Professional Documents
Culture Documents
The Art of Drawing in Lead Pencil
The Art of Drawing in Lead Pencil
The Art of Drawing in Lead Pencil
ill
> H
MM
31.
m.
THE ART OF
DRAWING IN
LEAD PENCIL
* M
jt at
iF 3r-Kit
II
M iL.a
ii.=i:x..v\.x:v.!K .x.xi'^
He
Ai
CORNELL
UNIVERSITY
LIBRARY
Given in memory of
Professor
James Owen Mahoney
CORNELL UNIVERSIT/
iiiiiniPii
DATE DUE
^ JO
"Vv^-
PRINTED
IN U.S.A.
THE ART OF
DRAWING IN
LEAD PENCIL
FRONTISPIECE.
(^f-m,MiSr^,
^-\
GUNFIRE AT DAWN.
By J
S.
THE ART OF
DRAWING
IN
LEAD PENCIL
Br
JASPER
lAssociate of the
SALWEY
%oyal
Institute
of
British <iArchitects.
LONDON
B.
T.
94,
BATSFORD, LTD.
HIGH HOLBORN
To
Made and
PREFACE
The
is
first
of
place,
an
it
now appears
idea, conceived
some ten
some sense
quality,
with
the
of
colour,
in
lead
pencil
drawing.
From
first
of writing a
this
in
work
charm and
appreciated.
The book,
and
in the course of
so
far
of
all
versatility of pencil
little
understood
or
have endeavoured to
set
the
objects
It is
who may
drawing
selected
with
the
difference of feeling
particular
object
of
illustrating
bj-
the
wide
PREFACE
vi.
Many
people
now concede
and
it is
Chapter
in
it is
actually possible
and white
IX may
" drawing,
convey
at least
is
based.
many
that
drawings reproduced
of the
in this
book
will
bear out
My
due to
all
made
it
representative
much
other meritorious
space have
I
made
it
collection of drawings
lead
in
impossible for
me to
pencil.
Though
who have
drawings of mine
trouble to lend
To
them
Messrs. A.
Macmillan
for
book a
contemporary work
of
&
much
for reproduction.
&
Co., Ltd.,
C. Black, Ltd.,
Country
&
Co., I
am
indebted
appeared
in
notes on
the
the
in co-ordinating
connection with
the publication
all
those
of the
points
book
of
detail
at a time
with immense
in
difficulties.
JASPER SALWEY.
Spring, 192 1.
CONTENTS
PACE
].
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
INTRODUCTION
MATERIALS
ELEMENTARY TECHNIQUE
i8
ADVANCED TECHNIQUE
35
62
EXPERIMENTAL SKETCHES
S3
CONCERNING FORM
....
....
....
the REPRODUCTION
DRAWINGS
OF
119
130
138
147
154
PENCIL
212
221
'
WiM'
'^
V'
ft
^%r,g=r
X.
Chapter
INTRODUCTION
''
''O
I
the
draughtsman
has mastered
that
of this
art,
medium
may
bring
to
light
the book
way so
be of value.
unlimited
much
Moreover,
most practical
artist instruction
will
until he
innumerable
is
and
It is hoped
some aspects
hitherto unappreciated, and unfold the
it is
teaching
its
and
of
and information
So
many books
instruction
in
will
be found which
which provide
the rudiments of drawing,
exist
at school,
painting.
If
IN
LEAD PENCIL
work
as
is
raised
but
it
instances
first
have
left interesting
J.
day
it
outstanding merit.
It seems strange that the pencil should more often
have been used merely as a means to other ends, and
^JsH^^^v
:%'
i
lit
CT.^-^o
''-
z
o
B 2
03
among
LEAD PENCIL
IN
the great
number of artists
who have used the pencil for preliminary studies have ever
worthy of being used for the production
of finished works of art.
The desire for colour and the
young artist's eagerness to pass on to adventures
with brush and canvas may to some extent account
considered
it
for this.
For the
is
who
artist
sympathetic to the
a
a pre-eminently fascinating
medium
artist's
medium.
It is a vital tool,
mined contrasts
light
in
need be
if
fifty
work
is
and
Defective
may
any
line
or
midst
the
in
of
flat
tone,
stopped
whole
tones
lightened at
may
of
be darkened
ease
or
even
will.
Patience and
tion
with
skill will
surpassing
quality
and delicacy
of
effect.
and piquancy as
Tone
will give.
fine
if
are possible,
medium
of
perfect graduations
'
cph a*
Iff: ..^""'-Tr^fil
/
'''NT
',;_]
"'
-J
r"i-~.
'
'-!)
-----
i^w;
4"'~'~^^~^^
.
cl
,.^'
IN
LEAD PENCIL
density or
luminosity
it
is
likely to
show promise
as
an
artist.
may
The
fact that the interest in pencil drawing is rather more
intellectual than emotional is fully acknowledged. Our
interest in nature, if there were no colour, would be
chiefly intellectual
this is why we are more given to
being speculative before nocturnal scenes than when
bright light and rich colouring completes the appearance of our surroundings and neutralizes our mental
activity concerning them.
It is really only when
colour is withdrawn, or added, that we comprehend
its relation to form and light and shade, and in an's*
manner consider it intellectually. Colour is necessar\to our well being, form and light and shade are vital to
It is an abstraction of these two latter essentials
us.
in the appearance of things that pencil work wiU so
a specific
example being
adequately portray.
illustrated in
Fig.
5.
The
intellect
LEAD PENCIL
IN
to,
adaptability of this
The
medium
attainment
of
is
if
fully expressed.
perfect
technique
must be commenced
unsatisfactory
the sympathetic
when
again.
involves
to be
felt
The work
may
pains.
infinite
On
rare
artist
drawings,
his
expeditions
and
make
" alive
to
every
influence
of
landscape
of sky."
manv
of necessity
remain unrealized
much
will,
It
is
speculations
Fig.
6.
A Liverpool
Street.
Bv
9
Muiy/iead Bojie.
IN
LEAD PENCIL
no limit to conceptions,
In theory thei"e
\\\
w
<%
[f
'4
Fig.
of
7.
them can be
intelligently
St.
''
fcOMUriD ?
Edmunds.
Bv A. E. Newcombe
revealed.
artistic feeling
There
is
obtainable
in
the
art of
pencil
drawing,
INTRODUCTION
Muirhead
whether
Bone's
the
style
(Fig.
love
patient
of
6)
ii
favoured
is
and accuracy,
detail
is
practised in
Before proceeding,
it
come
more
(Fig.
7).
is
advocated
or
of the
method
As a
of these stages.
it
The taking on the spot of Rapid Notes from which the student
will work out his drawing in the more congenial environment of the studio, where time and thought can be
devoted to an appropriate treatment of the subject.
(2.)
of
arrive
at
the
general effect
in
balance of composition.
(3.)
The execution
of the
Finished
Drawing.
Having
satisfied
Chapter
II
MATERIALS
''
it is
and judgment.
Sketch Books and Paper.
generall}^
is
a small light
book
cartridge paper.
of
If it is
is
is
j\
in.
by 4f
in.
is
not intended to
pages of
fifty
fix
the notes
book
about forty to
may
convenient type of
canvas.
book
for
making a
artist
It is
may
by
collection of all
think
surprising
it
in. in
some
paper with
dimensions,
manner
of
is
useful
MATERIALS
13
recorded,
if
is
HB
or
pencil
mental sketches
"
Sketches.
For
is
" experibest.
The sketch
Fig. 42 was drawn on a small block of Whatman's watercolour paper.
As " general effect " and tone values
most at this stage, the roughness of the paper
will give some suggestion of the meticulous technique
without involving quite so much labour as would be
required to actually produce it on a smooth paper.
An HB pencil is most useful for this purpose, giving a
are needed
sufficient
board
but
it
and
is
will
an
Whatman's water-
The surface
of
and
is
these
is
"
Whatman
"
useful
boards
is
slight burr
many
is,
in fact, a
very
14
LEAD PENCIL
IN
They
much from
stiff
Bristol
the precision
to be
handled
without
much
fear of
It is
very white,
the
most
" finished
delicate touch,
drawings."
is
It
upon
it.
solid
metal slab
surface
The
effect of
is
mount
commencing to work
really best to
working with
it flat
on a stone or
and response
to the pencil
is
and
certainly
in
most
preferable,
for
accidental
effects
MATERIALS
of the tone
it
15
desired to apply
is
is
very easily
made
when
stip-
especially
of the surface.
may
be considered as a distinct
defect in quality.
Pencils.
known
If
reference
is
made
is
to
it
any
will
be seen that
procurable.
There
is
much
of the well-
Degrees
6 or
8H
when
to
it
remembered that each pencil can be used with varying pressures, and that several depths of tone can be
obtained with any one of them. The H's will give
is
HB's
spontaneous
in the
at once that
an almost
that which
or B's, so that
infinite
range
is
it
will
is
be seen
possible.
well
known
that
many
It is
lb
and
upon these
rely
effects
work
it
they
may
desire
TEAD PENCIL
IX
any
Similarly
obtain.*
be found by many,
by
in
pencil
it
For tailing
notes etc.
For decorative
drawings
Indispensable
general
for
purposes
BBBBBB
Fig.
S.
by employing
a large variety.
of
colour work.
use.s
more than
water-
MATERIALS
that
:/
immediate sense
of
pUabihty
in
is
given,
of
with
the
full
of
range
suggestions
as
resistance
of
to
pencils
their
uses
P.D.
at.
Chapter
III
ELEMENTARY TECHNIQUE
/^NE
of
mind
fine art
is
the
first
There
is
must bear
first
less possibility of
It
is
in
must
is
in water-
adjacent
quality
lines
which
is
but
so
also
much
in
loss
be
to
temperament
subsequent
of the
among
only in injury to
strokes
the
crisp
desired.
The
of
make
medium
it
is
However simple an
7niist
be avoided.
ELEMENTARY TECHNIQUE
similar
the
to
orthodox position
for
19
holding a pen.
commenced
made with
should be
of
Successful flashing
dehberation.
paper
only achieved
is
after
much
over
the
peculiar
great
requires
Before
of
difficulties
confidence
and
rapid
work,
precision
which
touch.
of
attempted
many
may become
familiar
can be expected of
it,
and
limi-
tations.
in outline
The observations
force of
in
and
made
nature
of
objects
drawing
in
finished
successful
line
accomplished.
lead
line or silhouette
first
the
even
stages, a practice
of trying
training
how
to
is
indispensable
pencil
work
is
if
ever
highly
to
be
20
finished
to appear as
medium
that this
flat
what
is
it
surface of objects
if
for presenting
may
is
drawn
LEAD PENCIL
IN
It is
solid.
is
it
it
line is essentially
It
first,
be
a convention
must only be
this
way.
may
shades, and
of in
and accentuated
line,
unless
it is
especially retained
been rendered
is
lost.
able
teachers
book
The
of
Practice
and
Science
of
Drawine
ELEMENTARY TECHNIQUE
and
advice
offers
He
line as the
which
arguments
hard
and
27
every
student
places drawing in
"
Ruskin's
Elements of
by
all
who hope
to learn to
in outline, things
an exception to
type.
its
many
There are
and
The
helpful
of
first
of truth,
student,
therefore,
will
find
more
nothing
simple
be
full
satisfying appeal.
outlines.
practised
and
Lines,
short
just
lines,
Endeavour
lines,
long
should
lines,
at
simple
so
on.
to
Ruskin
" If
line
it
As
your
to the
22
achieves so
much
and
if
curved
step
lines are to
LEAD PENCIL
The next
IN
is
to
all
his
an
student
essential
subsequent work.
If these
The drawing
of circles
and
instruments
it
is
is
ellipses is
seems
it
never possible
Circles
and
ellipses
are
needed
less
mate
The parabola
to parabolas.
really the
merging
is
in
general
of or approxi-
is
which
Before
in per-
drawing
circles, ellipses,
HB
pencil,
may
of cartridge
The following
is
<
24
LEAD PENCIL
IN
little
among
tise
Fig.
There
in
illustrates
9
is
this
way.
to be derived
Beyond that
of
curved
lines,
and placing
There
lines,
is
forms
in
is
the judgment
each other.
and
There
relationship to
of grass cross
in
of
drawing
line
again
tone.
observation, for
it
is
"
z
o
s
s
o
26
Similar
studies
above,
the
to
LEAD PENCIL
IN
and
and
shells
cannot be bettered.
demanding
each
for this
is
suggested.
is
The need
for
The forms
zontal, vertical
in
purpose
elliptical
forms
and oblique
lines,
Drawings such as
opposite side of a street,
exercises,
which
may
Fig.
made
12,
on the
of buildings
in outline,
form admirable
progressed.
made with
approached.
The
problem of
student
without considering
more
of
efficient at
the
it.
drawing
light
can
the fore-
its
second
hardly
get
farther
modelling of objects of
" light
and shade
"
ELEMENTARY TECHNIQUE
27
Fig.
12.
Ruskin.
28
boundary
to fineness
where
practice in
drawing
in
LEAD PENCIL
IN
off
For
acquiring
the
outline
power
parts
of
The play
cannot be bettered.
doing
of
the
of
of
the
this
human form
light
and shade
of technique in
medium
compared
as
to that of ink
work
be
may
desired
stippling
or
eventually in
merely rubbing.
certainly
It
the
is
takes longer,
far superior
is
also in
but the
dark tones
not so conspicuous as
it
tends
S3
fc--
<
29
30
to
be
if
the tone
to lay fiat
evenness
is
be
in
held
moved
rather
irregularly
where
desirable,
particularly
to maintain
requiring
tones,
when
Therefore
rubbed on.
purposes.
other
for
is
LEAD PENCIL
IN
over
the
surface,
an even strength
of
but with
tone.
It
care
might be
process of
filling
a specific area
by means
of a continuous
interlacing
Fig.
13
(a),
of
method described. An
is
that
a tone obtained by
method
advantage of this
stippling has more luminosity than one rubbed on.
stipphng, will explain the
of
the stippling
if
minute
is
not carried on
of paper still
numerous
uncovered remain which give the luminous appearance
which is sometimes specially needed, for instance, in
a back sky.*
too
long,
The
third
method
that of hatching.
tion
and massing
For
of applying tones
all
is,
of course,
of tone values
is
patches
is
drawing
lines parallel to
each
The term "back sky" as used here and in the various parts of the book
chosen to describe the blue of the outer sky, as differentiated from the
clouds.
ELEMENTARY TECHNIQUE
other and very near together,
31
method
the technical
is
A
tones
is
by hatching.
outline different
drawing the
movement.
lines
the tendency
is
(c),
always
may seem
It
(b),
and draw a
to relax concentration
slightly darker
is
line
the
Cultivate
(f).
doing
for
this
with
degrees
the
For
later.
may
difficulty
of course
but
book,
this
which
the
advised to master.
the touch that
of tone, the
purpose
of
different
be used as described
earlier in
this
is
It
is
pencils
really
"
out "
way
would be
student
far
of
better
acquirement of which
is
of this exercise.
values
by superimposing one
is
series
of
commonly adopted by
parallel
lines,
lines
and was
THE ART OF DRAWING
32
It is still
LEAD PENCIL
IN
way of darkening a
hatched tone when the latter has not been drawn
corrective,
is
it
better
Fig.
14.
sufficiently strong
lines
a second time.
need
proficiency in
that
obviously
laying
flat
follows
tones
is
after
attaining
that of practising
ELEMENTARY TECHNIQUE
stippling as in Fig.
14
(a),
33
and then by
as
lines
in
Fig. 14 (b).
to
and gradually
student will
now
treating
more
shapes.
difficult
how
The
the whole
various purposes
and
a more advanced
for
producing various
matter which
is
effects
is
line,
outline
possessing so
many
all
its
here, as
who
we
are,
desires to
lights
P.D.
of tone schemes,
34
IN
LEAD PENCIL
and the manner of producing the various effects necessary for the working out of his ideas
also the complete
rendering of drawings which, in comparison with
sketches and even more advanced work, mav claim to
be deeplv considered and highlv finished.
;
i-iG.
15.
Chapter IV
ADVANCED TECHNIQUE
'
requires
he
is
the
to grasp the
pencil.
When
attention
of
full possibilities of
the
closest
drawing
the student
medium
if
of lead
it
is
of
tone,
Outline, form,
may
both
gi\'e
may
with his
own work,
to creative effort,
success.
Such
it is
satisfaction
36
by
eccentricities
the
more
is
LEAD PENCIL
individual technique,
The student
which
of
IN
will
entirely
than
with
draughtsman.
of
form
of colour,
carefully
were executed
in
Many of
leaves
and
flowers,
rustic
figures,
are treasured,
branches of
trees,
as forming a link
/
A
/SW-'
c.
-J
fe*
^:
^
Fig. 16.
37
38
IN
LEAD PENCIL
daj'.
The former
and
emancipation
of
lack the spirit, the vigour
the bold
modern work, but at the same time are remarkable
for their delicacj^ and softness, and in regard to technique they set a high standard by their equality and
painstaking labour
is
a magnifying glass.
Outlines of profiles of two or more heads depicted
is
It is
drawn with
confidence
is
The
late nineteenth
bold and
CO
39
40
LEAD PENCIL
IN
mere vignetted sketches at most, bound by a conventional law of composition and effect from which they
seldom depart. If followed too assiduously they are
liable to detract from
the freedom and largeness
of outlook essential to more serious and ambitious
pictorial art.
to
Fig. 17
is
prove
beneficial.
The advantage
studies
is
that
it
of mastering the
method
of vignetted
which
will ultimately
By
in
themselves, the
fail
also assist
to correct
cultivate
to
Thev
and breadth, and
accordingly.
it
simplicity
usually cross
backgrounds,
pling
skies.
for
hatching
etc.,
was used
and
these
in
for
early
drawings
shade on
the
fabrics,
and sometimes
Stip-
is
for
occasionally used
face,
hands, and
drawn
ADVANCED TECHNIQUE
'41
almost
size.
life
to have been
and general
to that delicacy
in preference to
drawings
our
of
peculiar to the
grandparents, a
medium
quality
specially
of lead pencil.
nouveau."
long rope
is
advisable, but
it is
best to
pencil drawing.
evolved this
medium
will
be set at a
much
higher
42
LEAD PENCIL
IN
There
is
difficult.
is
no purpose
All art
difficult,
is
effort,"
artist
in practice,
There
it
demands
of the
It
laborious
but
is
as
is
as in choice of subject.
of pencil
is
as
work
sometimes
is
drawing
will
It is
By
quite individual.
may
Even
vidual styles.
Even
readily identified.
the example
to the
medium under
discussion,
h\
L.
F.
home
similar, could be
respective
Whatever
subject
all
man
artist.
is
one
it
may
effect
of
becoming a
" one-
avoided at
of
is
43
44
IX
LEAD PENCIL
and so
on.
Landscape
is
to be allotted to
it
You
of the sky.
sky and then take out the white or lighter clouds with
rubber, or the tone of the sky can be built up by careful
left out,
of all white or
altogether.
at
all.
When
the light
is full
is,
coming
In such an instance
point, the position of the sun not being within the boun-
It is possible,
however, to treat
of taking
them
ADVANCED TECHNIQUE
45
form
is
not so successful
when
clouds seen at
the back sky
near the sun does not appear to the eye to be lighter, but
if
The casting
optical illusion.
it.
of the
may
This
may
be an
all
the effect
iUustrates
in this
some
drawing of Exeter
(Fig. 43),
how
way.
extent, a convention,
in pencil
legitimate.
Work
possible to suggest
but
There can be no
shape or form
is
line
made apparent by
The
lightness against
46
The
IN
LEAD PENCIL
its
in reality
is
to
edge, as far as
is
is
Whereas
treatment in
the
B, Fig. 19,
yet visible.
its
as elusive as
in the
most characteristic
quality.
Even
in solid objects,
best treated as in
(d.
c.
masses of
Fig. 19),
foliage,
Each should be
etc.
defined
When
hills
or play of light
in lightly or
darkly
exist in reality.
If this is
separate and
if
done,
it
effect is
will
be found, in a
from the
general effect.
it is most necessary to observe
The broken character of a tree's outline, if
In treating trees
this point.
it
in
any
definite line.
If it is so
).{
tett"
-:)
^m
y
Fig.
19
47
48
at once look as
if it
IN
came out
LEAD PENCIL
Trees in
of the ark.*
trast to the
and
acuteness
continuity of
mere buildings
or barren landscapes.
Technique
always
should
be based upon
nature
the
of
the
gesting in
strokes flatness
where there
is
flatness, rotun-
rotundity,
evanescent
form
as
com-
and dense,
etc.
ADVANCED TECHNIQUE
If
it
to
is
49
for instance,
is
it
depicting.
In regard to modelling,
drawing of the
reference
if
20,
Fig.
girl,
it
is
is
made
evident
to the
that
the
,/^^$^^^<ic,_
m^-^"^''m/Mim
Fig. 21.
modellmg
If this
method
photographic result
is
will
be obtained, which
The
ha\'e.
or actual
manner
obvious,
P.D.
in ichich
it
is
the
is
tediniqiie of a
dnnauig
say, tico
feet
from the
E
50
This may,
picture.
statement
in
in
technique to general
this
was not
quite
applied,
whether
In
of
relationship
magnifying
see
how
stippled
or
rubbed
stippling
and
cross
to
definite
Even by looking
through
possible
some portions
the
of
effect.
drawing
little
LEAD PENCIL
be taken as a
fact,
terms
the
IN
into
glass
it
hatched.
hatching were
to be discerned.
hatching
is
pling.
difference
in
by adopting
the
effect
may
than in D
c suggests normal
be obtained.
used
is
In
c.
slightly different
weather,
d the same
Some
to
slight
d.
is
depict atmosphere
difference in
is
chiefly obtained
by the manner
D
Fig. 22
51
E 2
52
of the hatching
IN
LEAD PENCIL
so well rendered
by
stippling.
When
If,
is
needed
'p.
Fig.
23,
neatly
hatch
the
solid
object,
cross
lor
hatching
According
E and
to
f. Fig. 23.
it
is
possible in
in
ADVANCED TECHNIQUE
53
Trees
need some special treatment
the strokes given in Vere Foster's drawing book (J series
I, 2, 3), so freshly and delightfully drawn by J. Need-
Each kind
ham, are
of tree will
especially
worth
attention.
student's
the
It
be seen
is
Needham
is
Fig.
24,
it
a master in treating
most bewildering
of all objects
His method
massed
when
that
foliage or (the
excellent, giving
is
no appearance
of confusion.
The
and shade
Fig. 24.
Chestnut Tree.
S_v
54
/. Needhani.
CO
55
C;^'
aa^TTTiJ^irc':
^,
;i
4,
ADVANCED TECHNIQUE
57
in
if
When drawn
of this
all
in
this
respect
is
always
tell,
this.
lines,
Practise dexterity
but
let
them appear
as to give one
58
IN
LEAD PENCIL
of the pencil,
which
worthy
charm
of its
ground
of
the picture
is
Fig. 28.
for
its
true relationship of
of technique.
Boxer.
Effects of Light
Unusual
effects
of light
o
"A
59
6o
IN
LEAD PENCIL
festation,
beams
as
in their
mani-
first,
etc.,
should
which tone
in
declivities of
added
as
an
to the
is
The abrupt
a mountain must
defined.
It is desirable
so on, as
"
to " hold tight
and
it
In Fig.
reality.
process of
of the effect,
shadow and
will give
when working
mental impression
sunlight, haze,
No
to visualize
was associated
29
we
see
no process
of
"wiping out"
in
There
this
is
obviously
successful
work
ADVANCED TECHNIQUE
which every hne
the atmosphere the
in
is
some
of
6i
Others
for the
mastering
may
be encountered
of
it
that
importance
emphasized,
but
the
of
technique
student
will
has
been
over-
never succeed in
must be
Some method
sound grounding
in
modern conventions.
technique,
the
coupled with
is
mastered
indi^'iduality.
Chapter
TN
must be borne
in
mind that
all
attainable results
It is necessary,
therefore,
when taking
subject
is
how
the
The
author's
of this difficulty,
sky
effect
home
notes of a complex
way
in
means taken to
of ideas when referred
62
pencil.
in
the process
Firstly, a rapid
of the subject
and
effect.
This
is
how
it
may
63
be technically
successful water-colour
of
of
made on
the spot
the colour
finished
so
scientifically
them.
that
another artist
Something must be
left
made
might interpret
to visualization,
memory and
but
record facts.
and rare
effects
set of references
it is
and
64
Thev
IN
LEAD PENCIL
and
are
notes
making rapid
whole
the
Visualize
65
scale
b}'
remembering
that
10
and
20
for
ij-'iith
the
maximum
of
darkness
of 50.
In Chapter VI this
principle
applied to
is
In
specific subjects.
order
make
to
method
at
before
dealing
notes
once clear
a
for
the
with
complete
note
simple
31) of a
of
tract
serve
will
(Fig.
to
Such
sky
briefly
could be
made
in five
outline of
sketch
the
the clouds,
form,
disposition
relationship.
and
Indicate
P.D.
3(1.
V.
-.
e.^
<-'^
*--;
i^
A,^V'V''^V
'
^-c
DO
-:.y
^.cL.--'
Fig. 31.
10
66
Fig. 32)
E
z
67
68
or level horizon.
IN
LEAD PENCIL
of
the subject.
The
is
under a dark
hill is
In
To
the
any mass
cloud a
little less
dark.
the
therefore, give
hill,
of
by writing the
putting
colour
DD
of darkness
Write
or ddd.
(refer to Fig.
letter
d on same.
in
31 throughout these
directions).
previously
Uttle
drawing
Some
in
which
observation and a
produce
the
of natural things
and
to
Fig. 32.
scientific
phenomena,
would be ample
knowledge
can
little
be
acquired
by
intelligent
the
student.
if
more
likely to be pleasing
ance
of
sky,
The aspect
of
accounted for
69
The appear-
are
understood,
complexity
the
method
following
of rapid note-taking
subjects
of
varying
little
In
full
view was
this
fishing
THE ART OF DRAWING
70
IN
LEAD PENCIL
the light and shade seemed to bring out certain characteristics in the various objects
not so evident at
first.
and
ease.
full
The student
is
making a
daylight
practice of this,
the picture.
It is
The
boats,
it
2.
3.
4.
>7
72
The buoys.
6.
7.
and
wharf, etc.
Figures.
These
of
LEAD PENCIL
5.
left,
the
IN
local
drawn
being
boat
in
Fig.
34,
characteristics
in
with
manner
similar
further
to
observations
-^^t:^
r~^^-^''
Fig. 34.
Sketches
(Fig.
46)
manner explained
possible
the
on
subject
this
in
were
the
occasion
several
times,
up
in
the
chapter.
It
was
then worked
following
to
be able
taking
the
to
return
to
experimental
when
this
memory
of the
73
teristics of
This chapter
method
fined to the
it
and
colour
feeling," "
how
far
it is
possible to suggest
harmony,"
and dramatic
etc.
It
but later on
of rapid note-taking,
be pointed out
will
con-
is
of difficulty
from
a work,
but
if
the rapid
notes
in
Fig.
33 are dis-
lines
if
all
(Fig. 35)
must be admitted,
may
serve to
effect.
who
effects,
spent his
life
of
and
knowledge as to the
74
7.
75
76
and
in
has
LEAD PENCIL
IN
facts
appearance
assemblage
To
of
of forms
rapidly record
group
certain
which are in
But the most
is
of
the effect,
objects
or
the principal
is
purpose
of
the notes.
It is
Those given
when
in
Fig.
and certainly
33
so
is
picture.
Fig.
illustrates
^y
note
for
topographical
illustration, in
advantage by topographical
often at
first
artists,
com-
'
^^ta^
77
78
missioned to depict.
and
weather
if
LEAD PENCIL
IN
conditions
open to the
are watched and
is
artist,
some
commencing,
upon the
left
hand
of Fig. 37 appearing
cloud
shadow, balanced as
of the
come
is
it
dark under a
harmony.
into
Hghter
is
characteristic,
in
of
fact,
all
the less
42)
will
is
show that
been
have
notes
of
the
subject.
This
utilized.
note
(Fig.
37)
finished
drawing,
providing
common
the
artist
has
good
knowledge
of
accuracy
is
dral, the
in the city
Figures
42)
will
river,
and
in the
objects,
but
if
middle distance,
topographical
is
necessary.
are
needed.
Fig. 38.
^'.t.
^{
i"
K-
Fig. 39.
79
to
i>:,.
80
<
M
C/)
g
2
o
^-*r-^.
f
-.,
^^
'r!
P.D.
82
IN
LEAD PENCIL
is
work.
it
is
difficult at first to
Thick masses of
when
foliage, especially
occur-
little
variety
tone,
laborious
treatment.
What
is
obviously
etc., is
needed
in
a thorough
of the
grow,
Chapter VI
EXPERIMENTAL SKETCHES
General Effect
'
I
work that
is
embody
essential
a description of
out of doors.
If
all
the
nality
and
qualities
of
breadth
spot.
and
two
of pictorial art
There
of the
may
is,
however, no
something of
in fact
origi-
be lost by overdoing
It is better
not to
own
into
it.
He
it.
Infuse into
than
attempt
labours
G 2
84
possess something
more than
LEAD PENCIL
IN
some
this
measure of
emotions of
to fail in Art.
giveth
when
the
"
The
letter killeth,
at this stage of
Two
criticisms
studies for
by R.
" There
spirit
remembered
making experimental
drawing.
realism
at
but the
a truism particularly to be
life," is
finished
To aim only
others.
Ellis
nothing
is
be a
skilful
It
observation."
it
will
if
only to see
and shade
will
to
masses
of light
balance
be
the
this feature, as
most pleasing
in the picture,
alternate on
when one
"
whether of form or
light
two dimensions
is
also established,
a sense
V,
4ffr WA,
1
C-
'^^-^U
85
^f-
ri
-I-
.^^
86
-T
,^
87
88
of
feeling
Work
light
and
artificiality
LEAD PENCIL
IN
flatness
is
thus dispelled.
amount
of
of
some general
for
distribution of the
can
be
attracted
another
to
by
part
some
tone
achieving
this,
The picture
is
entiated.
It
sail
spread, as indicated in
is
some of
and is a
objects.
human
the
these facts.)
afternoon,
In
there
this
is
whereas,
Fig.
subject,
naturally
conveyed,
in
(A
this addition.
drawing.
finished
the
the
a
great
deal
harbour scene
effect, it is
sketches
for
this.
of
of this
When making
endorse
time being
The sense
centrated.
reference
will
43,
which
is
local
must be
(Fig.
46),
more con-
the
Be
early
general
sure that
X,r
go
is
IN
LEAD PENCIL
well distributed.
keep
Do
from complexity.
free
Avoid
same
time,
" black
of early
and white
"
draughtsmen, which
otherwise so creditable.
man
fishing, children
is
in
playing
of the air
manner
a satisfactory
effect
should be
first
aimed
Most
of
the
old masters
used this
method
of
testing
tions
general
the
Fig.
47.
A Road leading
into Salisbury.
By
J. Constable,
1820.
ii^:>S-\S
Fig. 48.
f.
Richmond Bridge.
By
91
J. Constable.
EXPERIMENTAL SKETCHES
92
examples of Constable's
Figs. 47
purpose.
Composition
composition in
depending as
necessary
in
student's
when
tion,
sketch
and shade,
it
is
is
sketch
will
which
may
be subject
considered
definitely
it
light
directed
first
but
much on
does so
eventually desired.
particularly
is
is
it
first
it
more important
regard
in
be found helpful to
expresses,
Composi-
work out
in the original.
that
is
to
first
alteration
from anything
apart
to
all
else,
The
the attributes
"a
sense of light,"
all felt in
the
first
etc.,
vaguely borne
in
mind, and
to definitely determine
Good
to
or
In making
it is
what
more
now becomes
it
is
or less
necessary
desired to produce.
bad composition
is
certainly
more
likely
9mmmmissmMmmmmmMmmi.
Figs, 49
93
and
50.
94
IN
LEAD PENCIL
in
necessary
therefore
is
drawing
pencil
always
should
composition
the
that
be
carefully
considered.
The most
a
large
foreground
in
difficult
surface near
other
of
hand
or in
Some
picture.
When
Chapters.
lines of the
reference
arranging
is
immediate
the
the
is
made
leading
up the surface
some way.
window
monotony
of
wide tracts
you that
sition is in
need
of.
EXPERIMENTAL SKETCHES
It
will
be
finished pencil
found
that
in
rendering
95
highly
greatly improved
facts.
Their addition
is
breaking up
which,
its
story
more
forcibly.
is
and indications
more than
of
season.
The "be
all "
and
"
go
IN
LEAD PENCIL
right
is
corresponding tendency.
is
so conspicuous as to
of pictorial art.
it
to cultivate
seems
it
Yet it is
away from con-
deep
It is
ruts.
anced distribution of
much an
interest, not so
interests.
If
equality
you bear
new
this in
ideas.
To
the
picture
and
to keep
all
manner
them low
of
in tone while
you leave
of left
hand weakness
special care
may
in
some
(b) is
B
Fig. 5 1
97
P.D.
98
The use
of a piece of
IN
LEAD PENCIL
is
still,
two or three
possibilities of subjects,
and
The most
grounds equal
distance,
and
of dif-
things
difficult
find
are
fore-
in interest to
in pencil
to
and low
the same
work
it
is
interest.
and universally
recognized rules of balance, proportion and rhythm,
seems to be so much a matter of originality and taste
that it is only desirable and necessary to consider it
here in regard to any special way in which the medium
beyond
Composition,
of pencil
drawing
may
its
first
be concerned with
it.
Tone Values
It is in
When
working
in this
medium
would be more
objects.
may of
in the
terms of the
Individual
to 50 (speaking
EXPERIMENTAL SKETCHES
99
It is entirely a
is
to say,
any group
of objects
.'^^*>1iil^:*i-*^^>Ua
Fig. 52.
value
of
the
tones
very highly
practice
which
the
to 50 seems to be sufficient
ample range
even up to 40, the tones 40 to 50 being unusual but
for
finished
work,
giving
value
of
the
darkest
tones
in
the
mind
the
subjects
with
an
in
100
IN
LEAD PENCIL
as
it
is
perhaps desirable to
may
ever be needed
obtain
in
pictorial
work.
Decorative work
of
may,
pick
should, by
the " tens,"
it
out
when once
"
the " forty
of course, be lighter
than
Always endeavour
play, and if there is a
two degrees
even
in the
drawing there
is
some perceptible
difference
in
the
degree of tones.
Undoubtedly
some
is
a true
made.
will
interpretation
most commonplace
be found to possess a charm
of
of
the
EXPERIMENTAL SKETCHES
Fig. 53, illustrating the wall, door
a cottage,
is
lOI
and window
of
this contention.
Fig. 53.
Here there
analysed
an arrangement of several elementary shapes
situated almost all on the same plane but each having
it is
is
really
if
102
A
ance,
LEAD PENCIL
IN
in
landscape
drawing,
is
Even
in
that
is
other
stormy evening
skies
buildings, etc.,
which are
or silhouetted clouds.
In
and delicacy
in
of the sky,
of
all
hills,
full
daylight effects
it is
best
frailty
solid
and
may
be emphasized.
It
is,
in
fact,
sometimes
desirable
to
slightly
When
to
the
sky seem to have the same tone value, but are clearly
distinguishable from their background on account of
their difference in colour,
it
must be drawn
its
lighter or darker,
from
is
effect.
may
If it
if
be a building,
only by a few
be clearly distinguishable
background.
EXPERIMENTAL SKETCHES
103
tone.
he
may have
felt this
many
of
effect.
in painting the
work
it
104
of "
Law
IN
of
LEAD PENCIL
be the reason
" strange
for the
power
although
quality.
He
The harmony of tone, as it is generally called, is the most important of those which the
artist has to regard."
This is undoubtedly so, and
whether a low key is chosen for one's work, relying upon
the
arresting
effect
drawing, or whether
of
this
quality
in
the
finished
it is
as
harmony
they
can
be
made and
consistent
with
sketch will
conceived
it,
lower
the
general
tone
in
another
experimental sketch.
As a general
rule,
it
and
from
EXPERIMENTAL SKETCHES
105
is
will
convey
is
effect
a sense of light.
that
pencil
The reason
for
you
of light,
in this respect.
of
nothing of
its
sense
often a gain
is
of the light
is
emanating
is
upon points
represented.
most
or portions of
It
of this fact,
is
it
desirable,
and
may
be very forcibly
therefore,
to
to select subjects in
make
the
which there
and shade.
for a finished
io6
LEAD PENCIL
IN
in
such
scene,
where steep
hills
throw
The
was worked
out.
is
quite
remarkable,
upon
little
it
picture.
Some strengthening
of
the
tones on
the
tower
and the house are necessary so that these may draw the
eye away from the heavy foreground, but beyond that
the rest of the picture remains the same.
all
full
indicate
light,
that
given in
side
only
altogether.
."PC
Ik,
\'
m
^
--^^.m^^:Y>^-
Fig. 54.
^^,.
'
If
>,
-v^ - ^t
"^ai^iMf^'^y.-'
Fig, 55.
107
io8
In endeavouring
in
your drawing,
to
let
LEAD PENCIL
IN
be clear that
it
It
all
the light
if
may
not
is
should be quite
"
of light
though
it
may
be
carried
out according
to
choice,
but
this
must be worked out and the actual difficulties overcome by making experiments. The sketches in Figs.
54 and 55 will make clear the effect of varying the
strength of contrast.
we
In Fig. 29
F. L. Griggs in
an exceedingly
see
which
fine
is
drawing by
wonderfuU}'
intense.
Fig. 56 gives three
is
vision
to left or at
(c)
is
light
is
(a)
effects
diffused
the observer.
The arrangement
in
{a),
needed
The
in
{b)
of
helps to accentuate
by different applications of
contrast of light and shade.
The church tower standing
well above a piling group of roofs and chimneys offers
of
effect
to be obtained
cQ
mixrsVeiDinwtKMiat-^^'
'*v
4 ^Z'.
*4sSL^i.^&*
"^
'.,
'p
^.
^%
109
no
many striking
much thought
LEAD PENCIL
IN
the
finished
picture.
The
experimental
sketch
Ruskin observes
in
Nature
" the
appearance of
" the
closely,
everyone
who
looks at your
by human
wit."
is
true
as
an elementary
is,
however, beyond this, always some
Nature
provision in
to relieve these effects of interchange and to detract from any appearance of monotony
fact.
There
in alternating
masses of
light
and shade.
Nature
is
vT
ii j^
.-fta^^'*-^,^,"!*
''?
^*'*'""-i5-rw\
/:'-'
Fig. 57.
A Hot Day.
By
J.
S.
"
112
never
artificial,
LEAD PENCIL
IN
never formal,
there
is
always some
be peculiar
would
intricacy of detail
mind
in other ways,
and knead
and
this
you must
also observe
by
Fig- 57.
little
effect of this
of
of
heat
but
also,
yet
this
little
five minutes.
kind
light.
Dramatic Feeling.
in
Feeling,
because
dramatic
feeling
is
intellectual
which may,
rather
feeling,
more
both of
EXPERIMENTAL SKETCHES
Dramatic
an abstraction of
awesome,
the
tranquil,
is
those aspects
all
the
and
113
potential,
so on,
the
gay,
emotion.
an
effect
may produce
the influence
Any
of
the
of these effects,
these, so subtle
over the
objective
whatever
it
may
be,
subjective.
may
and
neverwell
if
illus-
These
when completing
may
the
dark-
drawing,
by some
precise
and rapid
or
size
decision.
There
this term
is
used because
it
"
for
Some
is
114
kind
art
by
much
has lost
IN
To
over-familiarity.
LEAD PENCIL
such
discard
Fig
this.
58.
If
included
let
originality.
"
Rye
'
Bv
Aim beyond
if
effective
your subject
P. Noel Boxer.
is
to be beautiful
it is
present,
makes
it
emotions
present
or
representation.
are
may
associated
with
your
,.i
//w
[i6
IN
LEAD PENCIL
In the small sea piece Fig. 69, the tossing boats half
moment
to indicate,
whereas the sky and sea took some hours to build up.
In subjects pregnant with
a regatta or carnival,
it is
life
add many
often possible to
groups or crowds of
light, or the trail of
figures, puffs of
smoke, points of
Joseph
Pennell's
little
good example
Fig. 59, is a
when quickly
flicked in
drawing
of
Barnstaple,
Bell" the
tilt
is
the most
the
title of
in the
"
the work and arousing a feeling of " peace
mind
of cloistered
life,
of
the
print.
All
force of
only.
make
dramatic
final
touches
EXPERIMENTAL SKETCHES
made
drawing.
This
is
really a
is
here of effects
In
117
its
early stages.
in
pre-
also
in
illustrating
symbolic subjects,
lines
it is
immediately.
And mark
o'er
it
go
slow,
tlow,
And
and massy,
ii8
IN
LEAD PENCIL
successfully
tlie
end.
Tliey will,
represented
must be worked
for
from the
beginning.
An
and
way
supervened,
it
under discussion.
When
ideas,
of objects
main
theme,.
Chapter VII
" finished
term
''HE
ployed
in
book
this
to
emdifferentiate between
may be aiming at and
drawing
experimental sketches,
etc.,
has
"
sketches
been
of
detail,
been explained.
As
in
it
may
it is
must be
be some hesitation
bestowed
It is
drawings which
may
filled
term
inch
for
within
It is
of
finish.
their
The
more
of quality
" finished
"
drawing
which the technique
in
boundaries.
a question
said to be one in
be regarded as finished
is
it.
of quantity
may
of the
as superb
than
really
be
whole of
and masterly
The foregoing
1^0
IN
LEAD PENCIL
size of the
make
never
effect shall
it
if
stiffness
and
fication
large drawing
may
manner
of
employed
drawing
of
allow of a loose
if
in a
on
drawing
istics
will
in the result.
obvious
means,
in
method
the actual
in
way
such a
of building
is
it
may
be seen
how
the
work can be
carried
it
up
or lay
it
aside as inclination
and circum-
stances dictate.
method by which
now be
this
121
described.
'_-~j.
-^.----f-^^---j:^Jf^-.y -TZf^^CT
r-
FiG. 60.
Teignmouth Harbour
Rain
at Sunset.
1ST Stage.
Reference should be
made meanwhile
to the rapid
notes (Fig. 33, Chapter V), the outline drawing (Fig. 34),
and to the experimental sketch (Fig. 46).
122
Stage
The
IN
LEAD PENCIL
{a).
effects, etc.,
When
all
with an
pencil,
these
lines
being considered as
among
of
in the
It
may
when
which
may have
"
D-iS'
"?w>.
,.,.
-*-f'
Rain
at Sunset.
Rain
at Sunset
Fig. 6i.
Teignmouth Harbour
2ND Stage.
Fig. 62.
Teignmouth Harbour
3RD Stage.
U*
THE ART OF DRAWING
124
size
LEAD PENCIL
IN
which
correct in relation
is
Any
slightlj^
modify
Fig.
I,
accentuated
these.
was
it
left at
manner
which the
in
artist
proposes to
arrange them.
Stage
It will
II
there
is
(b).
no indication
is
of the effect
that,
though
which
it
was proposed
when completed.
"
conveyed.
It is
are
the
tone for
at the
all
definite
and
resultants
rain, also a
it is
best that
all
these
foundation of
now be
and
the features which
same time
of
laid,
now
to
125
some extent be
indicated.
with an
pencil, together
with the
first
indications of
schooner.
hill
used where a
flat
be
eventually
required,
the
pencil
being
still
employed.
pencil,
This
process
was
applied
very
carefully
and
little
muddy
being
at
61
illustrates
the drawing
as
it
appeared
126
Stage
III
At the commencement
stage of the work,
enthusiasm
for
his
shght alterations,
work already
if
LEAD PENCIL
IN
(c).
of this, the
most important
Though
required, can be
carried
out, there
is
in
warm
with
this
stage
made upon
little
the
possibility
An HB,
as well as a
or 2
hills,
the fore-
the
notes,
picture
of
by the rapid
obtaining balance
in the
of light
surfaces
objects in
shadow
light,
all
BUILDING UP THE
"
FINISHED DRAWING
"
127
water
was
in full light
left
quite blank,
it
being always
in
the
Stage
drawing as
end
[d).
at the
III.
Stage IV
of the
left
is
most
touches are
HB
very sharp
left to
it
is
thus seen
be done, yet
still
many
required.
of
most intense
light,
were stopped
off
to
certain
be required.
FinaUy,
all
indications of
movement on
128
all
those
IN
LEAD PENCIL
gulls, the
darker stones
little
plume
of
smoke,
it
being
work
to twelve hours.
c/1
Chapter VIII
CONCERNING FORM
12EF0RE
it
is
in so
far as
it
to
is
in
is
in colour.
mind
now
often
of certain colours.
130
treated
by
the
intiuence
on
the
CONCERNING FORM
But when we come
131
them which
must be
it
realised
principally appeals to
by
according to our
to
their colour.
with
proportion
that
of
the
is
primarily concerned
appearance
things
of
drawings,
is
his
to
make
if
the
intellectual
interest
in
his
subjects
they present.
colour,
critics,
on
this point
[Chapter IX.].
The form
which
certain
its light
finite
of
Foyin
goes
at once presents
straight
to
the
2
132
IN
LEAD PENCIL
centre
of mental judgment.
It
may
be intrinsically
and
so on.
The appeal
its
presentation
the
all
is
particularly
these things
intellectual
and those
birds
as
attri-
lies
of either
The aged
dim
as
light
an
from a window
effect of
convey.
figure of a
With
woman
is,
woman
all
and
so strong is
a philosophy.
the
make
still
even
^u^mp^i^
133
134
A
glow
IN
LEAD PENCIL
of
after-
(The form
is
entirely suggestive).
forlorn,
conveyed.
wild, weird,
Fig. 67.
Fig. 66.
aged,
strikingly
weather-
(Figs.
immediately
66-67).
associates
also
CONCERNING FORM
Form
modelling and of
addition of
the
further
reveals
135
and
effects
tends to
"
Proceed to " pick out
fir
trees
yet
The shape
effect
warm
the tints of
sky
manifested.
is
the
layers
is
indicate
light,
where
of
it
characteristics,
the
while
colour,
is still
the most
Still further,
add
it
is
in the
still
beauty
lies.
and
frailer
is
objects, of
it
cloud under
but
frail,
full
accumulating,
or
dissolving
not, white,
Even
density
in piling
and
little
form,
else
devoid
and have
flat
modelling
is
so little sub-
in
relation
of
nearer
to
the
objects.
136
LEAD PENCIL
IN
of
form
it
their
is
whether
that so
characterises
these
glorious
[see
and so
Fig.
in regard to
little
It
43).
cumulous
effect of
modelling
is
very
illusis
all
inspires
wonder
at the density
an object floating
When
and mass
of so great
in mid-air.
carefully portrayed,
and with
all
sense of
Water has no
definite
form
of its
it
is
of
intellectual
if
force
in contact.
is
as definite
Yet
and
is
enough alone
to appeal
CONCERNING FORM
to
imagination,
the
arouse
to
137
admiration
or
fear
lifting
wall
of water.
Water,
being
highlv
so
reflective,
is
naturally
is
transparent
pool.
It
is
really
question
first
of
the
makes water
Architecture
appeals
chiefly
by reason
of
its
of
detail
its
and ornament
is
though the
acknowledged,
the
boldness
grandeur of
its
of
its
forms.
conception
in-
attention from
all
Chapter IX
SUGGESTING COLOUR
Medium of Lead Pencil
In the
CAREFUL
colour.
The
scientific
define in a
is
difficult
to
acceptable.
Colour
is
"
not expected of a " black and white
medium, but the fact that certain elementary arrangements and juxtaposing of different tones (such as
may
is
cause of
For
it,
if
is
artist.
is
all
the other
certainly worth
sense of colour
of the drawings
is
Though
losing
SUGGESTING COLOUR
i^.c
drawing a natural
of
"
it is
the unpremeditated
effect,
giving
to
each
ITB
tl
x
Fig. 68.
is
5).
worth investigation.
It is possible
that
drawing
of
sunset
calls
up the
it
:
thought
is
merely
that the
of
red,
140
yellow,
while
orange,
the
LEAD PENCIL
IN
etc.,
and
Yellows, pinks,
any picture
an example of this,
while a still more positive case would be the automatic
mental application of the colour red, white and blue
to a " black and white " drawing of a Union Jack.
pale
greens,
entitled
may
It
heliotrope
"Dawn"
on
so
in
{Frontispiece) are
,
be the indication
of certain conditions in
The drawing
finished drawing.
Autumn
Sea,
Evening,
an ominous
light,
note
1914,"
in
(Fig. 69)
suggests a
the
heroic
"The North
in
patrolling
cold
half
cruisers,
On
Though
oily sea,
still
colour,
of ships at
But
all
the thought of
>
o
w
a
H
'i
141
/.
142
IN
LEAD PENCIL
of
the beholder.
is
It is
a conscious
method
of
we need
working
to briefly
for colour.
methods whereby a
can be used
the "
key
destroy
Even
if
the
all
drawing would
any one
of the picture
completely
whole
would be adversely
false.
It is
light
affected,
if
and shade
not
made
tone values.
weaken
his
drawing
of composition.
4
1?
05
1>
.!i
>
z.
w
a
143
144
By
(i)
light
LEAD PENCIL
By
(2)
IN
of the scene.
By
(3)
light.
stippling
in
By
(4)
which are
all
light.
by means
of his pencil.
Their appli-
will
of these
means, or even
if
if
will
suffer
in
other ways.
It
of
no scene or thing
It is entirely a
shadows
may
is
question of
The darkest
it,
when
the
shadow becomes
a bright yellow,
full
dark brown.
SUGGESTING COLOUR
i45
day
is
The
difference
or
at
artist
devise
way
the
suggesting
least
of
truly
presence
of
its
it is
may
colour
is
equally beautiful
You cannot
way
an
drawing
take
interest
intellectual
of
in pencil work,
in
the
fact
said to
the
is
furthest
limit
of
our
nature.
It
equally
it
is
deep
We
interested
sensuous dehght
is
sky
but
our
not so great on one occasion as
on the other.
In
a very
literature
of
P.D.
is
much
colour,
T
146
IN
LEAD PENCIL
an abstract way.
will
it
is
there can
present
in
good deal
medium
in
suggesting a
of lead pencil.
sense
of
colour
in
the
Chapter
CONCERNING STYLE
TN
which
is
and
alone,
reference
remarkable
facility.
artist
to
little
studies of the
is
148
which
given
is
edges into
IN
LEAD PENCIL
soft,
a sense of fineness
to the
is
so small.
costume by
Cattermole (Fig. 97) also display how ready is the lead
pencil to record rapidly and effectively, in line alone,
of figures in
Some
" loose "
method
sketches which
work.
The
favour
artists
of
still
peculiarity, as
may
touch.
A medium
a loose
style.
Such
it
not
is
may
lead
when based on
the
method
of
selecting
draw them
well.
them
or inability
to
CONCERNING STYLE
The
addition
and tempting
desirable
if
any, artists
who
becomes too
be long discarded, and few,
shading
of
to
149
soon
to line alone.
Though
this,
as
explained
to
the
student
in
presuming the
artist to be sufficiently trained to understand the
principles of the employment of light and shade,
the pencil will at once respond in the matter of
Chapter
III,
providing
an
infinite
can
apply as he desires.
How
this question of
logical
shaded.
merging
of
line
line
is
fully
very pleasing
prefers to
150
IN
LEAD PENCIL
but he
may
may not
so
far
been
As
it
chapters
will
be
understood
on suggestions for
the
for instance,
may more
and stippling
of
all
the
included
as
to
it
may
make
his
own
Whatever method
style.
of rendering
fully explained
the
is
decision
or
the
resorted
method
is
of hatching
impressionistic
to
only.
by the use
" finished
Examine
among
drawing
as
"
in
Chapter VII.
CONCERNING STYLE
St.
Edmunds, by A. E. Newcombe
151
(Fig.
7),
in
com-
The
results of
lines
advocated
my own
which are
methods
described.
It
will
seem
art
is
largely dependent
upon the
which
ticular
is
kind of subject
may
and
feelings in regard to
forceful,
direct
and
vig-
in
the drawing
of
152
IN
LEAD PENCIL
more tenderly
in the latter.
Fig. 71.
^^"^
Parsons.
Chapter XI
DETWEEN
WORK
of the
of
no desire
these two very opposite
student
may
former, resulting as
154
^
m
if'"
In
^^i\^^''
155
156
LEAD PENCIL
IN
temperament demands a
more rapid result, may find what they require in
working according to the method of the latter, which
is
speedily building up the drawing by vigorous
delineation and the spontaneous application of shading.
emotional
whose
nature,
ment
of
full
emotion
felt
by the
artist
regard to his
in
subject.
As an example
is
modern
of a
artist
whose
style
by the student
which they exhibit and
studied
for
for
drawn.
"
" Streatley
Dedham
Mill
Mill,
and Lock
masterpieces of vignetted
the
latter
the
Berkshire "
mill
"
(Plate
(Fig.
77)
74),
are
indeed
buildings
are
erections
and
of
in
the
Fig. 73.
By Hedley
157
Fitton.
'ft-
Fig. 74.
-ff '!'
By A. E.
15S
Neivcomhe.
Fig. 75.
By A
E. Newconbe.
r6o
style,
LEAD PENCIL
IN
which
little
it
detail as possible, or
is
might
any examples
of this art,
Much, however, as
is
behind
belt of trees
to be advocated,
it
cannot be said to be an
cut
clear
method
edges
of
leaves
working up to
no
alto-
The deeply
method
profiles
opportunity
for
with
those
We
art.
to that
com-
in a
suggests that
little
but,
is
may
be no detriment
sometimes rather to be
desired.
The
realistic
fact
is
charm
of
^^Hf-
Fig, 76.
B 3
iiJjijrj
Fig. 77.
t=''r"l,C'*t
JVL.
i62
technique has
to
IN
LEAD PENCIL
observed.
Foremost among modern pencil artists are Muirhead Bone and F. L. Griggs, whose topographical
work is of the highest order.
Muirhead Bone's
remarkable drawing of "A Liverpool Street" (Fig. 6)
is a fine example, in which is seen the ultimate phase
of the principle of carrying the drawing to the highest
pitch of expression without losing the sense of line.
the
is
meaning
certain
passages
which
are
is
not
crisply
made
is
introduced
obvious,
while
Fig. 78.
Variety
in
Fig. 79.
By Midrhead
164
Bone.
Wi
Fig. 80.
S'
I'tti.**,
)L*iux
The
Pinci.\n
Gardens, Rome.
Ai'
Fig. 81.
St. Peter's,
Rome.
iiy
i6.i
Muirhead Bone.
i66
effect
in
line
bewildering
in
"A
"The
in
In
alone.
intricacy
Liverpool
of
pleasing
contrast
which
line
Rome"
LEAD PENCIL
is
to
that
exemplified
Pincian Gardens,
striking
IN
of
(Fig.
80),
a drawing
style,
conveys
at
once
the
visibility so char-
this great
artist's
and shade.
Muirhead Bone is indeed a great
master, and in choosing lead pencil as his medium
he has revealed the remarkable results which are
obtainable from its rapid and confident handling.
light
and subject.
Fig.
F. L. Griggs.
i68
:.-dJ|
//
Mil'
f/S'^t^V
169
170
Harbour, Leeuwarden
"
(Fig.
IN
LEAD PENCIL
an exceedingly
is
84),
The
attractive
conspicuous
pictorial
feature
feature which
few
successful
this
artists
whole
the
of
effect
of
in
this
is
drawing,
medium
achieve
so well.
of
W. Keesey may
His drawing
also
(Fig.
85)
"
materials
attention
the
in
by
old
students
of
topographical
draughts-
manship.
86 and 87, by Fred Richards, possess a
of charm coupled with an individuality of
Figs.
wealth
style
which
objects.
is
His
student's particular
study, as
J.
A.
88,
by
These two
Ness.
little
of
drawings
trees.
foreground,
(Figs.
The pleasing
thus
partly
manner
vignetting
of
omitting
the
picture,
the
is
to
l^itcPi-f
Fig. 85.
Keese
<
TVit
G-iAa.bi4i
Put,
"pSRi
Fig. 86.
Fiesole.
By Fred
172
Richards.
/
Fig. 87.
Nemi.
By Fred
173
Richards.
'<'
WORK
175
which exemphfy a
method of treating objects in shadow and retaining
a softness and sense of atmosphere, even where objects
appear in full light. The fullness of detail and almost
and
90, 91
by
92)
F. E. Georges,
microscopic technique
older draughtsmen.
is
Fig.
93,
by A. Welford,
also
is
style.
is
worthy
of study.
sporting incidents (see Figs. 94 and 95) are as delightful as they are cleverly executed.
His style is bold
and emancipated,
and
his
which makes
In Fig. 96,
by
torious drawing
his
L.
finely
executed.
Figure
The use
as often as
specific
Studies
might be expected.
reason
for
this,
but
if
is
not found
One cannot
the
give a
difficulty
of
can
depicting
Also
may
it
of
flesh
in
" black
among
and
white."
and
f.l_rjv
^f>^
aiJSSF^
Fig. 90.
Fig. 91.
Plumpton, Sussex.
By
F. E. Georges.
By
F. E. Georges.
T77
P.D.
Fig. 93.
Sloughden, Suffolk.
By Arlhur
178
Welford.
179
N 2
1^
03
23 H
-
^3^ ^s-'1*
*_-
i82
IN
LEAD PENCIL
white " mediums the pencil will be found more sympathetic than
any other
As a master
for this
of J.
among
how
little
may
is
work
artists.
trates
type of work.
is
shading,
when
truly artistic,
Fig.
97,
by Cattermole,
and
is
interesting to
103,
J.
Fig. 97.
183
Fig. 98.
Study of a He,\d.
Bv David
1S4
Maclise.
Fig. 99,
Child Siud\
By David
iSn
Maclise.
rM;^^'J''Vl
>
'
..
..^
Fig. 100.
Portrait of M. Gillibert.
By
]. D. Ingres.
.->d^'
Fig. 101.
Portrait.
By
187
mi0t^
Fig. 102.
Portrait.
By Frank
i88
Dicksee.
c^^-
.l^.,i-V
!-"'-
^^.
Fig.
103.
A Figure
Study.
By
189
J. Waller West.
go
o
t5
191
^i
/J~i:5:
jtl.'u-^l'..
Fig. 107.
WORK
artist's
of
the
medium he has
The use
is
particular
advantages
chosen.
illustrated in the
193
(Fig.
104).
ARCHITECTURAL DRAWINGS.
The
interest
may
fairly
purpose.
line,
is
of
on
is evidence of the allurement
which resides in drawing architecture when this svmpathetic and easily handled medium is employed. As
evidence, however, of the work of a master in this
class of drawing, " St. Omer," by Prout (Fig. 108),
which if
is a plain and simple statement of facts,
similarly rendered in any other medium would hardly
be tolerable, whereas, being drawn in pencil, this and
all those other praiseworthy and conscientious drawings by Prout possess a sort of rugged charm which
relieves what might easily have been a very prosaic
been done
style.
Even though a
resorted
to
sympathetic
slight
the
drawing
line
work used
is
amount
an
really
to
of
shading
is
example
of
convey the
artist's
The need
of
diligence
and
close
is
study
when
soon discovered
o
'
t^'
1^
;'
Ur
IT-
Hh
-J
Fig. 108.
St.
Omer.
By Samuel
194
Pioui.
<i
<&^,
'4
l\
4^~ /^t^lT
WtW
fifV^' 'r
^i!
I
I
L^OM CATMtDRAl17
6 33.
Fig.
109.
Laon Cathedral.
By Arnold
Milchell.
195
,^'
piHv~i
- r /
k.
-^
'^
...w^;^^ i-0^
=^>i
'l
AMIEHS.
2.-3.
-v."-^--"
Trail
.jji:
-;ssr~
SQ
Fig. 110.
Stalls
Amiens
Cathedral.
By Arnold
196
Mitchell.
111
^1
ft
IS
aff-^~
Fig. 111.
A House
in Vienna.
By
197
,4,
. Richards.
igS
When
as being essential.
this is exercised,
architectural
No
Arnold Mitchell.
topographical
studies
LEAD PENCIL
IN
is
Figs.
109
and
no
by
who aims at
do otherwise than gain
artist or architect
accuracy
will
however,
well exemplified in
or
attaining
similar purposes.
of
Rickards
which
iii)
(Fig.
may
This
style
of
is
though
of being easily
Among modern
are few
whose drawings
(Figs.
of
Harold
Falkner.
charm
this
much
and
shade.
Many
of the topographical
draughtsmen excel
in
especially
the work
of F. L. Griggs.
Church, Suffolk,"
(Fig.
78)
we
see
Badingham
well
rendered
'^^^^^^'^.
'^^^^^^sf^:-'^^'
.1
Fig. 112.
Falkner,
Fig. 113.
200
Fig.
114.
J. S.
202
IN
LEAD PENCIL
attention
has
brick, plaster) of
(flint,
is built.
Decorative
Work
For book and magazine illustration most attractive drawings have been made in lead pencil, and it
is only reasonable to think that it might even more
often be used with most effective results for such
work. Its particular advantages for spontaneous and
rapid work, and its possibilities of faithful reproduction
make it a specially adaptable medium when commercial
considerations have to be taken into account.
As a general
rule the
by
for
work
Stippled tones
the drawing.
The
which
beautiful panel
so
well
expresses
romantic outlook,
by Vernon
the
(Fig.
115),
mystical and
what can be done
artist's
a revelation of
is
Hill
Fantasy
medium,
as
ating panel
is
no
less possible
of expression in this
well seen in the freely drawn and fascinby W. Heath Robinson. Pencil is here
is
Fig. 115.
Night Wind
in
the Trees.
By VernuH
203
Hill.
03
;>^^S4^^i
204
itlTO
FAlRytAND
Fig.
117
By
205
Ethel Larcombe.
Fig.
lis.
206
By
Ethel Larcombe.
Fig
119.
A Book
Title Page.
By
207
G.
Montague Ellwood.
2o8
apparently
artist's
without
boundless imagination
The work
is
an
hesitation,
of Ethel
idea
(Fig.
Larcombe
demanded
and
beautiful
will
do
left
suggestion of
manipulation
tone
of
this
(Figs.
from
ii6).
colour, so often
WORK
work, has
artist's
clever
with
values,
white.
charming
style of work.
suitable
is
possibilities
of
the
medium
lend
mystery
of Fairyland
Fig.
title
page,
drawn
frontispiece than
o
ffi
209
P.D.
Fig. 121.
A Study
By David
210
Maclise.
drawn
WORK
211
title-page, in
which the
of
the
of
style
of the
early
artist
wonderfully reminiscent
engravings,
reproductions
APPENDIX
THE REPRODUCTION OF PENCIL DRAWINGS
"PVERY
Artist
who draws
for illustration
purposes
methods
of reproduction to
take
He
should
methods
works
of some process engraver, an experience from which
be will learn more than from any amount of theory.
the
first
opportunity
in actual practice
by
of
visiting,
seeing
the
possible, the
if
Process
Process.
Lithography.
To
Lithography.
honour
of
back as 1798,
of the principle of
Senefelder's original
grease,
of porous car-
One side
and upon
of the stone
this
is
ground
and polished,
makes his drawing
level
The stone
latter,
which
213
is
the stone
is
then
roller,
the
when
fitted
whereas
all
other parts
printed from.
By
it
was found
possible
by
media.
In this
of
manner was a
it
facsimile of a Pencil
By
the middle of
printing on
of the
it
it
drawing
it
was desired
to reproduce,
manner
to the
method adopted
lithographic stone.
and
for
was
for printing
from a
it
in a similar
a long
time
its
its
artistic
popularity declined
214
IN
LEAD PENCIL
among
in
by
it
may
it
in
In
reproducing
photograph
is
made
of
the
by
drawing
drawing
is
Collotype,
it
parent
line,
The negative
to
pass
through.
is
mounted
for
215
As the chemicals
in those parts
where the
an impression
stitute
light to act.
of
light
the
drawing.
These do not
When
the plate
after being
ammonia.
by means
sunken
The surface
parts
dry
is
of soft rollers
parts.
it
is
of
off all
the
ink
follow over
rollers
plate,
stiff
Hard composition
is
the
printed
result
and accuracy
of the gelatine
being
of detail.
makes Collotype
among
result.
book
illustration
or
plates,
and prints
for
pictorial
2i6
IN
LEAD PENCIL
process.
Collotype
is
in
effect
Lithograph printed
finest
Half-Tone Process.
of the
Process
distinguishable,
innumerable dots,
the
glass,
closeness
invention
principle
of
done
has
illustrated printing.
is
especially
by the "screen"
or
openness of
lights respectively.
a comparatively recent
much
The process
photo-mechanical
work is that known
printing,
is
to
revolutionize
which
means that
lines
Two
217
Through
the light
is
the
this
drawing
is
lines
to the negative.
which
light,
dots.
sizes,
is
cast
printed
on
metal plate
to
the
The negative
prepared
chemically
is
then
sensitized
of
shadows
relieved
by black masses,
of the tone by
pointed
dots
comparatively wide
The
apart.
Where they
Q
are
2i8
large
is
and
closer together, or
IN
LEAD PENCIL
With
the
illustrations
in
this
book
by
reproduced
are
and
Figs. 85, 86
87.
The
difference in the
two methods
is
is
impossible
to
(the
it
result
in the facsimile
lights
cut
are
facsimile
Process.
it
is
is
drawings
of
importance to bear
tend
to
lose
brightness or contrast in
of reproduction,
certain
in
mind that
degree
of
all
their
is
219
more
If
it
is
degree
additional
to
left
contrast
of
into
When making
much
it is
any
possible,
is
make
will
allowed to
in reproducing a
subject
when
some
of
a loss of
loss of brightness.
whenever
is
be when reproduced.
drawing the
in
work
of a loose,
If
the
make an enlargement.
make
to
is
is
invariably more
where he
Especially
is
is
called
upon
it
is
disappointing.
INDEX
N.B.
Items in
italics
represent the
titles
of finished drawings.
Artists
Abbeville, 5
Architectural Drawings
193-202, 194-201
Architectural Forms 26, 27
Armour, G. D., 175, 179, 180
Artists
Armour, G. D., 175, 179,
180
Baumer, L,, 148, 182, 191
Bone, Muirhead, 9, 11, 149,
151, 162, 164. 165
Boxer, P. N., 58, 114
Brock, H. M., 182, 192
Burne- Jones, E., 2
Burnett, C. Ross, 23, 28,
147
Cattermole, G., 148, 183
Constable, J., 91, 92
Cox, David, 103
Dicksee, F., 182, 188
Edwards, L., 175, 181
Ellwood, G. M., 207, 208
Emanuel,
F. L., 166,
169
{contd.)
177
Griggs, F. L., 42, 59, 60,
108, 162, 166, 167, 168
Harding, J. D., 2
Hill, v., 202,
203
J.
D,,
2,
^^,
182,
186
Keesey, W. M., 170, 171
King, C, facing 1, 149
Larcombe, Ethel, 205-6,
208
Leighton, Lord, 2, 3, 150,
154
Maclise,
D,,
182,
184,
185, 210
MitcheU, A., 195, 196, 198
Newcombe, A. E., 10, 11,
159,
151, 156, 158,
160, 161, 163
Parsons, A., 153, 154, 155
Pennell, J., 115, 116
Prout, S., 2, 193, 194
INDEX
222
Artists
{contd.)
Salwey,
Frontispiece,
J.,
43, 80,81,86, HI,
129, 141, 143, 201
Turner, J. M. W., 2, 73,
7,
74,75
115
191
148, 182,
Bone, Muirhead,
9,
11,
149,
164, 165
Book Decoration, 205-209
Boxer, P. N., 58, 114
Bristol Boards, 13.
Brock, H. M., 182, 192
151, 162,
Burne-Jones, E., 2
Burnett, C. Ross, 23, 28, 147
Bury
St.
Edmunds,
Abbey
Gateway, 10
Byzantine Font, 3
C
Canterbury,
171
Composition, 92-98
Constable, J., 91, 92
Cox, D., 103
Curves, 22, 23
D
Drawings, 202203-207, 209, 210
Dedham Mill, 161
Dedham Vale, 161
Dicksee, F., 182, 188
Dramatic Feeling, 112
Edwards,
6,
138-146
211,
Baumer,
67
Collotype Process, 214
Colour, Suggestion of, 5,
Decorative
Walker, Fred, 2
Welford, A., 175, 178
West, J. W., 182. 189
Barnstaple,
Mercery
Lane
200
INDEX
223
M
Galatz on the Danube, 155
Georges, F. E., 175, 176, 177
Gillibert,
Goodison,
I,
C, 209
Dawn, Frontispiece
182,
A.,
190, 193
Materials, 12-17
near,
168
2, 33,
182,
186
N
Naval Base, The, 143
Nemi, 173
Newcombe, A.
E.,
10,
11,
161, 163
North Sea
141
Autumn Evening,
Observation, 24
Otter
Outline,
59
Landscape, 44.
2, 3,
150, 154
Lithography, 212
Liverpool,
185,
Modelling, 33, 49
shire,
184,
Ingres, J. D.,
D.,
210
Marsh Mill, The, 58
Mason,
Gunfire at
Maclise,
Street,
Pennell,
J.,
115, 116
Photo-Mechanical Processes,
212
Plumpton, Sussex, 176
Poetry, Illustration of, 117
Point-to-Point Racing, 180
Prout,
S.,
2,
193,
194
INDEX
224
Rapid Notes,
62-82
ii,
Sketch Blocks, 13
Sketch Books, 12
Sloughden, Suffolk, 178
Stipphng, 29, 30, 32, 50-52Streatley Mill, Berks, 158
Stjde,
147-152
Rotne,
Rossetti, D. G., 2
Ruskin,
J., 2, 5, 21,
154
Rustchuk,
Old
no,
150,
T
Technique,
4,
120
Teignmouth Harbour, 129
Tone Values, 98, 99
Tone Values, Scale of, 64, 65
Tones, Laying on of, 28
61, 87,
Top sham
Autumn Morning,
Mosque
at,
153
Rye, 114
Rye, Mermaid Street, 176
Rye, Watch Bell Street, 177
Trees,
75
V
Victorian Style, 37
Salisbury,
91
Salwey, Jasper, Frontispiece,
80, 81, 86, HI,
129, 141, 143, 201
7, 43,
J. J.
Keliher &
W
Walker, F., 2
Welford, A., 175, 178
West, J. W., 182, 189
Whatman's Papers,
13