ci l r To sharpen a pe n cil by resti n g the

.
-
poi n t a g ai n st the ball of the thumb while cutting

the wood a n d lead mea n s that various p arts of your
drawing p aper will be soiled by g raphite thumb i m
-
pressions The way to S h ar p en a pe n cil is to cut it

.
—
somewhat as o n e whittles a stick i n knife blade -
strokes away from you A lead pe n cil that ca n n ot

.
submit to this treatme n t without a breaking of the

lead is not of a g ood e n ough g rade to be used by
the artist In the matter of S h arpeni n g lead p e n cils
.
,
the requireme n ts are : a g ood make of p encils a ,

of a g rade of graphite th at is free from g rit givi n g ,
smooth shadin gs of a n eve n texture .
P e n cil drawi n g s ca n be reproduced by the phot o

en g ravi n g p rocess if made o n a more or less uniformly
grai n ed paper a n d care taken that the pencilli n g
does n ot get blurred .
Dra wi n g P en ci l : — These are of various deg rees of

-
.
soft n ess a n d hard n ess .
—
HHHHHH HHHH HHH Very h ard used i n , , .
,
mechan ical drawi n g The hardest g rade ca n be .
used as a S tylus to trace with a n i n terposin g sheet ,
of tra n sfer paper a rou gh S ketch to a fresh piece of

-
,
paper .
—
HH H For mecha n ical drawin g and design
, .
in g
. In wash work where sharp outlines are t e ,
quired to mark these outlines more disti n ctly j ust

,
before spon gi n g off the paper .
—
F HB M edium de g rees wi th leads of a firm ,
, .
texture Both are much used i n ge n eral desi gn i n g

.
and drafti n g Good on either rough or smooth

.
surfaces
—
.
,
—
B BB S ketchi n g pencils These B g rade pe n
. .
-
cils are made with soft leads th at easily smud g e ,
especially if the paper is coarse .
,
—
BBB BBBB BBBBBB The leads in thes e , .
p en cils are extra thick they can be sharpen ed to ,
chisel points Leads pointed in this form give th e

.
ri ght touch for folia g e a n d ge n eral la n dscape sketch

CONCE R NI NG M ATE R I ALS 227
in g . The very softest are best reserved for finishing

strokes of deep rich blacks .
Tra n s fer P a per — In work where g reat care is

-
.
required i n finishing it is an advanta g eous method

,
to first rough out the drawing on ma n ila pa p er a n d

then transfer it to the pro p er kind of paper or card
board The usual way o f doing this is to p lace the
.
tra n sfer p aper between the manila paper and the

-
other surface and go over the outli n es of the first

drawing with a S tylus The transfer paper has of .
-
,
course been laid with the gra p hite covered side

,
-
down against the p a p er or cardboard so that the ,
hard p ressure on the stylus point marks the outli n e

of the drawin g Transfer pa p er can be made by
.
-
spreading the p owder g rou n d u p from a pencil lead

very evenly over thin p aper The dust from the .
emery p encil lead p oi n ter can be used for this pur

—
-
pose Blue transfer paper is ada p ted for p en work

.
a n d for tracing drawin g s o n the S tipple boards To -

.
make this ki n d of tra n sfer pa p er use the p oints of -

“
the ever breaking blue pe n cils Ty p ewriter s carbon

-
.
’
paper had best not be used ; it is slightly greasy a n d

the marks from it are not easily erased .
S hi el dr — It is the custom in newspaper i l l u s t ra t

.
in g to p ut some sort of a decorative border or frame

around half tone p ortraits or views I n m akin g
-
.
“
these frames a n d the layouts for a g rou p of sub
j e ct s the
, artist has recourse to variously shaped
forms l ike shields circles and ellipses as well as
, ,
sim p le square or rectan g ular frames W hen the .
occasio n arises to draw such design s it is a good

p la n to cut a tracing p atte rn with the scissors out
of a p iece of stout pa p er This is used in g etting a
.
sharp outline of the desired sha p e by ru n nin g a

pen cil p oint along the ed g e of the p atte rn when it
is laid against the surface of the drawi ng p a p er -
.
In equal S ided sha p es like shields the two sides are

-
, ,
cut uniformly by doubli n g the pa p er I rregular .
S ha p ed patte rns can also be made with the scissors ,
as curves of great nicety can be dexterously cut

that way .
S pa tterworle — D ecorative p atterns backgrounds

.
, ,
textures and occasionally p arts of the fo reg ou n d and

,
rocks in landscape pen drawi n gs can be p ut in with

spatte rwork This is eff ected by s p atteri n g a u n i
.
form tint o f mi n ute blotches of ink over the sur

face o f the paper The va riations i n the stren gth of
.
the tint are produced by the amount of s p atteri n g

done and also by the sizes of the blotches This
,
.
latter point somewhat de p ends on the mode of doi n g

it or the ki n d of implements used The sim p lest .
way of doi n g spatte rwork is to hold a tooth brush -
ch arged with i n k over that p art of the p aper to be

covered and the n ru n a metal point across the ends
,
of the b ristles This operation causes a little rai n of

.
ink to fall on the paper Ru n the metal poi n t across

.
this piece of n etti n g is held over the paper deter
min es the S ize of the dots a n d the i n te n sity of the
ti n t Be sure a n d see that the i n k of the s p atter is
.
p erfectly d ry before the ste n cil is lifted from the

pap e r Spots of i n k that h ave gone over the in
.
tended limits ca n be p ainted out with white I t is .
possible to produce a white spatter by s p lashin g a

white pi g ment over a black grou n d
—
.
P en a n d In le Dra wi n g: ov er P hotogra phn

- -
In the
early days of n ewspaper illustrating most of the
p ortraits a n d n ews pictures were made by this
method Half tone reproductions from p hotographs
.
-
were not then used I nstead pen drawin g s were

.
,
made over photographs and the p hotogra p hic pic

tures bleached out leavi n g the pen drawing o n ly
- —
i n water proof i n k o n the clear white p aper .
Here is the p rocess in detail : Give n a photo

gra p hic copy say a portrait a n enlarged p hotogra p h
, ,
is made o n plai n sen sitized paper that has n either

g loss thick coati n g nor lustre The drawi n g is
, , .
made over this in water p roof i n k the artist usi n g

-
,
his own taste a n d j udgment i n the p en work This .
drawi n g whe n finished a n d the ink thoroughly dry

is placed i n a tray of bleaching fluid which destroy s
the photog raphic ima g e o n ly When this has com .
p l e t e l y faded out the drawi n,g is removed from the

bleach a n d washed i n ru n n i n g water .
Further details : The bleachi n g fluid is com p osed

CONCE RNI NG MATE R IALS 23 1
of corrosive sublimate ( a p oison) and alcohol Use .
as much of the chemical as the g iven qua n tity

of alcohol will dissolve A solution of this chemical
.
with water will also bleach but not so quickly nor

,
so well I f n o tray is ha n dy a pellet of absorbent

.
cotto n soaked with the solution can be swabbed over

the pri n t u n til it is bleached Care must be exe r
.
ci s e d in usi n g this chemical especially with cut

,
—
fin g e rs kee p the fingers out of the solution W ash .
the bleached print thorou g hly i n water I t ca n be .
mounted on heavy cardboard either before or after

working on it with ink .
Amateur p hoto g raphers who are accustomed to

h a ndlin g the chemicals of the art a n d who possess a
,
camera with a very lo n g bellows o n e th at will e n larg e

,
and th at takes p lates not smaller th an 5 by 7 inches ,

“
can make their own silver p rints as these p hoto ,
”
gra p hs are called In maki n g negatives from draw

.
i n gs or a n y other ki n d of flat copy it is best to get

the s p ecial p rocess or slow commercial p lates as ,
they make in such work better n e g atives than the

common sna p shot dry p lates P repare the silver
-
.
print p a p er in this way : First salted p aper is needed

, .
This can be p rocured at most photogra p her s su pp ly ’
houses But a p a p er ca n be p repared by taking a

.
good quality of li n e n or a smooth drawi n g paper -
a n d ru n ni n g it throu g h a trayful of water i n which
a p inch or so of ordi n ary table salt has been dis

, ,
solved The whole p a p er must be immersed Hang
. .
it up to dry before goi n g o n with the n ext step of

,
coating it with the sensitizing solution This is .
made by taki n g
Sil v e r n i t ra te crys t a l s
C i tri c a cid
D is tilled wa ter
The solution made of the above i n g redients is

now used to cove r the salted paper on one side o n ly .
I t must be done i n a weak artificial li ght P our a .
small quan tity of the solutio n in a tray and carry

it to the pa p er with a swab made of a pellet of a h
sorbe n t cotton tied to a S tick that is to se rve as a
handle Go over the paper which has been laid
.
,
down on a board or table top several times with a ,
swa bfu l of the solutio n Be sure to get it com

.
p l e t e l y covering every p art I t might do.to hang it

u p to dry and then go over it again Wooden cli p s .
should be used to suspe n d the paper and brushes ,
with metal ferrules should n ot be used for the solu

tion D o n ot get a n y of this nitrate of silver mixture
.
on your fi n g ers as it will stain them brown I t is a .
good plan before S tartin g to put it on to mark the

, ,
space to be covered a n d leave wide margi n s by which

the p aper ca n be h andled so th at it is n ot n ecessary
to touch a n y part where the solution is a p plied .
Scribble li n es with a pe n cil on the back of the salted

to produce drawi n gs for the photoe n graver I f not .
too deeply p ri n ted they need not be bleached as ,
faint blue does not i n terfere with p hotographing .
Blue prints ca n however be faded with weak a m

-
, ,
~
moni a water or a solution of washi n g sod a ( S odium

,
-
carbo n ate) and lye (caustic p otash ) These solu .
tion s though are likely to weaken or make the ink

, ,
run .
The most conve n ie n t a n d surest of the aforesaid

methods in the a p plication of photogra p hy to draw
i n g is that of usin g plain S ilver p rints-
.
Retou chi n g P hotogra ph: for P hotoen gra v i n g — A s an .
ori ginal for re p roductio n by the half to n e process -

,
nothing p leases the workman better than a good

S h a rp photogra p h But n o t all p hotogra phs fulfil
.
the requiremen ts dema n ded by the e n g raver a n d

must be go n e over by an artist in water color to -
bri n g out details or get more contrast For this .
purpose he uses either sepia or black with W hite a n d

any other n eeded pi gme n ts to match the tints of the
photo g raphs as closely as possible .
A half to n e cut made with the fi n est screen from

-
a good copy will come out if the p ri n ti n g is carefully

,
executed as near like the origi n al photo graph as

,
ca n be reasonably expected A p erfect photo g raph

.
S hould not be retouched by the artist at all S ome .
times a n i n disti n ct photog ra p hic pri n t will take

n early as much time in retouchi n g as would b e
CON CE RN I NG MATE R I ALS 23 5
required in redrawi ng the whole thin g The coarser .
the screen of the half tone the bolder can be the

-
artist s brush strokes But in all cases the nearer

’
.
the retouched p hotograph resembles a good on e the

better it will be as a copy for the e n g raver .
R etouchi n g photo g raphs comes u n der two heads ;

namely ( 1 ) free hand and (2 ) air brush work
,
- -
.
This latter method used in retouchi n g machinery

,
“
and in commercial art h as developed into a
,
”
s p ecial profession exacting considerable skill and

an ad aptability for very accurat e workmanship .
This sort of retouchi n g is done with a hollow nee

dle like im p lement which s p reads by the aid of
-
,
compressed air an even tint of color over the p ho

,
t o g ra phi c surface The S tre n gth of the ti n t is reg

.
u l a t e d by various mecha n ical attachments o n the
impleme n t The cuts i n the catalo g ues of merchan

.
dise and machi n ery that were formerly m ade by

the slow and expe n sive way of e n g raving on wood
by hand have now been mostly replaced by the
q uicker method of making half tones from retouched -
p hotographs .
Free h and retouching is th at branch of the a rt

-
in which p hotogra p hs are p re p ared for illustra

tions in news p apers and periodicals I t requires .
a ce rtain cleverness i n getti n g effects and contrasts

rather th an the patie n t skill n eeded i n the precise
and careful mecha n ical air brush retouchi n g This -
.
implement though is often used in free hand work
, ,
-
to p ut in a flat or a graduated tint as a backgrou n d .
I t is n ecessary i n both methods th at the surface

, ,
of the p hoto g raphs be p repared for the rece p tion of

the water color washes P ainti n g over some photo
-
.
—
g ra p hs those with a sort of mat surface is — ”
almost as easy as worki n g on the usual drawi n g

paper ; but the S hiny coated surface of the average
-
camera picture interferes with the free handling

and flowi n g of washes .
There are several ways of prepari n g photographic

surfaces for retouchi n g Here are two : ( 1 ) Liquid .
o x gall is washed over the pri n t and a few drops put

-
in the water cup Ox g all paste ca n be used ( 2 )

.
-
.
Take a moist rag or pellet of cotton a n d rub it over

a p iece of common S heet g elatine ; then when the rag ,
or cotton is ch arged with a little of the gelatine rub ,
it over the photo g raph as if clea n ing it From time .
to time during the course of putti n g on the pigments

, ,
work the brush over the gelati n e I n stead of t he .
above gelatine solutions can be p rocured in the art

,
S hops.
A s fo r pi gments : O f most consequence is that of

always employi n g the specially prepared p rocess
whites as Chinese white cannot be depended upon
,
to show invariably as white when photographed I t .
had best not be used There are a n umber of makes

.
of s p ecial whites for retouchi n g put up i n convenie n t

23s P RA CTI CAL DRAWI NG
D ark retouching on a lighter ground often shows
rather conspicuously in the completed half tone -
.
G uard a g ai n st the bluish ti n g e of g rays obtai n ed

by the mixi n g of white a n d black The sensitive .
p hotog raphic p late does not reproduce the tints as

they appear to our eyes P articularly where these
.
g rays are con trasted with a brown ish or reddish to n e

in a p rint the resultant eff ect is alto g ether diff ere n t
,
from what you thou ght it would be To obviate .
this blue cast in a gray mixture add a little bit of

one of the brown pigme n ts .
An d fi n ally : P ut li g ht agai n st dark and dark

—
a g ai n st li g ht the coarser the screen the S tronger ,
the co n trast ca n be a n d the finer the scree n so much

,
greater the care a n d atten tion n eeded in a pproxi m a t

in g the eff ect of a photo g raph .
Bromide enlarg eme n ts are also available for the

p roduction of ori gi n als for the half ton e e n graver
-
.
In worki n g over them it is more a matter of draw

ing than of retouchi n g as the pigme n ts are put on
,
very thickly and the p hotographic image completely

covered .
Li thogra phi c Cra yon 5 — These crayons of a wax

.
like texture are employed by illustrators i n various

ways D rawi n g s made with them on roug hly grai n ed
.
paper or on a kid fin i s h cardboard can be reproduced

-
by l ine e n g ravi n g Firm lines a n d solid blacks are

-
.
—
p ut in with i n k a pe n or a brush being used This .
CON CE RNI NG M ATE R I ALS
crayon can also be used alo n e or in combinatio n
with the pen o n silver pri n ts A S the lithographic
-
.
crayons are only about two inches long it is n ece s ,
sary to fix them in a crayon holder The p aper -

.
covered p e n cils sold by S tationers have a texture

somewhat like that of litho g raphic crayons Both .
ki n ds the crayo n s and pe n cils are used in drawing

, ,
on relief tinted boards .
S cra per Boa rd s , R05 5 Boa rd s , E n a m el B oa rd5 — In .
practical illustrati n g and design i n g these boards are ,
much used They are covered with a thick clayey

.
e n amel Some have i n k li n es or d Ot s printed on

.
them The idea of the e n amelled surface is that

.
cha n ges can be made by scratchi n g out or modifyi n g

a n y i n k marki n gs draw n on it Agai n if a solid
.
,
black ground has been pai n ted i n W hite li n es or ,
s p ots can be scratched out There are ma n y kinds

.
of these boards which i n addition to the e n amel

,
a n d the ti n ts p ri n ted o n them are impressed or

,
embossed with a p attern i n relief Some ki n ds have .
the impressed pattern the pri n ted ti n t and the

, ,
enamel surface These impressed a n d ti n ted boards

.
are common ly known as R oss relief boards I n .
E n gla n d a n d France there is a make of lined scraper

boards k n own u n der the name of Gillot On on e .
kind of relief board with a pri n ted ti n t a drawi n g

ca n be made which whe n en g raved gives a fair
imitation of a half tone Other varieties have S ti p
-
.
240 P RA CTI CAL DRAW I NG
p led surfaces in relief much favored by news p a p e r
,
artists for drawing portraits The general met h o d

.
pursued in making these is to h ave an e n larged u n
ROSS—
BOAR D SU RFACES .
mounted p hotog raph made the b ack of which i s

,
covered with blue pencil dust so as to make a tra n s

-
ferring surface The photog raph so prepared is lai d

.
2 42 P RA CTI CAL D RAWI NG
s t ru should be sharp Fine li n es are scratche d
m en t s .
out with an etcher s needle or the p oint of a pair of

’
dividers .
P hotoen gra v i n g I llustrations are for the most

.
-
part re p roduced by either line engraving or by t h e -
half tone p rocess These are the com m o n p hot o

-
.
mechanical methods of making relief engravings fo r

use in the ordina ry or ty p e printing p ress A n -
.
efli ci en t intaglio p rocess that p er m its of s p eed in
the printin g is now em p loyed in re p roducing p ic

tures and p hotogra p hs The artist as a rule does
.
, ,
not h ave to trouble himself with the mechanical

details of these p rocesses He has only for l i n e .
,
en g raving to see to it that the ink in his d rawi n gs

,
is intensely black and the p a p er white and for half ,
tone to m ake the most eff ective sketch within the

scope of his artistic ability and technical skill .
The engravers p refer in marki n g si z es on draw

,
ings to state it in inches and fractions of inches and

,
“ “
not one third si ze or three q uarters the S ize
-
,
”
-
”
“
or perha p s still m ore p uzzling one third o ,
-
The p articular quality of a h alf ton e engraving -
the rows of dots of varying strength and the network

—
of lines in the sh adows is effected by a h alf tone -
s creen used during the p rocedure of p hotogra p hi n g the
ori ginal co py This scree n consists of a sheet of

.
glass ruled with a mesh of fin e lines .
The degree of coarseness and fineness of a h a l f

D RAWN H LITHOG RAPHIC CRAYON
WIT ON LINE D ROSS BOAR D .
tone de p ends on the ki n d of screen used Eu .
gravings made with a 6 5 line screen are intended for

-
quick p ri n ti n g with all the material of the chea p est

quality S cree n s of 1 20 a n d 1 33 lines are those
.
commonly employed in making plates for general

printi n g ; whereas the fin e scree n of a mesh of 1 7 5
lines is that used for careful pri n ting with good ink
a n d on g ood paper I n case a n artist has to su p er
.
vise the maki n g of any half tone engravi n gs he

-
,
S hould first asce rtain all facts in connectio n wit h
the pri n ti n g so as to know what kind of a half ton e -
screen to order .
P encil or pen drawi n gs can both be engraved by

half ton e
-
Silhouette drawi n gs also can be e n
.
g raved by this process ; the solid black of the draw

—
ing i n stead of comi n g out that way solid black i s —
cut up by the meshes of the screen into a n even gray
tone The quality of this tone de p ends on the scree n
.
used .
—
I t is customary to make drawings wash p en or , ,
—
color for reproductio n larger than the S ize of the
plate A careful drawi n g though made in any o f
.
, ,
the above ways ca n be engraved the same S ize .
A rtists who ca n make p en drawi n gs in fine firm , ,
yet delicate lines need make their S ketches but a

trifle larg er than the intended cut Size But most .
artists would rather work larg er and make drawings

three four or even more times larger tha n the plat e
, ,
2 46 P RA CTI CAL D RAW I NG
assortment of these pattern s : Heavy and delicate
li n ed or dotted ti n ts ; stipples of diff eren t ki n ds ;
grained eff ects ; and orn ame n tal combi n ation s of
li n es After the p attern side of the transparent fil m
.
’
has been gone over with a printers roller charged
with ink it is p laced relief S ide down over a draw
, , ,
i n g or plate Then a burn isher is p assed with j ust

.
,
the ri ght amount of p ressure b ack and forth across , ,
the film over that part of the drawi n g or p late that

is i n tended to be ti n ted This leaves an im p ression
.
of the tint on the surface I t is usual when a n artis t

.
wants any p articular p art of a drawing tinted t o ,
i n dicate where it is to g o by marki n g that p art with

blue A light tone shaded in with a blue p encil
.
will do .
%
A few of the engravi n gs in this book S how ti n ts
put i n with this method .
D ra wi n g P a per5
- —In getti n g ready for any water
.
color work the first thi n g a n artist thinks of i n the

,
matter of a surface o n which to paint is a S heet of ,
Wha t m a n s p a p er This is p erfectly natural for

’
.
,
this particular name has been used to designate a

sta n dard make of drawi n g p a p er for many years -
.
But there are m any other good p a p ers and surfaces

for drawing and p ai n ti n g which the artist will fin d
at artist s su p ply shops A mong those that he ca n
’
.
ask for are : Stei n bach Strathmore p a p er and boards

, ,
1%
P a ges 30, 3 3 , 1 26, 20 1 , 2 1 7.
CON CE RNI NG MATE R I ALS 2 47
illustration boards Germa n white and eggshe l l

,
surface drawing pa p ers I t is well to remember that

-
.
the very rou g h g rai n ed water color p apers are n o t

- -
adapted fo r drawi n g s that are i n te n ded for repro

ductio n Various kinds of ti n ted p apers ca n a d
.
v a n t a g e o u s l y be used i n monochrome W here the n a

.
D RAWN W ITH IN K ON LINE D SCRAPER BOARD .
ture o f the artist s work requires much prelimi n ary

’
sketching a n d detailing it is a n eco n omical course

t o g et a roll of ma n ila or detail p aper By maki n g .
sketches on this ki n d o f a surface first it is a simple ,
matter then to transfer the outli n es to the proper

cardboard or p aper .
S tretchi n g a S heet of P a per D rawi n g paper

.
- -
p asted o n heavy cardboard comi n g, so pre p ared

under the name of illustration board is the m ost ,
convenient and time savin g article which the artist

-
can select for wash drawin g Bu t sometimes you

-
.
want a certain kind of p aper or one of a p articular

tint I n this case you will be under the necessity
.
of either worki n g on plain paper or o n a S heet p aste d

and strained o n a drawi n g board To do this -
.
strai n i n g or stretchi n g a p iece of p aper on a board

go about it in this way '
( )
1 The board S hould be a trifle lar g er tha n th e
p a p er Have a brush a n d some good stro n g p aste
.
ready .
( )
2 P lace the p a p er face
, up o n, the board and ,
bend u p a margin of two i n ches all around .
(3) N ow tur n over the p a p er and moisten the

back Use a soft s p o n g e
. .
(4) Tur n it over a g ai n a n d s p o n ge the face of the

p a p er Get it uniformly moist and allow no p ools
.
of water to gather .
(5) N ow see that the p a p er is placed o n the board

where you wa n t it and quickly p ut p aste o n the
margins The reaso n for havin g bent up the margi n s
.
—
will now be understood it was to kee p the edges
as dry as possible so that there would be no moisture
on these edges to weake n the p aste .
6
( ) N ext p ress do w n two opposite margins D o
.
this with the p alms of the ha n ds i n pressi n g the ,
p asted p ortions firmly to the p aper a n d p ulling it

2 50 P RACTI CAL DRAW I NG
on little brackets much as a shade roller is hung so
, ,
that the pa p er can be easily u n rolled as it is needed .
G etti n g it in flat S heets is not a good pla n as the ,
S heets get rumpled crinkled a n d tor n

, , .Get a pa p er
of a bluish ti n ge or a p ure white a s these can be used
,
i n outli n e p en and i n k drawi n g s by layi n g the p a p er

- -
over a n elaborately worked out p encil S ketch and

-
,
then drawi n g only those li n es i n ink that will tell the

p icture story g raphically .
Here is another use to which traci n g paper can -
be p ut : Sometimes an artist wa n ts a S ketch of a

ri g ht hand Now if he draws his left hand on a
.
,
piece of traci n g paper all he n eeds to do to see what

-
,
a right ha n d looks like is to turn the p a p er over .

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P RA CTICA L D RA WIN G

THE STU DE NT AN D THE G E NE RAL R EA D E R

W IT H E% PLAN ATORY I LL USTRATI O N S B Y THE A UTHO R

CHAR E L S S CRI BN ER S SON S ’

O d raw from the ﬂat co py is not d i ﬁcu l t ; but

in elementary art instruction is to furnish the p u p il

leavin g aside the question whether this is or is not

the ri ght way of teachi n g the rudiments of drawi n g ,

it seems true th at fo r most of us imitatin g by

O f somethin g in the visible world — is easier th an

accom p lished master or native genius of course, ,

would ﬁnd it irksome if com p elled to co p y another s ’

But should drawin g from the actual obj ects be

from th e ﬂat if the student could let himself believe

or the view were brou ght forward to a supposed

pla n e directly i n fro n t of him This pla n e with the

M any mech anical aids to drawi n g h ave been con

le n s or a p rism are to be regarded more in the nat u re

of o p tical i n struments th an as a pp aratus for aiding

A favorite ex am p le cited in elucid ating the p rinci

which is traced a view of the S treet or buildings

the hyp othetical p la n e j ust S p oke n of Somewh at .

on this order is the machine mentio n ed by Albrecht

sisted of a tra n s p arent surface p laced between th e

tion th at the artist could look through the o p ening

This gave him a one eyed view so to s p e a k of the

model Other i n ve n tio n s of a similar n ature have

bee n made some usi n g a tra n s p arent gauze th at

could be easily marked with a p e n cil I t would .

a pp ear by the bowl o n the table of the a pp aratus

p ainted the ima g e o n the tra n s p aren t surface This .

i n ve n tion is p erh ap s more to be considered as a

Th e suggestion oﬁered here of regarding the ob

j ect or view as nothing but an ideal or su

fully t ranscribed o u p a p er seems at varian ce with

t he ideas of the realists who shudder at the notion

o f so loo king on the p erce p tible world Bu t fo r

beginners there is a p ractical utility in considering

p ort ance of rendering on p a p er or canvas as the

case may be the eff ects of roundness bulk and , ,

dimensions ; but he wishes to em p h asize the S i g n i ﬁ

re s en t a t i o n of things by making the ﬁrst strokes

on the p a p er in lines or forms more or less geometric

the elusive be n ds of curves or the subtility of con

would be better to work with S im p le straight lines ;

their ﬁ n ely graded to n es h ard to p erceive to en

d eav or to get the eff ect by a graduated series o f

I t may be asserted th at this does n ot re p resent

to approximate the truth than a drawi n g th at is the

O f especial value is S impliﬁcatio n when one comes

c a n successfully get the curves of the human ﬁgure

without doi n g more or less blocki n g out with straight

that e n ters a stude n t s mind when with p a p er

drawing board a n d charcoal he p resents himself

before a subj ect ready for work .

There are many methods in the making of draw

To be gi n at one p oi n t say the eye and gradually

bui ld the drawi n g arou n d th at in a fi nicky ticklin g , ,

small way is not the ri ght method N or as has

been advised to be gin at the u pp er left h a n d cor

n e r a n d g radually work downward a n d to the right , ,

so a s not to smud ge the work .