1. art and entertainment
2. visual art and design
3. drawing

C5
Pictures
Pen
AND
DRAW
TO
HOW
THEM.
PRACTICAL
A
ON
ILLUSTRATING
FOR
With
Numerous
of
*^
THE
METHODS
VARIOUS
"PROCESS"
UPCOTT
WHITE
ENGRAVING.
Diagrams,
eric
and
Sketches.
^EADE,
Magic and
Paintingfor Amateurs^^
^^Silhouettes"
etc.
Stage-Dancing"
^^
LONDON
L.
AND
Scene
^*
OP
BLACK
IN
Designs,
By
Author
HANDBOOK
GILL,
:
170,
1895.
Mystery^'^
STRAND,
W.C.
'Br-
'", '^'^"
0
^";"L^t"At^v"^
0^
CONTENTS.
PAGK
1.
Preliminary
1
2.
Art
4
3.
How
4.
5.
and
Nature
7
Begin
to
Drawing
Painting,
-
-
-
Pen
Etching,
-
-
-
-
and
Drawing,
12
graphy
Photo15
and
19
Washes
6.
Lines
7.
PerspecffiveSimply
8.
Perspective
9.
Materials
10.
Tone,
11.
The
25
Explained
"
-
-
-
30
Technical
"
for
Pen-and-ink
Shadow,
Tint
-
Drawing
-
16.
Anatomy
Figure, Foreshortening
Costume
and
Drapery
Arrangement,
Invention,
Composition, Grouping
and
Architectural
Landscape
Drawing
Decorative
and
Art
Symbohc
Sky, Sea, and
Ships
17.
Trees,
18.
Other
19.
Caricature
20.
Process
21.
Art
22.
Final
23.
Glossary
12.
13.
14.
15.
Human
"
-
-
-
-
-
-
Eocks,
uses
Grass,
of
Drawing
Fields,
etc.
-
-
-
38
-
-
-
-
-
34
-
-
-
44
52
54
-
59
63
-
-
67
70
73
75
-------
78
Engraving
83
Criticism
85
Hints
86
-
-
IPrcIiminar^.
It
is usual
to
added
has
Pen
and
has,
owing
Ink,
it is
as
state,
**
as
for
most
years
What
engraving.
trained
of the
beautiful
but
the
on
carver
is
called,
when
in
has
a
but
such
art
as
the
inaccurate
Through
Academy
as
to
public
be
style
the
and
we
result
the
has
of
intolerant
to
the
is
the
been
skill
zinc.
as
it
"
only,
of
system
what
raised
to
graving,
en-
new
been
never
is
more
to
is
which,
Not
have
duced
pro-
of
surface
a
the
and
wood
The
plate
bitten,
**
There
to-day,
taste
of
itself,responding
strides.
see
art
drawing.
over
drawing
enormous
drawings
standard
of
or
prepared
method.
a
upon
the
come
the
simple
chemically,
within
frequently
more
photographed
great change
a
now
graving
en-
degree,
were
altogether
very
of
made
has
needs,
a
repUca
inked, gives
however,
by
is
bath, and
acid
an
wood
carved
is then
plate
left
formerly
now
of
Until
costly
as
its
some
artistic!
drawings
rank
method
in
has,
pubUshed
the
automatically
This
Process"
in
White,
in
cheap
of
was
original drawing
and
new
of matters
printer by
the
photography
world
the
revolutionised
a
and
definitelytaken
of
"
Drawing
called, Black
aid
the
By
art.
known
recent
otherwise
Design
nineteenth
number.
the
to
of
The
painting.
special requirements,
developed
highly
and
Arts
three
are
fourth
a
or,
to
separate
a
there
sculpture,
architecture,
century
that
say
couraging,
en-
such
crude, old-fashioned,
a
and
of illustration.
influence
South
of
the
Kensington
schools
Museum,
of
the
with
Koyal
their
'Z
PEN
PICTURES.
affiliatedbranches, the art of
New
nurtured.
up, and
sprung
systems and
much
excellent
becoming, indeed, a
be
is
should
write
can
as
design has been enormously
more
capable teachers have
has
work
of convention
sort
be able to draw.
regardsthe
individual,it is
increasingnumber
draughtsman and
been
done.
that everyone
But, however
beyond
of matters
It
which
who
this
doubt
is
may
there
that
representedby
the
Not
the 'least important
engraver.
indication of this fact is the progress
of illustrated pubhcaand quaUty. We
tions,both in number
not, perhaps,
may
when
will be acto an age of picture-writing,
return
men
customed
an
draw
to
There
words.
their ideas
is
instead
of
are
describingthem
in
much, nevertheless,to be said for lessons
and the hke, rather
than
by pictures,
by pictures,news
by
almost
letterpress.Certainlywe can understand
anything
illustration than
better by an
of ''wordby any amoimt
We
painting."
of
network
a
for
know,
with
the most
crude, the
apparatus would
be
"anything
as
interstices
distances
instance, Dr.
most
a
between
reticulated
equal
at
the intersections."
appalUnglyinartistic
better
tion
defini-
Johnson's
explanationthan
sketch
But
of the
that.
of persons of both
sexes
Although hundreds
are
daily
engaged in making pen-and-ink drawings for the hosts
of illustrated pubUcations, opporincreasing hosts
ever
tunities
"
"
for
White
are,
Paris, and
Ink
practicalknowledge
curiouslyenough, exceedinglyrare.
New
We
work.
drawing
acquiringa
as
institutions
an
which
It is not
have
there
also
introduction
and
the
White
schools
numerous
to
painting. But
guidance and
have
importance
generallyunderstood
yet
that
of Pen
for
an
and
teaching
academies
and
information
to be estabhshed
of the
and
In London,
exhibitions
annual
are
affordingreHable
the art of Black
numbers
York
of Black
in
in the
subjectdemands.
artist may
be
a
EoyaL
6
PRELIMINARY.
and
excellent
painter, and yet a very
of reproduction in
inferior draughtsman for the purposes
The explanationof this is,that a drawing
black and white.
of engravers
which
and
must
through the hands
pass
out
printersbefore it reaches the pubhc cannot be worked
so
completely as a drawing intended to be looked at in itself,
and not merely in the reproduction. Modem
pen-drawing
Academician
is based
the fact that artists
on
specialneeds
hoped that these
of
the
a
broad
and
pages
it is
will set before the student
and
artist
foundation
that
dispense with largeand
critical and
has
been
vague
studied
Complexity
over
and
over
text-books
memory
has
are
to
even
been
discourage,without
study
everythingnecessary
found, nor
and
to
is the student
works
Ink
and
equip
asked
dealingwith
the
SimpUcity
work.
verge
the lessons
of
of
drawing-mastersand
impossiblefor the
servingonly to disgustand
frequently
often
retain,and
to
frequent repetition.
avoided, because experiencehas shown
to
again that
too
the
which
upon
exhaustive
side of Pen
this
for
work
to
view
artistic draughtsman will be
an
With
how
in
is made
claim
know
now
"process."
accurate
reflect. No
to
an
a
maze
of advice
instruction.
conveyingany satisfactory
A
2
art
One
great
is because
art
too
narrow.
copy
clearly
understood
he
the
the
A
architectural
style
Eubens
shocks
Hence
is
is
commonly
of
natural
so
on,
the
probably
"
^a
A
of Art
may
a
Art
feel
when
or
means
by
sense.
In
gratify
of
designer
else
nothing
of
choose
within
a
;
grand
the
soul
the
"
vague
is to
"
master
rouse
perhaps
Dore,
the
to
gratify
style.
Art
may
the
is
draughtsman
httle
more
that
sculpture,
It
may
it is
are
say
anyone
is revealed
example,
an
us.
theme
us.
it
meaning
for
may
"
perverted genius
that
and
of
as
first function
the
mechanical
plans,
^a
"
spiritual
make
functions,
of
piece
the
extremely
is
such
harmonies.
drawing
masters
are
mind
or
to
imitative
its
picture
and
mere
This
Nature.
the
and
with
eye.
such
good
internal
connection
in
sounds
perceives
which
the
is not
is usual
when
When
principles
and
It
appreciated.
to
everything.
not
is, rules
Besides
a
sees
is
Art
what
craving
a
he
when
It
model
a
in
altogether
draw
to
excel
to
plan
a
capacity
the
that
fail
on
learns
he
after
discovers
insufficient.
represents
A
long
is
which
everything
and
It
and
easily grasped
is
training proceeds
of
excellent
students
numerous
their
pupil
art
average
why
reason
nature.
an"
this
that
Art
said
dictum
world
present
is
capable
Nature
that
is not
objects,
such
themselves
of
a
has
always
wide
interpretation.
lines.
no
And
the
clearly understood.
as
the
sea,
to
our
eyes
the
as
clouds,
a
number
the
In
land,
of
flat
ABT
AND
NATUBE.
of colour and shade in different
patches or spaces or masses
strengths. Yet in all this assemblage of natural objects,full
as it is of gradation in tone, there is nothing like a real line
"
the
is, which
line, that
distance
shortest
horizon
out
is
between
is often
such
the
the
sensible
and
represented
thing; it is merely
space
drawn
and
spoken
White
and
of lines Black
Even
described
no
(Ex. 20) as a line,is in actuality
the ending of a particular
portionof
*4ine."
Yet
about
as
a
by
means
geometricallyas
points.
two
Which
at sea,
defined
Art, employing the aid of light
flat
and shade, gives us
on
a
surface
the
and
bodies
no
lines
have
Here,
at once,
in nature
wide
Art
and
be
impossible
represent artisticallyanything
Nature
; it
world
in the natural
the
order
is
which
a
have
we
would
jects
ob-
themselves.
in
between
distinction
to
of
appearance
draw
to
to
make
Thus, in
anything
it is
in Nature
seen
rough
of lines.
use
a
which
sary
neces-
of it.
form
of
attempts
out
with-
our
The
hook
pot-
and
or
a
slate-pencil
days to represent a
house
was
a
struggle to give a form
horse, or
objects.The
eye is concerned, was
darker in tone and of
and
a
house,
or
to
schoolboy,like
the
to
any
to
so
space,
other
a
horse,
of these
far
as
the
lighter or
ings,
surround-
represent the
object
Thus
the
piece of paper.
artist,suppliesthe lines himself because
a
slate
or
the man,
or
simply a mass
varying colour, amidst
boimdary supposed
transferred
was
the
man,
or
a
there
are
artificial.
typicaland
may
none
The
in
PEN
PICTURES.
Nature,
and
skilled
vital lines
desire to draw.
as
the
artist is he
will
best
lines
who
can
completely
are
choose
represent any
such
objecthe
130W
Some
in
of
our
Technical
the
on
the
Naturally,
the
would-be
the
best
lessons
such
model.
Better
those
results
A
system.
of
piece
draw
by
eye.
better
the
and
is too
mechanical
follow
and
pencil
play
of ; there
to
from
and
wooden
the
obtained
frequently
are
to
available
most
advantage
freehand
in
learn
drawing
the
part of beginners
the
can
of
But
taken
drawing
as
who
training
any
people
knowledge
the
had
never
many
are
rarely
are
on
avenues,
as
draughtsman.
eagerness
restricted
there
ear,
greater
for
much
Just
Schools.
piano by
have
artists
best
very
Bcfiin-
to
by
less
a
and
paper,
the
'
is
pupil
equipped.
about
draw
of
of
to
by
quite
the
sketches
this
is
not
deceive
a^^ew^is
a
who
out
and
is
is attracted
by
artist's
dodges
Much
but
by
the
'*
even
the
of
merest
impression
own
head,"
neglect
artists
Uttle
*'
that
as
it
resort
suspected
skilled
their'
pen-and-ink
a
study
the
Through
professional
take
standard
4, but
school.
best
our
public.
himself
of the
best
mess
It will
the
to
up
^e
a
of all.
get
to
attempt
make
3 and
Examples
of
indeed,
to
should
will
ever
what-
nothing
he
experience
the
few
knows
art,
even
conveniences,
work,
novice
The
in
uninitiated
The
often
shown
not
apparatus,
always
indeed
undoubtedly
score
the
is the
that
of
first he
At
sees.
time
long
a
published
not
; but
everything
of Nature
on
he
everything
him
rules
technical
the
he
though
Even
and
amateurism."
drawing
it
is
must
all
This
were.
and
is
true.
beginner
has
some
with
his
pencil
xjonsolation,
and
paper
nevertheless,
making
for
his
lack
his
of
8
PICTURES.
PEN
technical
knowledge. He
pen-and-ink
competent
anxious
to draw
muddled
in
always
can
artists.
the interior of
tryingto get his
of
the work
Thus,
room,
a
consult
suppose
he would
he
be
was
sadly
lines
right. He can then turn
to the interior of a room
as drawn
capable deUby a more
neator, study how he has managed it,and apply,so far as he
can, the other's 'methods.
Everybody, savingan exceptional
some
commence
genius, must
by being a copyist. When
idea is obtained how
is a very diflBcult study
which
a room
is represented,
the sky, animals, clouds,everythingis open
"
"
t
'Ml
Ex.
to be
in
experimented on.
this
keener
The
3.
imconscious
information
secured
is wonderful;
you
way
every failure makes
in perceivinghow
the practiseddraughtsman
the
has
succeeded.
For the purposes
of consultation
and
correction
there is
a
pen-and-inkwork easilyprocurable. A number
in these
of drawings by foremost pen-and-ink artists appear
been selected mainly with the object
pages ; but they have
of simple guidance and instruction,not for display. [Some
of them are reproduced from Pick-MeUp, by kind permission
of Mr.
Henry Eeichardt.] For a few pence or shillings
and
furnish the illustrated periodicals,
any newsagent can
rich store of
HOW
TO
dealers in artist's materials
reproductionsof
it will be
well
the
beginner that
object with equal facility.Some
every
in
landscape,others in figures,others
draw
excel
others
to
decorative work, and
in
and
industrial
his
line in
drawing
the
animals
figures may
work
interiors.
or
lack of
Nature
not
may
so
the
pubhshed
in caricature,
architectural
a
of
is
in
in
need
no
show
sorry
in
in
drawing
landscape
to
bewail
equally
find he is not
objects.
proposed,of studyingdirect
here
aid of
amiss.
come
beginner
conditions
plan
with
make
There
on.
the
all sorts and
followingthe
from
the
And
draughtsmen
figure. A master
be completely lost
capacityshould
skilful with
In
human
just here
is,perhaps, first
artist who
may
graphic
photo-
artists cannot
in
still others
animals
representing
and
An
designs.
of
always keep a stock
best paintings.And
the
remind
9
BEGIN.
comparison, another warning
delicacy and finish of most of
The
drawings
altogether due to the artistillustrator.
If you
take up a magazine and
glance at any
of the illustrations,
remember
that you
not
are
looking
at the original drawing exactly as
handed
when
it was
to the
This
differs from
the
engraved copy
engraver.
size.
original drawing in this respect : it is not the same
The
practice is
about
one-third
Thus
size.
is not
reduce
to
the
of its size,and
fine
the
originalby photography
it at the reduced
then engrave
delicate
Hues
to
which
the
beginner
in the
despairsof ever
producingare three times as coarse
originalas they are in the engraving. Although drawings
and
are
reproduced now
size,
again to exactly the same
*'
to
scale,"
Mechanism
and
not
fineness
The
the
as
was
termed, the
rule
unfrequentlycontributes
to the
old school
drawing
it is
is to
reduce
considerable
them.
finish
artist's work.
of
pen-and-ink artists
engraved right away.
drew
This
on
wood, and
is how
Sir
10
PIOTUBES.
PEN
Tenniel's
John
But
the
in
cartoons
French
and
Punch
are
day.
treated to this
by extensivelyadopting
Americans,
method, which,
process,"discovered the value of the new
though its results be no better than wood-engraving,proves
commercially less expensive.In Harpers, Scribners, and the
*'
Century magazines beautiful examples of this automatic
The
FlegiendeBlatter of Munich,
engraving may be seen.
Le
Courier
class
manner.
in
White, The Ladies* Pictorial,
Life, Puck of Philadelphia, The
contain firstMagazine, and many other publications
process"
engraved in the best
pen-and-ink art
For study both in engraved results and excellence
Pick-Me-Up,
Strand
and
Frangaisy Black
York
New
*'
drawing,
no
better
work
could
engage
the
attention
of
ii^^;^-k^^
beginner than that of the followingdraughtsmen : In
England, Charles Keene, Fred Walker, T. Wyllie, Barnard,
Sandys, Phil May, Du Maurier, Joseph Pennell, L. Eavenothers ; in Spain, Fortuny,
Hill, Edgar Wilson, and some
and
Pons ; in Germany, Menzel,
Eico, Vierge, Madrazo
Dietz, Schlittgen,and
Oberlander; in France, Lalaure,
the
Caran
Does
"
D'Ache, Breville,De Neuville,Lunelle, Gerbault, and
; in
America, Edwin
Abbey,
the best of all illustrators,
Eeinhardt, Gibson, and, for outrageous comicaUty,
From
the
point of
view
of
quality,the
Continental
**
Zim."
draughts-
HOW
men
school
an
But
easily
are
of Pen
echo
Drawers
of the
all
imitators.
of
first.
TO
As
in
achievements
the
artists
11
BEGIN.
of
matter
a
England
and
of their
named
have
fact, the
America
modem
is
largely
foreign fellow-artists.
their copyists and
It
is not
the
drawing.
of
One
been
fully
that
track,
schools
learned.
All
be
lines.
piece
that
form
before
set
introduce
shading
numerous
publications
understandable
what
is
in
published
E.A.,
Poynter,
is
Each
variation,
that
so
Academy
prescribed
not
This,
result
if
in
true,
the
so
on
has
all
"
no
lack
of
Schools,
and
the
course
and
Art
Science
severe
in
stifling originality
"
is the
bringing
best
out
"
incentive
of
much
to
face, perspective,
in
of
the
every
most
our
of
instruction
at
Department
the
the
of
training
the
"
guidance.
many
are,
Mr.
subject
drawn
are
by
Department,
feet, head,
that
besides
Kensington,
and
an
Book,"
different
a
allege
the
by
up
hands,
'*aids"
these
artists
competent
the
Art
are
Thus,
selected
and
to
in
branches.
and
to
There
afford,
to
is
How
Drawing
Sons,
takes
student
the
as
thing
step.
these
Science
the
section
landscape,
Excellent
Eoyal
of
model-drawing,
shading,
and
object
great
hand.
flat
a
or
of
Kensington
Blackie
on
copy
next
on
South
Director
excellent.
freehand,
*'
by
series
the
information
the
The
the
curved
and
**
any
may
in
"
specially designed
way,
called
is
follow
to
itself
represent
expertness
shadow
or
of
student.
and
eye
to
has
art
rules
ordinary
straight
attempt
shape
the
of
correctness
secure
of
the
prefer
not
resolves
drawing
an
and
acquiring
the
practice
is
of
do
of
elements
teach
where
in
vigorous
the
be
may
hand
at
the
to
who
those
training
a
book
methods
for
drawing
paper
this
best
are
into
Outline
of
the
forth, but
set
early stages
of
purpose
does
student,
first-class
beginner
talent.
who
is
14
PEN
indeed,
to
sketches
not
is not
in
case
every
often the
them
their
;
which
it is carried
where
of the
attracts
are
pen-and-ink
seem.
theless,
Trickery, neverIt destroysindividuaUty
far ; in
too
draughtsman.
A
attention
sort
or
communicated
other
some
to
feature
it, such
another.
These
mainly with
others, it is
careful examination
soon
paintersand artists,
techniquewould not establish any
frequentlyit is
"
fine
many
of many
specialismof one
house
to be commended.
making
of the work
that
beginners that
exactlywhat they
warn
are
PICTURES.
the fact
reputationfor
the work
possesses
wit, vulgarity,or
as
*'
reveals
secrets
the view
of the
prison
of preserving
of the beginner.
the courage
Later, under suitable headings,specialdetails will be
on
the
important subjectshere
dealt with.
given
Ipainting,
ftcbing,
ipen^Brawing,
ant)
Ipbotoflrapbi?.
has
It
lines, what
lines
a
the
of any
picture
of
rid
of
acts
present
of
the
pencil
when
he
puts
which
scene
a
subject by
and-ink
drawing,
appears
in
or
to
is necessary
scarlet
such
medium
white.
at
it in
drawbacks
Thus,
and
not
in
sky
a
an
is
having
this
limits.
a
in
best
or
masses
could
not
spaces
show
us
blue
of
the
adroit
use
of
black
of blue
colours
of
The
the
sky
"
and
painter
; the
colours,
pen-and-ink
the
pen-and-ink
the
blue.
be
with
can
A
penwork
would
it
you
a
variations
the
cases
to
form
the
photograph,
palette
respect,
Nature,
render
"
gets
pencil-
the
possibly
gradation
The
service.
or
rough
in
such
your
by
artist
colour
the
cheek
the
is, Hke
to
object
do
the
But
photograph,
a
the
9
artist,
it.
or
suggested
be
Ex.
at
child's
a
represent
and-white
its
on
only
In
would
hint
etching
an
blush
can
to
make
hues.
one
natural
a
a
In
(Ex. 9).
black-and-white
drawing,
or
only
or
represent
It
colour.
and
etching,
an
monochrome,
impossible
lines, and
no
be
Zme5,may
colours.
then
object
cf colour
masses
black-and-white
of
of
has
or
his
Now,
painting, although
crayon,
or
on
The
guide.
a
of
a
in"
block
'*
to
no
by
world.
natural
in
has
bounded
form
a
the
instance,
in
as
in
sees
sketch
them
sketch
first
make
to
Nature
as
being composed
For
at
prehminary
he
besides
masses.
used
are
is
which
sketch,
or
that
explained
does
artist
object
composed
lines
been
already
can
drawing
black-
only
has
16
PEN
Sometimes
etching
drawing
the
with
deUcacy
and
find it
Ex.
as
meant
ink
few
bold
strokes
process
Here
pen
chemically
engraving
there
tale, and
is this
In
by
an
this is
etching each line is
the goal of a pen-and-
however.
difference,
the effects
by short, rapid touches
pen-and-ink drawing the tendency is
merge
a
Compare
the
Pictures
in
is
-engraving,
in
too
a
series
with
above
this
In
an
obtained
the lines
book.
slow
a
Process.
There
in
is
men
draughts-
drawing.
are
of
obtain.
Reproduced
possible.
own
an
method
a
effect that
as
advantage of enablingthe etcher
The objecthe aims at is to
lines.
in his
as
a
a
of
the
Etching
5.
to tell its
needle;
to
of line and
art has
is
on
Example 5 is
Edgar Wilson.
Mr.
spoken
proper
needle
extremelydifficult to
to be free and
use
metal.
refinement
dehghtful
This
metal
sharp
a
etching by
an
Etching
pen.
preparedplateof
from
is
pen-and-ink drawing
a
with
PICTURES.
and
the
of
accuratelygraded
various
ing
etchof the
rather
tints.
examples of Pen
wood
Unluckily etching, Hke
too costlya method
to suit rapid
PEN
PAINTING,
and
economical
hand
printing. Each
etched plate, and on
off the
17
PHOTOGRAPHY.
AND
DRAWING,
is taken
impression
the
is
paper
by
usuallyleft
"plate form," or indentation.
The positionof photography in coimection
with
pen-andink drawing is an
difference of
important subject. Much
opinion exists in the artistic world as to whether
graphy
photoaid to art.
is or is not an
Many of our
portrait
ing
paintersare said to appreciateits usefulness by photographand
then painting on
their sitters upon the canvas,
the
a
-
substitutingthe
nevertheless.
artist who
The
his
of
use
cannot,
photograph
a
the other
on
Modem
An
more
in
of
and
here
whole.
As Mr.
generallyincludes
camera
But
the person
with
all these
course,
who
lot of
order
are
objectsin
the
be
to
a
correct
a
drawing
marvellous
artistic. The
the
and taste
camera
in
can
is
a
unlike
disadvantage,
easily able
to
select,to add
and
the
uses
are
see
selection,nor
is
extremely good. Of
focal lengthsgivedifferent results.
photographswhere the heights or
are
enormously reduced, while
foreground are enormously
remembered,
brains."
frequentlyprovided
quantitiesof extremelybad
camera
which
many
to
jarring,inconsequent accessories.
sentiment,
gifts. There
uncommon
distances
It must
a
different lenses and
It is not
is
to
"
certainlyvery
discriminating
eye
being not
neither
has
photographs
sketches
there, in order to produce an artistic
away
Charles Harper well remarks, a ** photograph
take
The
sketch-book,
own
itself is
expert with
draughtsman,
for
grasp and
exquisiteside of things.
produce work which is beyond doubt
recorder of dry facts,and it possesses
the
his
said
hand, be condemned.
photography
its results.
of the
place
makes
be
to
artistic instinct
and
subtler
appreciate the
much
is not
in the
camera
likelyto develop
more
The
There
colours.
necessary
however,
that
very small
increased
in size.
even
photographersby
18
PICTURES.
PEN
design
and
in
contrivances
fixingthe
represent buildings,local scenery,
in
large
proportion
commercial
matter;
the
to
like
This
reality.
observe
can
you
the
and
constantly
camera
monstrously
is
it in
purely
the
a
of
case
of the
photographs of their premises which businessattach to their cataloguesand wrapping-papers.
-men
A
pen-and-ink drawing equally with a photograph is
unable
to give a
true
representation to Nature
simply
because
be
the values
of the lights and
shades
cannot
preserved. So far as they can it is by an adroit use of tones
most
.
by
are
the
black-and-white
called
orthochromatic
"
The defect which
parts of
account
must
subject
a
lights must
on
artist, and
be combated
that
be allowed
not
of the
"
plates
should
by
the
by
the
in
of
what
photographer.
cases
is, that
representedas high
A photograph
dark.
be
to appear
redundancy of
both
use
detail which
it must
take
in
by the use of
platinotypes ^photographyat its best or composite photographs,
where
one
negative is superposed upon another,
much
The
reform
is being brought about
in this matter.
place of photography,accordingly,in the field of Black and
has
a
tendency
to blacken
the shadows.
"
White, is of great interest
But
"
the
Example 1 (see
is a process engravingfrom a photograph by Mr.
frontispiece)
Payne Jennings,of Ashstead, Surrey,reproduced by his kind
permission.
^.JhM|w
to
artist.
lined
Maebee.
an^
It
is
understood
now
pen-and-ink drawing
a
of
composed
lines, and
masses
made,
but
Ex.
the
wider.
bolder
must
or
more
in
of too
The
to
road
him
not
to
look
in
8
reduced
the
in
in
is
the
try
men,
for
Work
on.
to
engraving
draw
drawings
of
making
hints
as
Suppose
as
as
he
Exs.
and
possibly
to
10
and
draw
anything,
desires
it.
effect.
and
procedure,
sees
the
Indeed,
all.
attempts
he
apart
microscopic
will
streets,
to
the
wider
the
of time
waste
horses,
it
at
three
reduction
the
and
were
spaces
reduction
gfeat
a
or
fine
very
generally
beginner
lines
greater
lines
black
the
original
to
insisted
such
the
subject
of trees,
should
the
that
the
finished
at
Ex.
Thus
white
the
follows
lines
to
strongly
; he
lines
appear
many
sketches
refer
too
It
value
rough
the
drawing
and
vanish,
use
be
a
and
Accordingly,
open.
lines
as
6.
thicker,
times
size
drawing
same
original
times
For
engraved
is
same
one-third.
three
they
as
original drawing.
the
is
nally
origi-
were
7
the
exactly
are
reduced.
when
instance,
as
publications
they
appear
well
drawings
the
as
not
seen,
be
may
as
that
illustrated
in
Ex.
that
cannot
to
If he
draw
be
a
fails, let
12, which
B
and
2
will
20
to him
suggest
course,
that
size from
what
the
the
tones, and
to eat
must
your
learn
penciland
to do
has
no
pen.
about
be
more
Each
draw
taught
how
Ex.
7.
person
an
values,
perspective,
and
in detail.
to draw
is his
straight and
Great
in
reduced
difficult features of Black
will later be dealt with
food.
to
more
^alwaysremembering, of
of this sort will furnish
of information
other of the
"
refers to has been
he
original. Practice
White, which
can
he
drawing
amount
astonishing
You
PICTURES.
PEN
own
curved
proficiencyshould
lines
than
here.
master
lines
both
how
He
with
be
acquired in
pen-and-ink work are
making curved lines,because lines in
less in curves
^not the curves
of a circle
or
always more
such
those
in ellipses^
as
exactly, but irregularcurves,
hyperbolas,and cycloids. Long and short lines are used
according as they suit the artist's purpose, and different
artists have different stylesof making their lines
smooth,
rough, Hght, heavy, scraggy, nervous, and steady. Whea
"
"
22
nowadays
relied
to
on
them
a
be
outlined
varietyof
effect.
Besides
a
and
in
explained.
painter,or
in other
paper,
covered
paper
there
tones
are
is
tones
many
ink
with
were
the
A
pencil-sketchmay be
the paper
spread over
gives
all hard
and
or
more
aid
of
in
made
are
of
of the
a
white
of
white
the
These
colour.
less
intensity. By
obtained.
Painting
called
or
finger,or
your
Washes
Wash
or
respects photographs.
some
for
masses,
Between
brush,
a
by
method
the
the
shades
or
strengthsare
resemble
often
draw
ink and
anything suitable,produceswhat
drawings, which
line
the
adopting
of
blacks
the ink different
with
in
words, painting in ink.
all grey
watering
mechanical, cold, and
be
nearly so good.
vsdth the blackest
are
recollected,
be
line,it must
outline,the artist may
This
pencil-sketch
this
19, if the lines
be
be
should
distances
then
finish of
not
applicationof
first sketch
point. The
hard
pencil (Ex. 13). This
Shadows
In Ex.
drawing
before
thus
next
with
and
the effect would
neat
the
but may
necessarilyartistic,
A Uttle roughness or
break
stiff.
frequently
more
lines,the
to make
possible,and
as
Neatness
over.
is not
as
well
as
is
purpose.
how
guide.
a
charcoal
or
same
drawing is
made
Hghtly
merely
inked
the
serve
considered
in
should
of ink
patch
a
Having
is
PICTURES.
PEN
guidance,and
the ink
then
^portionsof it in one
place being
stump of blotting paper, other portions
different strengths of blackness
and
to
"
taken
out
with
being
worked
greyness.
a
up
Chinese
white
greatest whiteness
to
cover
blend
a
other
presents
black.
can
a
In
space
is
with
and
required.
a
uniform
chalk
The
are
used
where
beginner should
tint of ink
or
the
be able
crayon
; then
^tints until the paper
deeper that is,blacker
gradation of tones from faintest grey to deepest
"
this way
be massed
"
a
rich effect is
together instead
of
produced,
and
followingout
the colour
the
shading
LINES
in detail.
the
Ex.
photograph
blending of
is
9 is
line
a
briUiant
effects
Ex.
black
drawing
In
both
the materials.
alone
be
;
Wash
in
and
briUiant.
white
and
difference to the
same
'*
is
more
simple;
drawings
obtained
by
Drawing
and
a
the
sketch.
knowledge
by
to
This
mixture
who
how
7
are
to
of
use
Process.
water
engraver,
Ex.
all sorts
oil and
"
process
the
differences
absolutelynecessary
even
that
seen
washes
Engraved
with
compared
be
It is not
the
If it is
drawing.
ink, pencil,
chalk, or
used
23
WASHES.
it will
frontispiece,
pure
line
be
can
A
9.
wash
the
on
the
obvious.
a
AND
work
colours
makes
in ink
may
no
photographsit as
it stands.
Charcoal
and
chalk
quicker to
work
with.
pencilin being softer and
working with charcoal,chalk,
differ from
When
24
PEN
few
ink, a
or
These
strokes
wherever
strokes
can
it is
PICTUBBS.
be rubbed
stump of bread,
useful
because
would
be rubbed
a
it is sensitive.
form, say, a sky or background.
furniture,etc., should then be drawn
depth of
with
tone
the
utmost
to the
sky
or
of the
paper.
paper
chamois, blotting
the
of the paper
is
finger-tip
or
also
ink
dark
sufficiently
Trees, houses, figures,
to
form, but
of
the
charcoal, chalk,
The
the whole
over
piece
rubber, and
or
on
surface
the
over
required with
paper,
dashed
broadly
are
in
roughly as regards
care
as
regards their relative
background. By the aid of the
be
finger,or paper stump, the surface of the drawing may
texture.
Sharpness in the Hghts or
brought to a smooth
white parts even
the most deUcate
may easilybe obtained
of black by the aid of the fingeror
by pickingoff the excess
French
and
to be
are
EngUsh mixtures
sttunp. There
the paper, if
charcoal or pencilon
obtained, used for fixing
"
such
In
called
more
care
medium
"
be deemed
may
working
out
*'
drawing, otherwise
shapelessmasses
finickingdetail.
of colour
monochrome,
water
important
must
a
necessary.
wash or ** half tdne
be
than
The
taken.
is worked
brush
when
With
dipped
ink
are
much
into
this
without
and, if possible
are
put in,and the
get dry,the shadows
over
the paper,
waitingfor the ink to
Hghfcs wiped out with a clean and nearly dry brush or the
sets,
finger.Ink is rapidlyabsorbed by cardboard and soon
which
be discovered by its turninga dim colour. If it can
can
be managed, it is best to finish a wash drawing whilst the ink
is wet ; after-touches
are
apt to destroy the fine grain which
it acquiresin drying.
A
or
an
in
a
DRAUGHTSMAN
like
it may
that
this
Later
to
does
knowledge
mathematical
study
to
something
the
grasp
ment
bewilder-
his
artist
exercises
any
fact
the
him
to
artists, and
form
even
technical
of
is
"
rough
a
suspect
even
unfold
whose
objects
pavement
not
pen-and-ink
in its involved
In
crayons
few
a
Academicians,
wrangler
will
experience
not
are
need
his
he
told
then
poor
chair,
a
these
will
the
with
"
is
science.
that
perspective, although
there
Eoyal
him
by courtesy
of its laws.
or
man,
a
he
that
senior
a
of
to
occur
artist
of
of
find
intricacies
geometrical
kind
will
he
He
picture.
or
faculties
the
called
whole
but
perspective,
draw
to
yet be incapable of arranging
and
consistent
able
be
may
animal,
"ypIa(nc^.
Simply
pcrepcctivc"
spective
perbut
anything
profound.
people
Most
which
apparatus
furnished
with
Inside, where
outside
scene
correct
light
may
towards
the
the
reflection
will
on
screen,
top
a
round,
flat
or
photography
of
picture
part of the
the
"
The
and
the
surface
the
screen.
of
extending
possible,
a
away
and
or
scene
is
with
the
it
in
is
out
with-
base
away
this
or
verge
principle
object
from
whatever
the
further
It
of
is
screen
a
objects
or
towards
parts
admitted.
obtained
thus
scenery
found
be
image
correct
a
focus,
or
an
box
or
is
Ught
point
a
falls
be.
chamber
which
to
comes
screen
is nearest
of
bottom
makes
through
perspective
which
flat, but
lens,
darkened
a
is
It
ohscwra.
Camera
a
of
this
on
seen
consists
a
the
and
placed,
the
have
which
is not
observer,
perspective
of
that
deals.
26
PEN
A
drawing is usually
which
are
known
distance, and
between
at
divided
the
middle
the foreground and
in
street,the distance
or
distance
from
the
parts
or
planes,
across
your
is the
portion
If you are
field or
a
ing
look-
eyes,
so
up
a
many
10.
yards. But if you have to draw this
it
will have
to draw
on
a flat piepe of paper,
you
bottom
of the paper upwards, either to the top or
himdreds
the sides.
Ex.
represented by
paper.
as
straight before
Ex.
yards
distance
the distance.
Nature, such
is
three
(or background), middle
foreground is the part
The
foreground.
anything
into
distance
as
to the eye, and
nearest
PICTURES.
The
of
12 shows
Hues
whole
drawn
space
a
road
;
the
most
distant
upwards from the base
behind
or
a figure
object,or
part is
of the
groups
PERSPECTIVE
of
objects,is
figures or
is
space
(Exs. 5, 13,
the
objectsin
the
attention.
with
background.
In
the
is left open
20); this has the advantage of making
foreground prominent without distracting
Sometimes
the
grounds
back-
some
representedby tint,by lines,or
and
15
the
27
EXPLAINED.
SIMPLY
"
a
black
In
object.
same
is made
mass
silhouette
a
ground
back-
a
have
you
figure on a white space or background. You may
also have figuresor objects on
black background. (Ex.
a
and
11, 16
19.) According as you vary the size and
importance of these three planes, you can get an endless
variety in a composition.
Supposing a beginner makes a rough sketch with chalk
of the objects without
on
on
a window-pane
as
they appear
the glass,he will be drawing in perspective. This is one
useful way
o! learninghow
to fit your subjectto the shape
and size of your paper.
Or if you take a sheet of glassand
a
black
take a
an
place it upright between
object. Then
you and
and make
in it, so that you
a hole
can
piece of cardboard
it as a sort of singleeyeglass. Look
board
use
through this card-
arrangement, and
you
will be enabled
to draw
on
the
glass in chedk, Chinese white, or Indian ink any objects in
front of it. (This glassexactly answers
is called in
to what
the eye
is
perspectivethe plane of the picture. The nearer
placed to the glass the largerthe range of subject,and vice
The
versa.
feet.
two
with
the
they
frame
of the
lens
rough
a
to
point of
sketch
settles for
them
the
in
lightframe.
wish
select the best
the
nearer
of the eye from
length,the larger is
subjectthey
a
be
never
length
artists carry
they make
the
should
distance
the focal
Some
at
The
focal
the
shorter
eye
of the
the
With
range
look
this
or
of
the
subject.
through
it about
positionof the
limits
; and
camera
They
move
about
glass corresponds
the
draw, and
view.
a
glassthan
for
it
until
guide
objects,and
borders
a
of their
28
PEN
Others
picture.
back
your
on
for
obtain
object in
instance
reflection
a
and
"
turn
the head
made
on
pocket-mirror. By turning
front of you
looking in
of the
correctinga drawing
is to
small
a
carry
the
PICTURES.
a
"
the
This
scene.
or
room
mirror, you
is
good
a
independently.Another
till it becomes
side
one
scape,
land-
a
can
of
way
method
horizontal.
effect that you get in stoopingand
nearly the same
centrates
looking at an objectthrough your legs.It confines and conthe objects,and
them
in their true
can
see
you
proportionsto the foreground,because the distance shrinks.
This has
Or
you
so
eyes,
half
may
that
the
through
which
is somewhat
the
looking
them
at
of
end
wrong
will
foregroimd
strongly,and
or
There
are
11.
shade
other
ways
approximatelycorrect
of the
of
by
assistingthe
result.
You
face, holding the part from
and
horizontally,
the
subjecthad
the
sketch.
will
can
the
analogous
through
a
pair of
in the front
will
the
light and
itself undisturbed
mass
details.
other
arm
put the
elbow
may
of
attainment
to
be
an
in front
arm
the
until you see
it up and
down
and
better be cut off for the bottom
the
out
come
move
Then
the
portant
shrink, the im-
features
Ex.
lashes,
Again
opera-glasses.
distance
the
objectsare
the
seen
to
close
moved
wrist
where
top of
along
to see
where
the sides had better be determined.
vertically
lucida,which is really
Many artists habituallyuse a Camera
This
obscura.
instrument
an
applicationof the Camera
enables
them
to copy
and
trace.
In many
matters, such
as
ZCecbnicaL
perepcctive"
Pebsfective
enables
in
surface
plane
fixed
by
us
is
sense
which
It
which
science
to
represent
the
to
appears
form.
and
the
rules
mathematical
anything
of distance
variety
technical
its
has
really
earth
to be
on
a
in every
sight
counterpart
no
,
in
because
Nature,
lines
drawn
are
the
arrange
laws
The
etc., is
technical
flgute
rule
symmetrical,
they
designs
Such
rule.
the
by
might
you
"
to
South
is
it
consist
of
and
regular
geometrical
and
tectural
archi-
or
by perspective
undulating
can
draw
human
the
drawing
are
appearance
by
perspective
delineation
cannot
of
"Eules
concerns
will
find
Drawing
them
surfaces
be
and
determined
by
plan,
a
as
itself, and
in
excellent
Book,"
or
those
who
in
the
work
as
opportimity
from
such
a
Perspective."
is divided
perspective depends
chiefly
like
special study
a
Kensington
Scientifically it
.and
that
in
than
draughtsman
forms
admit,
You
pursue
Kunciman's
artistic
their
of
tion
Observa-
eye.
buildings, streets, horizons,
Thus,
figures,
outline
the
on
merely
extent
building.
a
Perspective
desire
and
alone.
eye
with.
not
objects
whose
contours,
do
back
subjects
though
on.
great
the
many
deal
cannot
animals,
or
for
determined
to
of
instructor
these
object
a
Imaginary
flat.
(Ex. 12), and
of every
fall
appearances
are
surface
are
artists
There
other.
any
position
most
actual
the
flat
perspective
better
a
and
shape
and
of the
the
along
of
arbitrary,
it supposes
upon
the
into
and
Linear
mechanical
and
black-and-white
Aerial.
Linear
optical principles,
artist.
It
con-
"
PERSPECTIVE
siders
effect
the
the observer
the
groupingof objects,or
represented on
the
produced by
from
the
words
other
flat surface
a
positionand
object upon
in
31
TECHNICAL.
"
distance
apparent form
how
like paper
they
a
"
and
to be
are
process
of
which
it possible for one
explained. It makes
the other hand, is the
to see by lines. Aerial perspective,
on
art of seeingthrough the air ; it is of especialimportance to
the painterwho
has to deal with effects of the atmosphere.
An extension
of linear perspective
into isometrical lays down
has
aheady
been
"^"^I^^bi^
Ex.
which
rules
by
scene
from
you
lines.
representationof
out, thus
first of all decide
wish
to
the whole
The
take
first is the
into
the
ordinaryposition of
one-third
the
the
Line
bottom
is the Horizontal
the
your
scope
combining the
or
rules of tive,
perspecof
the number
or
work, and
viewed.
Base
second
the
on
is to be
the
about
a
a
popularly speaking,is
drawn
carried
be
may
a
or
ground plan and elevation.
proceed to draw accordingto the
objectsyou
at which
views
bird*s-eye
above
advantages of
If you
12.
You
then
the distance
draw
three
ground line,which,
level of your drawing;
or
Eye Line,
horizon.
height of
This
the
and
represents
line is
usually
picturewhen
the
32
PEN
sketch
is
But, of
the
placed at
a
you
in
too
near
little above
the base
of
K
drawn,
placed high
if too high or
will
be
be
scene
out of
too
sightputs
; if placed
mountainous, the
great. The
too
of
nature
it leaves
up
view
bird's-eye
a
line,unless the
sky
the level of the horizon.
fall,accordingto the
or
proportionof sky, and
the position of making
proportion
is
a
it may rise
be drawn.
course,
subjectto
small
or
PICTUBES.
Vertical
Line
mechanical
to the
guide, perpendicularly
Base and Horizontal
Lines (Ex. 12).
This
Vertical
Line
through a point called the
passes
"Point
of Sight." This point is fixed at the pleasure of
the artist ; it is the point towards
which
the eye of the
observer is directed,and to this point all objects
shed
a/re diminiin proportion as
they approach. Its best position
is removed
lines
as
from
and
Point.
end
from
towards
centre
the
Base
there, and
What
points on the
Sight. Their
row
the
to
perpendicular
Sight
a
a
are
called
Horizontal
each
the
Line,
points
on
each
the
All
in this Point
meet
it becomes
define
is to
use
Line
thus
of the sides.
one
the
Vanishing
of distance
are
two
side of the Point
distance
of
of
of
objects in
other.
for guidance.
simple rules are generally laid down
lines are no longerparLi the firstplace,all parallel
straight
allel
when
drawn
flat surface ; they become
on
a
slanting
and
end in the Vanishing Point (Ex. 12).
lines,and meet
Hence
the objectsare kept in proper positionand proportion,
and
it becomes
possibleby rule to represent uphill and
downhill
subjects. The other rule is,that any objectdrawn
Two
below
horizontal
up
at
line appears
it from
point of sightis
seen
appears
to
above.
by
to
the onlooker
below, and
it from
lookingat
were
line
the horizontal
the
the
any
onlooker
as
Any object to
onlooker
from
as
objectabove
if he
the
the
were
if he
the
ing
look-
rightof the
left,and
any
PERSPECTIVE
33
TECHNICAL
"
.
object to the left of the pomt of sight is seen
Hence
straightlines above the horizontal
it,those below
to
to the left direct
right direct
There
themselves
dozens
but
they
to
the
the
line lower
to
selves
them-
it,while
right,and
those
right.
those
to the
to the left.
themselves
are
themselves
raise
from
of intricate
only
the
rules
for
drawing by
spective,
per-
mathematical
expression,
of his eyes, practice,
doubtless very correct, of the artist's use
and experience. If you are drawing a picture you naturally
imagine a horizontal line and a point of sight. All this has
are
in
these
Having fixed upon
blocking in or roughly sketching your subject, you begin
mentally to draw slantinglines from the point of sight to the
be before you.
whatever
or
rocks, trees, houses, figures,
may
already
We
learn
into
them
mere
as
pointed
thus
to
below
look
the
Hence
it.
above
size
been
we
out.
down
horizontal
discover
objects
upon
line,and
that
.
a
^^!^fv*wv.
flat surface.
V"C
up
see
to them
all
objectsgrow
sight,until they
they approach the point of
This is the
specks and vanish.
perspectiveon
and
whole
art
of
over
or
when
less in
become
parallel
flDateriale
The
of
piece
paper,
There
ink, pens,
pencil,
for
draw
softer
are
Others
and
are
them.
Many
tiny points
enough
work
to
the
and
paper,
In
writing-paper
be
may
to
There
taste.
manufactured
case
lines
must,
of
to
or
grey,
are
many
for
the
drawings
in
be
naturally,
not
is
be
fact, any
glass
or
consider
a
of
cedar.
sixpenny
because
they
sketches.
that
pencil
pen
penny
half-
a
preliminary
you
lines
it
is
the
suits
use
may
kinds
of
or
used, because
lines,
into
the
result.
smooth
ordinary
The
drawing-papers
paper
specially
In
draughtsmen.
where
unbroken,
to
granulated, according
or
of
article
clear-cut
water-marks.
or
cut
skilled
scratch
not
with
so
are
difficult
softer
a
hairs
who
a
does
smooth
outline,
with
Those
nib,
assistance
and
continuous
stylus,
getting clean,
produces
any
dull
in
the
paper
without
white
matter
others, etching pens
;
but
succeed
of
the
of
crayon,
sort
point.
"
hair, unlike
matter
or
ordinary brush,
consequently
the
ink
ordinary fine-pointed writing-pen,
an
brush
a
in
matter
a
for
with
any
sharp
a
usually
"
chalk,
out
an
such
use
with
because
others,
and
pen
artists
others, J nibs
;
form
to
as
away
;
As
better, than
work
to
only
others, crowquills
and
preferences
some
or
wear
use
pencil,
knife,
a
stick, stump,
often
and
charcoal,
to
bread,
and
quicker
sorry
stale
used.
be
pointed
good,
with
possesses
individual
purpose,
as
who
work.
etc., to
the
pencil
Some
his
brush,
pen,
do
will
or
of course,
are,
the
rubber
for
fully equipped
of
artist
pen-and-ink
Drawina*
pen^anb^3nFi
for
you
desire
rough-suspfaced
every
break
the
all the
paper
in the
line
35
DRAWING.
PEN-AND-INK
FOB
MATERIALS
reproduced in the process engraving. There
always a tendency for the pen to catch in the fibres of
This must
thus causing clumsy lines and blots.
paper,
would
is
be
avoided.
Bristol
the
-be
Whatman
and
^
board
in
the most
are
for
use
There
popular papers
ordinary purposes.
numerous
are
;
,
|
varieties of
drawing-papers speciallyadapted
What
pen-and-ink work.
called grained papers, or Gillot
are
are
already provided in
papers,
for
with
their texture
their
over
^^^
sprinkled
dots
surfaces
^
lines
or
at
regular intervals
may
Barbe
These
(Ex. 13). They
from
be obtained
Lechertier,
" Co.,Kegent Street,London.
the draughtsman much
save
labour
mechanical
of
Some
chalk
them
and
and
time.
surfaces
have
called
of
clayboards."
designed to
They are
be
scratched
through as well
drawn
on.
as
They have a tinted
are
"
'*
look
'*
which
white,
but
benefit
of
instead
is neither
a
colour.
grey
them
black
is
that
nor
Ex.
13.
The
for
they supply ready
of
to
work
be
put
in
your
of
supplying
which
tint upon
it for
lights,
the white
be procured by
or
parts of a drawing, can
scratching with a sharp point through the top layer of
dark
white
the chalk
when
a
layer is exposed. The
use,
subjecting you
yourself, a middle
the
portions of the sketch can then
of chalk, or
ink, or pencil, or
wash.
with
the
boards
These
c
aid
2
36
PEN
also
are
called
PICTUBES.
scratch-out"
**
of
account
on
papers,
in this way,
and
lights being picked out
by the
method
of scratching hard
lines can
be softened
same
by
being run or scraped through. Drawings on these boards
resemble
somewhat
wood-engravings. Lamp ivory-black,
thick Indian ink, or other pigmental ink should be used with
them, because liquidinks have a tendency to soak through the
clay. Working on them is something like engraving on wood.
There
other papers which
have printed on their surfaces
are
mechanically ruled lines of various thicknesses and distances
apart, forming a grey tint,the objectbeing to providevarious
the
and
also
whites
The
tones.
blacks
the
be scratched
may
put in
in
as
carved
or
Example
out
of these
All
13.
these
of paper are
somewhat
difficult to work
on.
either Indian ink,lamp-black,
inks used are generally
specialclasses
The
Stephens'sebony-stain,Higgins's ink
A
piece of
using Bristol
rubber
made
owing
it can,
burnished
with
it
to make
ink-eraser
or
boards
When
erased.
thick papers
to the thickness
ivory paper-knife or
suitable
of
all artists resort.
white
or
pigment
not
You
can
white
the
a
commonly
with
used
smudges
placeshould
the
burnisher
There
over.
blots
easily be
and
be
in order
two
are
smudges
to
is
you
is the
Neither
the
pencilerasures
use
putting
caii draw
operation.
engraving of
for
paper,
by the aid of paste (not
or
error
disfigurementwith a bit of
repeat the smudged portion of the
One
Another
paper.
oxide
of zinc.
By
easy
very
interferes with the
is
be worked
this
on
over
the
up
to
deahng
which
drawing
made
an
ways
fresh paper.
of any
of the
erasure
more
cover
has been
In
necessary.
sort, if a blot is
course,
an
usual
to
is,of
or
other
gum)
Chine.
de
Encre
will do.
of these
Any
and
it, but
these
drawing.
instead
Chinese
layer
a
over
of
of
of the
it is
devices
Stale bread
of rubber.
When
size
of
rough
is
strokes
the
by
as
the
be
the
to;
its
of
of
degree
The
looked
after.
consists
be
may
tint
the
be
in
must
arranged
so
relatively
in
details
no
put
sketch
proportion
or
the
or
managed.
there
must
masses
of
half-tones
mechanical
a
tones
due
relief
first
or
next
shading,
background
modelling
projecting
other
is
a
the
the
the
be
ways,
The
attended
how
would
may
give everything
to
to
there
or
after
shade
the
different
engraver.
be
next
to
drawn
13),
The
conventional
mere
going
background,
due
background
14.
A
of
values.
and
greys
look
to
and
scope
have
(Ex.
and
tones,
objects
Ex.
is
the
and
outline
do
to
settled
drawing,
your
pencil
thing
and
have
you
the
same
drawing.
The
distance
and
and
object
is,
the
plan
is to
object,
his
drawing
prevailing
with
chief
the
colour
It
the
his
the
are
of
a
picture,
drawing
must
be
the
must
be
(Exs.
The
distance.
suggestive.
tones
Thus,
feeble
more
cannot
a
chief
such
less
and
28).
trouble.
as
be
compromise.
dulness
all
chooses
all
and
in
Unless
away
made
artist
a
tinctness
dis-
their
further
22
light
great
both
affect
objects
parts
shadow,
and
pen-and-ink
shadow.
parts
begin
subordinate
A
illuminated
its
of
form.
apparent
shaded
and
position
brilliant
A
good
his
chief
the
is
rest
outline
mere
is
Tone
or
any
the
brightness.
bright light
Accordingly,
or
dark
there
is
spread
a
"
over
SHADOW,
the whole
surface
half-tones,
represented in
deepest
to
is
which
greyness
These
TONE,
The
**
shades
values"
of
managed
are
all and
pictureto
gradations of
these
be
may
faintest
grey
quahties of
tones
which
the
in
of
; and
one
shade
the
quality
is the artist's manner
of deaHng with
shades.
In a good pen
drawing
every
pen-and-inksketch
white,
manner
depth
shade
other
white.
and
26.
the relative
"
and
from
is the
sketch
a
half-tones
black
the different
Compare
1, 9, 11, 13, 15, 24, and
in Exs.
black
shades
of
called
are
between
something
gradations
black.
what
blendings of
or
39
TINT.
in
a
of
a
the
the
perceivesgentle grey shadows, and black and
white
is used very
charily. One speck of pure white is ^^^^^
prominent part, ^^'^Hjl
generallyenough to fix the eye on the more
^
black
there should
be something to
and if there is much
educated
eye
the
carry
dashes
to
swimming,
Objects
shade.
a
eye
from
away
give vigour
as
are
When
deep shade.
direct lights,
and
front
only
relieve
sketches
the
When
right.
when
or
two
strong
composition, and
the
rest
shadows
and
All reflected
cavities
lightsare
are
cast, there
less brilliant than
it is not necessary
for the pen
artist to be
aim
is to get the general
about these.
The
soHcitous
tone
the
one
gentle gradationsof grey.
complicatedby lightand
necessarilymuch
the sunhght falls directly
on
objects,there is
a
too
to
white,
in
it were,
strong light; where
is
the
the
themselves
considerable
full of shadows
artist should
sun
is in your
easily from
skill has
that
those
been
effects
objectsin
face, the
behind.
obtained
with
the
It is
in
sim
doing
behind
be
in these
cases
attempted, because
such
everything depends upon
slight gradation of tone,
mixed
of
of
with
a
strong shadow
here
and
there.
When
lightfall on a body, the outline of the illuminated
this body is,naturally,projectedon
the nearest
rays
portion
surface.
40
PEN
in other
or,
remember
the
that the
casts
Much
blends
or
of
shadows, Exs.
be
devoted
which
books
called,such
is
as
in
difficult to
bodies
are,
14, 15 and
17.
of
the
the
study
they
objects as
appear
16.
shadow,
teach
of
shading
There
backgrounds.
their
It is not
the
Ex.
against
shadow.
a
lighted the
brilliantly
more
vigorous will be
practice should
more
values
words, it
PIOTUBES.
the
or
Poynter's
'*
are
exercise-
many
of
it
as
sciagraphy,
Kensington Drawing-
art
South
book."
The
student's
independent efforts,nevertheless,are
most
.
valuable.
the
details may
the
black
The
eyes
value of
not
and
should
one
irritate.
white
and
always
shade
It is
with
be
another, in order
always
compare
half-closed in
your
wise
to
values
go
with
paring
com-
that
back
to
them,
TONE,
and
how
SHADOW,
41
TINT.
gradations of tone.
You
should
keep putting in with the point,rubbing down
with the stump, and picking out with the bread.
The making
of what
called
are
impressions" small sketches done
quickly,without attempting any detail,but carefullynoting
notice
the
blending
are
you
"
"
values
the
natural
In
is the best way
"
colour
a
masses
and
forced
in
and
light in
the
have
and
Hght
elsewhere
possibly
spot where
Of
into
the
in
a
our
could
The
not
trick
the
not
Ex.
'
16.
is
its
French
ready way
when
"
extremely
Fle^piish artists adopt it
results
and
often
gettinginterest
of
be
are
fixed in
one
otherwise.
greatest
highestlight
darli^nd
come
but the
juxtapositionthe strongest effect is produced,,
artist produces it naturally"^fe avoids
making light
true
and
that
of course,
buildings
on
it would
course,
possible
concentrate
This
a
as
as
but
altogetherartificial,
picturesque.
extensivelyas
much
forcing
of
some
that
exist.
as
ample
ex-
shade
photograph, and
landscape artists
of
an
is known
what
be
and
blacks
the
unlike
artificial
Kembrandt
points
appreciation of
not
are
points
of this
should
point, provided,
one
You
true
a
tones.
shades
into
nature.
of
get
good composition not only
balance, but the lightshould
concentrated
lights
to
darkness
rage
makes
for tone
compete
"
for
in force with
strong
contrast
i^achother.
of black
and
It is the
white
"
that
drawing so popular amongst artists.
whether
In working out a sketch everythingdepends upon
the artist giveshis background the proper blending of tints
wash
42
PEN
and
shades.
PICTURES.
think
Amateurs
that
by making the foreground
dark, or, in line drawings,the lines thick, they can bring it
forward
when
is required. They
perhaps the very reverse
the form
of each
individual
study too much
object,and
it carefullywith
what
is around.
In a
forgetto compare
line drawing Hght effects should be produced by making the
,
lines
thinner
distance
and
regulatingthe
or
anything
else
with
their
the
paper
intensity
the
purpose
tone, pencil,crayon,
some
and
lines
artists
pen
on
the
of
the
it
press
and
taneously
simul-
used
be
can
ink ;
thumb
wash,
a
and
by regulatingthe tones
of shade
(Ex. 9). For
ink
in
apart (Ex. 6 ) ;
of
their
increasing
pores
thumb-mark
to
appearing, in order
gain a rich effect.
is legitimate.
Almost
device
any
It is a very difficult thing to delineate dreamy and vague
In the matter
effects.
of distance
is largely
the difficulty
by remembering that the difference between shadow
got over
and
light is less strong in distant objects than in near
A painter,by a method
called scumbles, or scumbling,
ones.
over
passes
further
distances
soften them
to
It is almost
back.
and
impossible in
make
them
black
and
look
white
through a scum, and hence
the reason
why very few artists successfully
attempt effects
mists
and
such
as
fogs. There is always the danger of
destroying clearness of tone and the markings of the
objects. Many pen artists are very skilful in concentrating
their blacks and whites ; they know
to put a
exactlywhere
blot of colour or where
to leave it out ; but this is altogether
to
a
represent
a
drawing
as
seen
personalquality.
A
mechanical
method
much
in
favour
with
the
French,
supply a sort of half-tone.
inked
is applied by an
a dotted
engraved
grey, which
It is useful,if judiciously
of gelatineby the engraver.
called
It is
sheet
43
TINT.
SHADOW,
TONE,
Tint, is widely used
to
spaces and
trouble
and
used, to fillup unpleasant white
to
of
are
a
wash
the artist who
in he
rehes
on
tint ; where
part of his
the
scores
pencilor paint,which
engraver.
dull grey
Time
(Ex. 9).
is
Tint
is
a
often
he wishes
the
originaldrawing
well-understood
apt, though,
to
an
saved
tint
put
blue
with
indication
produce
effect
give the
to
the
unpleasant
misty appearance, and its excessive use is to be
The
avoided.
stippledlooking portion of Ex. 16 is of
Another
of obtaining colour is
this character.
method
work.*'
A
what
is termed
tooth-brush
is dipped
Splatterin the ink, and after covering up the parts of the drawing
desired
which
not
to be splashed, it is drawn
are
across
comb, splatteringa sort of rough, irregularrain of ink
a
and
**
giving the surface of
if drawn
as
rough canvas,
and
the
over
paper
by
the
crayon.
appearance
of
Zbc
Ibuman
fiQWvc.
FOEESHORTENING
AnATOMY.
"
The
if the
from
human
artist
figure
has
the
by
learning
student
in
the
student
later
with
flesh
the
human
such
figure
is excellent
The
which
the
artist
is usual
which
in
initiates
himself
into
it is
extremely
there
in
man
useful
or
helps
the
the
classical
which
woman
or
of
are
fond
perfect
ideal
artist
to
the
of
In
human
to
distinguish
is
the
humaji
rarely
it is
but
though
form
and
expression
"
to
variety
perfect
of
knowledge
useful
be
to
arbitrary
Every
the
chiefly
Such
form.
and
The
figure
a
illustrators
variations
of
from
start
beings.
amateur
form
The
figure undergoes.
standard
aping.
by
knowledge
the
nature,
study.
a
and
method
"
novelettes
classical
as
from
Charcoal
usual
a
of the
of
casts
figure-drawing.
beginner
in
varieties
from
departure
the
sjmabolic compositions,
countless
are
found
flesh, and
practise.
to
acquire
perfection
be
to
the
for
attitudes.
practising
round."
which
changes
made
is
other
and
drawn
is
it
with
and
which
is to
course,
the
is not
except
of
is
practice
found
a
statues
represents
perfection
is
antique
perspective
numerous
the
with
difficulty,of
great
from
material
of
study
skeleton
easily obtainable,
drawing
'*
first
different
Plaster
apart
attempts
beginning
in
the
clothing.
are
as
skeleton
cover
may
good
especially
more
At
models.
A
the
and
is known
chalk
and
outHne.
draw
to
draw,
to
independent
some
copies
Then
It
made
not
conventional
by
difficult
is
form
tional
sensa-
of
because
appreciate
the
it
the
46
PEN
PICTURES.
better than
using every opportunityof drawing figuresboth
from everyday lifeand from memory.
In every case
the effort
should rather be to catch the character
the essential points
of the subject than to make
a pretty sketch.
Copying the
be
figuresof first-class artists is very useful ; but it must
"
"
within
limits,because
stunts
imaginationand self-dependence.
method
of drawing from
the livingmodel
is thus. The model is set in a lightwhere
the
The
studio
are
and
decided, because
the
much
of that sort
stronger the
formation
as
of the
the
expressionof
muscles.
A
of
the
model
thing utterly
in
working
a
mere
hght
out such
countenance
is
the
shadows
between
contrast
shade the easier is the student's task in
important details
tJie
too
and
object
The
display themselves.
lightand shadows
student lookingat a human
being soon notices a darkness or
the upper
down
the side of the nose, under
shadow
falling
hp, brows, chin, where the hair is curHng or parting,where
has
from
the light,etc.
He
is rounding away
the cheek
first to consider
the generalsweeping lines of the figure
his knowledge of the pose and
proportionsof the skeleton
A model
will aid him enormously in this.
in marble
is, of
perfectlyrigid,and copyingit only is of littlevalue
course,
to those who
desire to represent the Hving,moving figure.
first marks
In drawing from the Hving figurethe student
his paper the place and proportionof space his copy is to
on
The usual custom
is to hold up the pencil between
occupy.
and
the eye, shutting the other eye.
As you
the model
with one
dot off points on
the paper to
measure
eye, you
The model is placed usuallyabout
mark the measurements.
around
which
"
the effect of placingthe eye at
20 feet away, and, of course,
different heightsrelative to the figureis to produce different
results.
The
student
line down
begin by drawing a straightpermay
pendicular
the centre of his paper, and across
this
horizontal
lines
denote
to
47
PIGUBE.
HUMAN
THE
the
waist, knees,
If it is
etc.
draped figure he will roughly indicate the drapery. In
working out the details he will experience a tendency to
of the figure too
the head
make
large,the legs too short,
much
The feet are generally
and the feet too small.
larger
in proportionto the human
figurethan most peopleimagine.
a
of the
In the matter
parts of the body
to
the artist ; he
rules
clothing,
must
trust
to
of
his
minute
useless
of the
observation
own
him.
before
model
or
joints and
perspectiveare
of the
thicknesses
Although the older school of artists set much store by the
is taught to regard
student
classical figure,the modern
of people, their attitudes,
mainly the actual appearance
and
habits, age,
a
model
;
but
Some
the hke.
this
artists
is usually
facility
without
draw
can
result of
the
special
practice,or assiduous
copying of the figures
of master
draughtsmen, so that a habit is cultivated of
mechanicallyrepresentingany type of figurefrom experience.
artist keeps a stock
of studies or pictorial
Almost
every
notes
commonplace books of heads, hands, feet,attitudes,
animals, backgrounds, foregrounds, either rapidly sketched
from nature
or
appropriated from the compositionsof their
These
fellow craftsmen.
when
suitable for their
they use
the habit of catching a pose or expression
; but
purposes
falling,striking,throwing, running, struggling,grinning,
crying,etc. should be cultivated by every beginner.
Such practiceleads the student
less
or
by easy and more
talent, much
"
"
"
unconscious
difficult
steps to the
art
of
part of perspective. An
when
you
view
it
object
as
it is
oblique angle. Thus, if a figure be
if oppositeto the spectator,with
an
arm
him, that
arm
is said to
is
which
foreshortening,
is said
to
shortened
be fore-
represented
drawn
be foreshortened.
at
(Ex. 19)
an
as
directed towards
To
a
foreshorten
48
PICTURES.
PEN
is often
anything
a
more
guess
or
an
effort
of will than
at the right
right turn of the curve
The
chance.
is generallya mere
moment
degree in which
foreshorteningexists depends upon the angles at which the
be placed
Thus, a long cylinder may
objectsare viewed.
anything
else
the
"
Ex.
before
the eyes
shifted
that
so
that its whole
can
you
19.
see
more
length
or
is
concealed, or
less of its
length
so
and
surface.
foreshorteningthe human
figureit is
not
desirable that the artist should
only be familiar with
small way
the skeleton, but also in some
acquainted with
of the human
stand
the internal configuration
frame, and underFor
the purposes
the
form
and
of
uses
of the muscles.
Some
motions
of
body are so exceedinglyrapid and fugitivethat they can
hardly be studied at all from life,but must be represented
the
according
of
on
embodies
work
by
systematicallyplagiarised
draughtsmen.
professional
are
inspiration
of the
As
knowledge.
anatomical
fact,the few artists whose
of
matter
theory based
to
49
FIGURE.
HUMAN
THE
a
this sort
the best
even
for the artist to become
a
by no means
necessary
He wants
to have a generalidea of
speciaUst in anatomy.
be aided
of livingcreatures, so
that he may
the structure
in
according to
beings and animals
representing human
and
their
emotions.
Properly
positions, movements,
from
Nature
consistentlydraws
speaking, the artist who
with anatomy in its physiological
has no business whatever
artist's object in studying anatomy
is in
aspects. The
with
order
the utmost
to discover
completeness how far
It is
and
bones
the
instance, the
muscles
appearance
influence
the
of the blood
external
vessels
form
in
a
; for
person
intenselyangry.
The
artist's
consideration
of
attention
the
the
form
and
muscles
calls
the
expressions rage, grief, envy,
jealousy,etc. and how
they are to be portrayed.
scorn,
The
is not
countenance
the
whence
the
only source
be interpreted; the
expressions may
disposition of the
to
"
"
limbs
and
usual
to
*'
body
in
gesture must
be noted.
draperiesby means
with
lay figures"(wooden contrivances
are
mere
very
arrange
useful for
of what
free
study. Figure drawing,
is
portraiture^
Sir Charles
In
a
very
Bell, in his
noble
branch
studios
are
it is
called
which
joints),
as
distinct from
of art.
Anatomy of Expression," points
human
there is no inherent
out that
beauty in the normal
face,but that it consists entirelyin the capacityof expression
the
of
and
the features
harmony
consenting to that
of more
than
expression. Expression is even
consequence
shape. It will light up features otherwise
heavy ; it will
make
To
us
forget all but the quality of the mind."
**
**
60
PEN
PICTURES.
represent expressionproperly involves much
of
the
mouth,
detailed
study
Numerous
lips, etc.
useful text and copy-books are published,such as
Philip's
Anatomical
Model
frame
the human
(shewing pictorially
and its organs)and Dr. Marshall's
ProportionateAnatomy
nose,
eyes,
ears,
"
**
"
for
Artists," where
the
student
find
may
of the hmbs
Chinese, Arabs, sections
negroes,
poisedin
different attitudes.
the
study to
difference
drawing
in
the
of
discernment
from
This
is
heads
and
the
himself, who
discover the
To
of individuals
physiognomy
requires the
his practice
from
idea
experienceis apt to notice any deviations from
of a perfect
figure and proportion. Such matters
the
angles formed
and
acute
more
with
the
obtuse,
or
as
and
eyes
the
case
the
may
and
advancing or
receding, the high
These
immediately strike his observation.
the
individuahtyof
any
from
the
her
departure
people. The majority
and
a
variation
A
fact.
foremost
see
face
male
one
the
and
of these.
figure.
The
glance at a number
pen-and-ink artists
Their
novice
of
will
as
Httle
a
chin
forehead,
low
variations
show
to
any
or
other
is but
note
the
of
the
observer
to
will do well to
drawings by
his
female
one
figuredrawing
enable
his
the
be,
wedded
are
type recurring again and
same
mouth,
particularperson, and mark
of proportion of
standard
of artists
of
body,
capitalsupplemental
direct.
Nature
the artist
a
the
any
again,
no
matter
different the
subjectmay be.
Students
from galleries,
life schools,and exhibitions
away
can
photographiccopies of good figureand animal
procure
excellent
are
numerous
pubhcations in
subjects. There
with
South
the
connection
Kensington Schools, where
without
exercises from models
are
required to be executed
how
although
measurement,
DUrer,
that
no
artists
some
artist could
be
a
think, with
good
workman
Albert
without
THE
both
his
desire
to follow
out
would
do
measuring
for
Sir
well
C.
Bell's
Expression,"
Le
Brun's
**
**
J.
Passion
61
FIGURE.
Students
who
figuresand his animals.
of figure drawing
the higher branches
to consult
Artists," Mr.
HUMAN
Mr.
John
J. A.
Wheeler's
The
Anatomy
C.
Lavater's
Marshall's
**Book
and
**
Anatomy
Anatomy,"
*'
of
Philosophy
Physiognomy,"
of the Soul."
Ex,
20.
D
2
of
or
Cofitumc
anb
The
all
delineation
its
details
fashion
the
artist, who
draws
of
aheady
been
draw
it covered
his
whole
ink
get-up,"
**
artist
details
and
production
of Paris.
in this
the
body
The
pages
represent
the
that
has
he
every
artist
in
clothing
variety
of
object
which
has
him.
is
to
explain
do
down
is to
the
pen-andabout
costume
represent
laid
by
how
"
himself
give
an
say
to
and
not
of
"
The
bother
not
is
the
action
underneath.
follows
who
the
the
in
a
or
Exs.
plan
of
what
which
similar
of
disposing
invent
2, 10,
expedients
in
new
he
thing
their
will
artists
it is
One
present
re-
have
open
himself.
14, 16, 19, 24, and
technique.
to
discover
soon
and
for
methods
these
draughtsmen
Different
hnes,
in
attempts
competent
alternatives.
many
to
the
result
manner
same
methods
different
his
;
lines
by
comparing
with
does
then
detail
clothing
or
plan
draw
proper
he
strikes
were,
properly
respect
student
of
it
then
costumier
a
What
good
a
every
by
costume
any
as
very
drapery
of
of
idea
artist
in
has
flesh, and
and
The
draw
to
It
skeleton,
muscles
of
of the
manner
as
the
model
a
drawing.
human
clothing.
Worth,
the
recommended
with
expected
draw
freehand
the
elaborate
from
itself, after
for
matter
a
in
correct
costume
mainly
student
with
of
is
material
to
"rapcri?*
artist
26
may
to
The
exhibits
use
a
tint.
Composition,
3nvention,
arrangement,
(Brouping^
When
subject
light
the
drawn
of
sense
first draft
The
aid
to
and
relief
sketch
about
be
to
They
make
be
may
Not
few
a
the
of the
others,
of
work
others.
bit from
"
from
from
either
or
one
with
figure
of scissors
would
picture
here,
a
background
different
men's
The
as
it
must
drawing
is
usually
work
from
then
again
be
imagine
everything
that
studies,
it
in
fact, which
other.
or
gifted amongst
of the
judicious
of
and
bits
pasted
another
bing
crib-
**
amalgam
an
so
a
respectable
a
Such
and
or
drawing
make
to
up
there,
is, by process
not
from
made
be
sketches,"
foregrounds,
this
paste.
by tracing to
novice, it may
incapacity
line
and
drawings,
first transferred
reproduced,
a
pen-
background
a
bit from
draw
All
**
or
the
sketch
some
appropriators
or
fact, it is possible by
cannot
pair
the
to-day,
a
either
drawing
some
plagiarise
face,
in
or
anything,
oribbers"
*'
may
a
or
In
who
a
patchwork
or
They
that.
for
drawing
a
of
artists
pen
used
drawing.
a
into
by
say,
studies,"
"
its way
desperate
are
foreground,
a
find
ultimately to
is to
or
expressed
frequently
backgrounds,
faces, figures,trees, plants, animals
is meant
is
figure
a
drawn,
of
'*
mean
being
;" that
composition
painters
"
design
**
**
or
picture
impressions."
**
"
in the
artists
usually
we
word
study
"
of the
intended
or
a
design
a
outline, without
in
shade.
and
and-ink
of
talk
we
on
figure
a
"
clipped
"
together,
of
sheet
and
paper
engraving.
mentioned,
that
seems.
and
a
who
finished
bewails
pen-and-ink
Pen-and-ink
quite
his
commonly
artists
[they
ABRANGEMENT,
introduce
into
their
drawn
originally
by
their work
base
to
drawings, not
extent
some
Men
artists.
other
but
one,
several
items
naturally
must
that which
upon
66
ETC.
COMPOSITION,
INVENTION,
has
gone
accordingly
aspirantsmay
take heart of grace.
It is equally open
to the novice
as
the pen-and-ink artist of established
reputation to glean
the illustrated papers
Continental, EngHsh, American
and to provide himself with
photographic reproductions of
Academy, the different National Gallery and Salon pictures.
If he is not a genius,and lacks
the
the independence and
before,and
hence
of
the meanest
"
"
make
to
originality
all his studies
from
invention,he will possiblyimitate and
console
may
to find any
himself, because
considerable
it would
Nature
;
copy
not
be
or
in
his
doing
own
so
he
easy matter
an
pen-and-ink artists who
do not do the same
systematically. There are pen-and-ink
artists of repute who
could not draw
decentlya chair,if you
put one in front of them, and furnished them with penciland
Others, apart from the assistance given to them by
paper.
their
studies"
be unable
their scrap-books,would
to
or
draw
a face, or
a figure,
or
a landscape,or
or
a
room,
thing
anyelse showing artistic quality. It is a great advantage
to be able to do
without
such subsidiary aids,but, on
the
other hand, there is no
disguisingthe fact that scarcelyone
mmiber
of
**
artist in
pen
has
dozen, in the earlier stages of the
succeeded
ever
draughtsman
Sir
a
at
the
same
in
his
being
work
inventor
own.
tainly,
cer-
and
time.
Joshua
the
Eeynolds, speaking of painters and
remarks
"When
apply to pen artists also
they
says:
conceived
a subjectthey first made
a
variety of sketches,
then a finished drawing of the whole, after that a more
"
"
drawing of every separate part head, hands, feet,
piecesof drapery; then they painted the picture,and,
correct
and
"
after all,retouched
"
it from
hf e.
The
picturesthus wrought
56
PEN
PICTUBES.
with
such
the
effect of enchantment,
and
as
had
stnick
like
pains now
appear
if some
mighty genius
blow."
An
pains.
The
any
of this is that
of
a
There
The
he does
in
a
take
less.
and
conceives
who
artists
very
take
not
a
having
captivating
inspiration
without
who,
many
set things forth
artist,when
pen
he
tolerably few
are
; but
power
can
genius has to
hardly do
is the way
artist
an
subject.
good inventive
to speak of, can
way.
even
ordinary pen-and-ink artist
invention
selects his
have
moral
The
off at
them
his
his
trust
to
drawings or paintingshe has seen, must
of perceptionas to what is capableof beingrepresented.
power
of
Having got his idea, his next advance is the arrangemmt
decide upon
the subjecthe may
; that is to say, the manner
he placestogetherthe parts of it,or, in other words,
in which
from
how
he will work
the works
glance at
trod the
it out.
of
He
other
to consider
will have
pen-and-ink artists
^and
"
a
have
who
paths will enable him to make up his mind
of
blocks
the disposition
of the lightand shade, of balanced
colours, of groups, of singlefigures; where he will place this
and
same
where
"
he
"
will
**
blacks
a
principalidea
and
where
he will
arrange
the accessories
artistic
results.
composition)
And
that
disposehis
mind, and his
his
in
about
thus
is
to
than
of
person,
it is
here
advise
and
those
it in order
to
whites."
now
to
he will
produce
the best
in the
in
general
the
parts which
he
In
knows
has
He
is how
he is half way
say,
his
mass
this
are
of
process
structural
connection
more
portant
im-
accordingly.Every
a subject or
sees
objectin his or her way ;
course,
in to
where
one's taste and
judgment comes
initiate.
That is the personal quality.
others, and represent them
he knows
When
begins
out
**
aim
arrangement of his proposed drawing.
he will think
he will
that, where
contrast
put his
what
ideas
he wants
into
to
represent, the
execution.
The
artist
execution
INVENTION,
ABBANGEMENT,
is
often
of
it, and
brings
called
he
handling
it indicates
careful,
carries
his
a
subject be
objects,he must
in
one
which
consider
which
each
artist
has
several
are
of them
other
for
an
in his
dash
Should
be avoided.
to
grouping
with
placed in contact
forming a singlemass.
style
the
or
eccentricity,
there
the
which
far, if he
too
something
"
the
or
produce a soft and
and
dashing effect.
bold
finish,or
67
ETC.
work,
in
pecuHar handling
be
can
the
may
stiff,a
mannerism
his
of
manner
He
a
extravagantly studied
work, it is
the
ideas.
his
out
finished, a
If
the
COMPOSITION,
figures or
how
they
"
the purpose
of
objects
Naturally,the figures and
most
important will be made
prominent,
but
the
sometimes
scattering of objects may
replace
grouping. The study, however, of good work *nd drawing
from
are
most
in
groups
which
taste
his
Nature
this
will
clear
important
matter
judgment will enable him
drawing ; it is important, in
presents.
and
shade, that
one
part should
most
away
to
the
The
culties
diffi-
artist's
produce hartnony in
of hght and
matter
with
agree
of the
another.
Thus,
a
perfectdrawing of an object,say a wheelbarrow, is not a bit
it with light,
and shade,
artistic or interesting
; but surround
and
Even
the
colour, and the effect is vastly different.
photographer touches up" his photographs. It is for the
in an
his subject not be presented to him
artist,should
items in order to make
interesting
way, to supply interesting
His
a
dehghtful whole.
study, and
practice, and
up
him
to select
a
taste, will enable
good point of view,
**
the
essentials
and
redundant
that
facts
he
must
that
he
not
make
painters would
some
jarring feature from
Were
it a
landscape, and
the
appearance
if
put
accentuate,
should
the
omit.
unnecessary
The
scruple in
subject they were
any
a
in,
a
tree
or,
if
best
of
removing
painting.
would
either
there
already, when
improve
68
PICTURES.
PEN
hesitation, in the
removed, they would, without
the
put
Thus
in, and
tree
be
it will
introduce
in
that
seen
in the progress
other
the
case
it out.
artist does
every
of his work
leave
one
and
must
degree of trickery,
some
Too
much
imagination,of thinking out, of cautiousness.
effort in the direction of commonplace, or a mere
imitation
of Nature, stifles imagination and
originahty. Everybody
most
think; it is the facultyof
can
people, any way
that makes
the artist,either in words or
thinkingpictorially
in drawing.
It may
be regarded as a general rule that the two sides
of a drawing should
nearly balance each other either in
of
"
"
interest
in mass,
or
combined.
Much,
Anachronisms
in
JuHus
CsBsar
costume.
of
comic
The
interest,and
in
aim
is to
etc., should
sketch, it would
a
tall
hat,
or
be
be
the
on
subject.
sillyto represent, say,
Cleopatra in
balance
in both
avoided, of course.
of all compositionis to have
for the better
or
say, appearance,
depends
however,
in costume,
Unless
a
that
of the
a
one
Bond-street
chief
drawing
point
at least
point of interest. The artist will find that some
of the easiest things to group are ships and boats on the sea.
The sails and huUs, the Hght on
the water, the form of the
when
smooth, lend
waves
rough, and the reflections when
themselves
easilyto the arrp,ngement of Hghts and shades.
the other hand, night scenes,
On
darkened
distances, fogs,
and the like require considerable
study.
one
minor
Ex.
21.
anb
Xant)5capc
It
is
skill in
to
with
that
the
drawing
of this
reason
requires
is that
the
artist
little
has
Ifct"'
expect
with
|^^.4
could
objects
drawn
Eit!^THB
like, and
would
these
be
The
landscape
Drawing*
rocks, hills,
and
one
no
that
techniqice.
deal
trees,
said
usually
Srcbitcctural
matical
mathe-
accuracy.
General
fidelity
is considered
landscape
sufficient
it
;
possible
found
and
of
out
one
of
The
artist
and
such
to
his
its
a
would
every
proportions.
of
landscape
life
a
eye;
burden
case
painting
or
must
altogether
knowledge
be
a
perhaps
still
almost
were
landscape
in
and
ment;
measure-
drawing
be
tains,
moun-
trees
in
the
be
clouds,
capable
of
any
would
and
the
not
do
if the
out
rocks,
is
to
This
more.
the
to
of
trust
the
to
Ex.
22.
minute
him.
laws
of
What
would
perspective
he
draws
is
probably
permanent
and
60
PEN
PICTURES.
stationary. A figure draughtsman
about and place them
observe them
or
can
move
The
landscape
mountains.
He
artist cannot
aims
at
models
in different attitudes.
n^
Ex.
his
^
23.
move
his
meadows
and
his
producing something picturesque.
62
PEN
building and
as
trees
like, you
and
surrounded
PICTURES.
it with
artistic accessories, such
fields,a vignette of foUage
would
builder's elevation
have
such
a
or
drawing;
trees, and
it is
the
simply
a
trickyeffects of Hght and shade and
added.
Such
of
a sky-line
drawings may be seen in some
the illustrated papers.
They consist of dots and scratchy
The
and lightsthat never
in nature.
occur
lines,shadows
effect is pretty and popular,but such
drawings are really
not art. A study of this sort of work will teach the student
much
the
be able to detect the spurious from
; he will soon
the merely picturesquefrom the trulyartistic.
artificial,
with
decorative
anb
Si^mbolic
HERE
is
which
work
itself
rather
in
and
this
frequently
the
called
so
other
What
are
called
ornamented
of
manner
printers
embellish
order,
and
kinds
enclosed
not
are
described
The
best
the
taste
of
fanciful
Accuracy
is
it
they
very
are
sources
for
of
vignette.
of
inspiration
decorative
work
to
meant
to
found
is
because
be
quaint
not
where
and
to
their
being
designs
after
books
of
the
generally
are
who
possess
expected
fantastic.
full
designs,
mediaeval
figures
this
which
engravings
charming
be
with
are
students
in
scripts,
manu-
ornaments
border
for
the
are
be
figure drawing
necessary,
definite
capital
ancient
and
and
order.
this
of
of
pages
drawings
a
the
The
in
invention,
of
the
within
being
as
flourishes
branches.
vine
which
all
with
vignettes
the
were
consequence
for
purposes.
of
originally
in
much
enrichments
and
in
artists
designed
drawing,
as
Vignettes
and
The
produce
books
letters
ration
decoillustration
than
line
picturesque
were
concerns
simple.
mainly
pen-
ornamental
with
pure
of
department
a
and-ink
art
are
MSS.
here,
nor
introduced
Cupids
and
64
PEN
of
arabesques
ornamental
all
resorted
abound
sorts
in
of
types
some
drawing.
decorative
The
PICTURES.
of
work
to of late years.
the
The
Japanese
curious
often absurd
to the
been
much
birds,fishes (Ex. 21),
oddly put together,are
flowers, reptiles,
artistic,and
has
dehghtful to
taste.
They
common
the
are
is a curious
kind of
Japanesques." There
wildness
in their use
in Japanese lines, and
curvature
a
with
is
which
peculiarly interesting. Sketch-books
be
purchased from Mr.
examples of this work
may
Batsford, of High Holborn, London.
art is by no
The
confined to
means
scope for decorative
books.
Strictlyspeaking,this branch of art is impressionistic
find it in a
vision treated decoratively. Hence
we
called
now
**
symboHc form,
which
represents such
abstract
fancies
as
Time, and Death, with appended quotationsfrom the Bible,or
Shakespeare, or elsewhere, the whole enclosed possibly in
border
a
fantastic, sometimes
sometimes
a
jumble of
rarely really
nondescriptornamental
styles,and
much
loaded
with
artistic or
overappropriate,however
archaeologicaldetail or curly looking patterns. Much
entirely
symbolic-decorativeart is meaningless and
and
the cheap purpose
of mystifying;
serves
unintelligible,
it is simply a muddle
of decorative
elements mixed
into a
inextricable
whole.
fiilly
Lettering is frequentlyadded
and
itahcs
is full of
which
sort
of
thing is
Decoration
ordinary and
branches
borders.
detail
and
to
The
unreadable
and
Indian
style
scroll work
or
all
This
; the
artist ;
German
styles.The
is to
introduce
with
dotted
wood-carvings present
decorative
invention
characters.
be avoided.
employ any
may
conventional
method
of leaves
to the
bold
grotesque and
Japan
and
furnishes
Gothic
delicate
and
a
linear
wealth
much
cult
of
free
devotes
DECORATIVE
itself
patterns.
Wall
decorations
places
often
artistic
judgment.
The
exercise
exhibit
ornamenting
of
foliage and
luxurious
to
SYMBOLIC
AND
for
the
hoardings, the
Vallptton, and
Willette
any
style Rococo,
"
of
work
employed
results of decorative
as
one
in
is excellent.
field for the
of
matter
much
interesting
by
of heraldic
in demand
fanciful and
emblazonments
Gothic, Italian, Modern
are
posters
Eops, Grasset,
Designs for book
called,are
connection
art
the
misapplied
Cheret,
of
Japanese, etc.,and quaint lettering
much
suchlike
24.
plates,or Ex Libris, as they are
by collectors. These are made
symbolic designs,or in the form
in
In
taste.
Ex.
of
extensive
an
geometrical
and
museums
examples
artist has
discretion and
intricate
in
hideous
65
ART.
found
the old
with
in book
Greek,
Englishtype
them.
The
pubhcations.
designing
of
Some
tolerable
heraldic
best
ornaments, such
borders, tail-pieces
(Ex. 22),pictures inserted in
and the thousand
frames, border or initial letters,
odds and ends of enrichment
is
mental
orna-
and
which
well got-up
distinguish
work
has
emblems,
been
done
trade-marks,
in the
pottery,
66
PICTUBES.
PEN
and
porcelain,furniture, lace
and
silversmiths*
who
care
to
pursue
following works
**
Grammar
of
**
of
Ornamental
and
needlework,
generally.For
metal-work
these
subjects in
be
recommended:
may
Ornament,**
or
L.
costume,
a.
Owen
Day*s
Forman
Design.*'
'
%{m(y(mm^
'iU^iksJ^
^^^^^^^^'^^""'T^^'"^^^^"''^^'^^
OOurrjinmnrY-r^-n-i
-x
f^-^j-^t
Tr
"TTr
those
field,the
wider
"
gold
"
Jones's
text-books
Shi?, Sea,
anb
A
Sbipa^
at
GLANCE
drawings
often
will
show
that
represented
line.
straight
from
As
fact, it is impossible
ink
artist
sky
Ex.
26.
a
horizontal
the
line
rest,
difficultyin
deahng
understand
cloud
their
is
sky
forms,
as
the
alone
of
^many
"
somewhat
lines,
horizontal
fogs
best
be
are
noted
best
of
artifice
The
treated
but
if
such
of
and
in
such
black
back
the
if
and
interesting
it
is
at
all
leave
it
to
resort
case
few
with
clouds,
representative
the
on
simple
streaks
white
E
of
of
phenomena
and
sent
repre-
should
artists
a
a
the
Hence
masses,
An
direction
(Ex. 23),
in
(Ex. 9).
falling
by
with
etc.,
the
grouped
tint,
pen-and-
student
purposes
in
of
is considerable
pen-and-ink
indeed,
them,
mean
Hne.
of
sky
to
cirro-cumulus,
sky
the
by drawing
paper
The
cloudscape,.
a
compromise
or
should
the
called
usually
the
line
sky-
matter
the
it
There
clouds.
or
sphere.
white
tint.
usually
be
over
in
artistic
For
all
comphcated
as
the
should
scattered
the
with
modifications.
represented,
not
putting
by
or
the
allowing
and
his
indicates
generally
he
a
properly
of
it is out
;
for
deal
to
a
ally
Geographic-
divides
land.
or
sea
by
horizontal
which
is
sky
merely
the
that
the
the
(Ex. 20).
speaking,
is
pen-and-ink
many
nature
after
2
rain
the
68
PICTURES.
PBN
paratively
simple smiset sky is comthe
easy to represent by a few simple lines near
there are bright clouds or sunwhere
Of course,
the sky dark
to make
enough in order
necessary
of Exs.
manner
horizon.
rays, it is
that they may
11, 19 and
have
A
24.
value
their proper
highest light should
the
in
of Ex.
manner
Where
a
river
(Exs. 6, 9, 15,
studying it the
the
reflection
objects
from
""
^^
^--
"^fy
"*?
An
^
6
and
water
appear
27).
always
height of
the
in other
words, the
should
surface
appear
of
reflection is
water,
the
on
"
the
if
as
or
other
exactlyreversed
water.
elongated or
indistinct
same
the surface
boat
and
for
and
the
sky
the
way
when
power
the
it
course
passes
some-
water.
Should
drawn
the
say
"
Keflections
objectabove
allow
rarely represents
of an
object
proper
with
(Exs.
member
re-
artist
boat
a
26.
the
must
atmosphere into
else) possessed by
shadow
Ex.
must
the
He
water.
giving
its
is
tent
con-
reflection
in
perfectly smooth
the
as
depth below
of the water
(Ex.15);
object in
downwards
water
such
a
case
below
be
the
rough,
along the surface
dotted-looking (Ex. 15).
out
in
but
25);
artist
(orthe
represent
the
thing
me^
^
of
bring
its reflection.
and
varies
light
is to
land, and
on
of refraction
of
habit
he
that
is
depicted,'
difficult to
is not
Water
is
sail and
white
a
of
24.
scene
conventional
the
the
case,
put in first. A mass
sunshine, and
moonhght
for
(Ex. 20) suffices
fairlywell depicted after
a
be
always
white
; in such
the
of the
Wet
ZvccBf
Thebe
artist
are
be
to
such
is
botanical
called
designing
suggestion
looks
tree
less
a
a
at first
is to
is not
tree
lamentable
the
tree
they
tree
in Nature
drawn
wind
and
the
the
is
and
a
good
draughtsmen
the
of
that
thing
to
that
there
draw,
to
look
with
with
they
as
any
appear
however,
Beginners
have
a
branches
are
of
Such
them.
especially if
more
of your
foreground
distance
do
towards
coming
or
picture
flat, and
even
;
should
be
so
ink.
earth
Besides,
composition
forget
difficult
in
masses
utmost
flat.
in the
are
and
look
who
same
remember,
must
to
drawing
most
trees
^fixed.
"
and
the
trees
or
in pen
Kocks
It
are
to
be
may
made
be
to
He
;
more
can
shape
is
he
Anyone
masses
artist
pen
to
decoration
It is the
general
29.)
it
that
leaves.
the
their
unless
stem,
is sufficient.
find
or
that
and
28
tendency
branches
the
All
draw
sight (Ex.
a
will
is
fact, the
of
special floral
some
detail
not
in branches
of trees.
effectiveness
that
and
in Nature
pyramidally
number
or
the
to
some
practice
matter
a
draws
and
Christmas-card
a
otherwise,
at
leaves
trees
usual
as
;
are
resort
a
drawmg
The
leaves
their
although
For
pen
methods
Tricky
adopted,
the
which
by
objects.
useful.
is
the
ignores
artifices
"style."
without
artist
pen
natural
knowledge
them
study
of
systematically
often
f ielba, JCtc
(5ra00,
amount
any
represent
may
not
1?och0,
of
know
they
can
to
are
be
know
rocks, just
unlike
are
is
something
as
something
varied
very
done
it is
about
a
rain
water,
to
in
indicate
about
the
good thing
the
for
anatomy
and
form,
them.
causes
figure
of
the
TBEES,
ROCKS,
GRASS,
human
body. It is a common
drawing anything at a distance
Ex.
effect of this is that it enables
of the
and
objectin its lightand
highest tones.
Sand
practicefor
71
ETC.
artists
to half close the
who
eyes.
are
The
28.
him
shade
Ex.
FIELDS,
to
get the generalscheme
and
the
points of lowest
29.
requires a careful study of "tone;" it
but it is quite usual for pen
varietythan snow,
has
more
artists to
72
PEN
represent both
sand
and
PICTUBB8.
snow
as
they represent
the
sky,by
should
be
Ploughed fields and furrows
be obviously
drawn
to grass, it would
irregularly
; and as
You
can
only
impossibleto draw every blade you see.
indicate it (Ex.28),and if you resort to **tint" you should set
of
In the case
it off with a few defty-placedink strokes.
is suggestion.
flowers, and the like, all that is necessary
if they are
drawn
for a specific
Of course,
they
purpose
should be representedleaf by leaf.
a
white
space.
"tbcr
Pen
and
ink
ordinarily
cannot
is
the
macs
is
described
of
^builders'
and
examinations,
distinct
of
branches
dividers,
set
mathematics,
scale
squares,
and
this
nature
in
chanical
me-
for
drawing
many
specifications,
All
hke.
Of
calculation
inventors'
the
which
work
artistic.
as
geometrical
and
"
much
in
graphical
maps,
engineering,
purposes
"rawing*
used
extensively
be
drawing
of
of
these
and
such
army
however,
are,
instruments
protractor
as
absolutely
are
necessary.
sketching
Military
A
sketch
mihtary
made
by
ofl"cer
an
giving
to
is
their
for
ordinary
maps
small
scale, and
these
of
this
which
a
basis
that
means
ground,
The
make
to
is
section
height
mihtary
There
industrial
of
and
it
*'
by
relief
is shown
extent,
has
in
sketches,"
and
they
which
work
^^n"
facilitated
the
on
map.
country
a
proportion
proper
of
military
a
by
maps,
materiaiy
E.F.
mile
one
on
"
its
details
the
fraction,
too
on
are
custom
inch
one
they
the
or
is
as
is
inches,
63,360
of
It
representative
represented
introduction
Eye
**
view
a
purposes
necessity,
omitted.
are
with
such
because
consequently, by
draughtsmen
the
on
For
useless,
usually
country
information
such
operations.
wanted
mechanical.
ofl"cer
superior
almost
are
of
piece
a
non-commissioned
or
military
particularly
of
map
ofl"cial
needful
a
a
called
be
hardly
can
as
the
or
regards
of
work
sketching.
is
much
purposes.
demand
Mr.
for
William
pen
and
Morris
ink
and
work
Mr.
for
Walter
74
Crane
PEN
have
business, and
set
the
PICTDBES.
fashion
Boyal
even
of
artistic
Academicians
advertisingin
do not
disdain
a
The
manufacturing or retail firm.
for the railway
of designs necessary
number
immense
the
Hke, may
companies, publishers, and
easily be
imagined. M. "d. Sagot,of Paris,has pubHshed a marvellous
commission
from
a
postersand designswhich
catalogueof pictorial
value
to every
student.
is of
enormous
Caricature.
The
of
appearance
the
a
objects
features,
of
is
the
his
truth
A
of
a
his
the
the
good
in
powers
trade.
is to
to
this
an
of
example
is
a
germ
being
by
advantage
of
of
is
to
In
men.
practice
the
of
most
black
extent,
It
the
is
a
which
is
should
know
It is
animals
illuminated
taken
quaint
in
a
time
something
a
art.
There
burlesque
a
rats'
on
castle.
often
nowadays
engaged
in
the
manuscripts
of
the
advantage
and
and
art, which
ancient
caricaturists
represent
the
white
attacking
cats
of
duty
interested.
or
very
items
of the
and
Egyptians.
represents
device
the
branch
ments,
move-
chief
day
fads
and
its
The
of the
vices
ing
in draw-
suggesting
us.
is excited
opinion
the
incidents
around
questions
caricature.
extant
favourite
the
enormous
tactics, and
heads
of
extent
and
are
of
sorts
ridicule
pubUc
in
to
history
ages
To
person.
skilled
form
human
the
All
represent
which
of
the
it from
be very
necessarily
not
constantly occurring
are
way
business
of
way
there
that
aim
the
separates
of observation,
mihtary
middle
caricature
need
beginner
take
fact
the
;
a
to
even
with
developing
A
exaggerate,
of
concerning
an
must
of
habits
and
general knowledge
humorous
is
extravagant
an
although
abuse.
caricaturist
of the
in
defects
the
behind
stock
The
falsely.
represent
every
The
represented
subject grotesque
caricatures
is
to
caricaturist
;
be
excluded,
be
must
care
or
that
is
caricature-drawing
to
artist
vulgar
mere
not
passions,
this
making
effort
are
caricature
do
of
peculiarity
of
monstrous
by representing
character.
76
FIOTUBES.
PEN
initials,
signboards,stalls,entablatures,
missal-margins,
Church
the grotesque was
constantlydisplayed
gargoyles,
On
in
and
and horrible,often
forms, often obscene
in many
picturesque
fantastic.
Modem
beginswith Hogarth, about
caricature
great artist did
poUticalsubjects,but
all sorts.
lashed
him
Following
and
himself
confine
not
with
"
who, under
Kowlandson,
grossest exaggeration,aimed
In
time.
attention
often
the
the Hkenesses
paid to
was
and
representedas monsters,
brutal, violent and indecent.
19th
century
a
took
change
the
their
writingthe historyof
at
of
caricaturists
little
of the
who
subjects,
were
this school
of
work
caturists,
princeof cariguise of the
the
Gillray,
were
social vices of
brush
his
merely
of
satire
to
This
1698.
the
treatment
With
the
place,which
times
some-
was
earlypart of
we
to the
owe
the
two
Doyles,John and Eichard, father and son, the latter being
the designerof the cover
of Punch, and Cruickshank, whose
ambition was, like Hogarth's,
to show
us the social vices under
of
the form
caricature
moral
'*
as
we
comedies."
know
now
Leech, Tenniel, and
line of the
Doyles
introduced
contempt
They
would
a
figure of
to
the
as
ridicule,but, in
the
a
continued
so
the
doing,to
cloven
in the
and
coarseness
Their
prominent
devil, the
object
raise
a
smile.
by
statesman
hoof
is to
covered
an
with
A
done.
have
predecessorswould
robust
style of the older caricaturists
made
by Pellegriniin Vanity Fair,
their
more
has, howevef,
been
Harry Fumiss,
F. G.
and
eliminated
English
these.
have
refinement.
hardly represent
dainty shoe,
return
or
begins with
Maurier
have
delicacy and
excite
odious
they
"
it
Du
be said that
It may
Gould, and
many
of the Continental
American
to the
draughtsmen. They give specialprominence
pecuHaritiesof the objects they wish to represent ;
they draw
their victims
in
an
exaggeratedmanner,
so
as
to
proce00
The
of
art
of
branch,
will
have
least
at
colour.
mmiature,
charcoal,
has
in
come
beautiful
influence
of
the
either
or
artist
the
to
that
that
to
are
away
and
design
the
the
; but
give
the
drawing
is in
**wash
order
the
to
lines
than
those
very
of
does
"
of
he
the
which
are
left uncut,
leaves
alone
those
is drawn
drawing
danger
of
is made
on
he
The
the
the
"
dotted,
thick
will
the
and
original
"
wash
print
by
dots
inked
lines
of
parts
by
When
tones.
paper,
inked
when
If
cutting
keep
can
"cross-hatching"
and
the
to
on
those
indicate
and
block,
tools
original.
proper
is cross-hatched
wood
his
away
only
and
engraving,
begins
guide.
a
the
then
wood,
cut
the
can
close
in
at
way
drawing
the
as
not
the
drawing
the
him
on
he
always
to
wood
with
and
the
through
wood-engraver
Where
the
a
the
away
is
commercial
direct
white,
on
front
reproduce
surface, which
cuts
where
effect
printed
cutting
The
a
chalk,
undoubtedly
of
case
from
black.
he
which
wood
the
picture
engraver
in
original drawing
superseded
out
come
photographed
then
extent
size.
out
the
in
and
crayon,
red
or
wood,
photographed
come
block
the
to
are
in
"
sanguine
produce
to
drawing
on
In
He
how
neglect,
his
block.
know
**
the
"
chromo-lithography
it
in
the
injurmg
lithography
of
camera.
required
his
carve
parts
on
the
to
and
large
a
draws
is
picture
block
engraving
the
that
Through
share
to
and
once
we
pastel,
a
been
has
rate,
any
for
of
art
it is said
when
of
accused
drawing
; and
aside
in
photographs
been
water-colour
stand
to
has
photography
development
chalk
engraving*
in
the
greyer
which
are
PEOOESS
close
together
and
by hand,
the
make
print
apart from
and
narrow
will
the skill
in the blocks
away
A wood
Cleaving
It occurred
might
is
chemicals
used
be
in
wood
form
the
out,
be
as
rather
or
with
on
it,
great.
cuts
originaldrawing.
in
printing;
the
velvety.
metal
a
eat
to do
engraver
Gillot, that
M.
are
is done
very
wood
generallysuccessful
photographed
to cut
taken
the time
the result is soft and
the engraver
removes
This idea proved to
accomplished
and
required,
Frenchman,
a
which
those
All this work
other.
each
essential lines
to
well
as
than
engraving on
happens that the
well, and
wears
blacker
of
expense
Besides, it sometimes
block
79
ENGRAVING.
a
drawing
plate, and
out, the parts that
his tools from
the wood
block.
and
it is known
in its
practicable,
Process
Engraving.'* There are
**
of "process;*' one
is generally
leading methods
called
simply "process," and the
Photo-engraving,or
other Photo-gravure. The
latter is an
expensivemethod,
which
like etching. The
produces a result somewhat
a
drawing is photographed on
plate of copper, usually,
which
is bitten into by acid and then, if necessary,
worked
The
ordinary Process Engraving, which is
tip by hand.
extensivelyused in connection with our illustrated pubhcatwo
tions, is similar,though much
cheaper, in
to
A
a
plateof
roller with
which
zinc
will
the
then
The
it is
ferred
negative of this photograph is transbe dissolved.
zinc. This negative cannot
ink is passed over
come
plateis
l)ite out
The
working.
to the size to which
pen-drawing is photographed down
to be reduced.
the
out
black
placed in
it,and those lines and spaces
when
an
parts of the metal
printed
acid
which
the chemicals
bath, and
are
The
inked.
are
uninked
and
which
'*
whites
the
When
are
printedwill appear white.
carved, or eaten, or bitten out, the plateis taken
sufficiently
out, and it bears on its face a reproductionof the original
when
"
80
PICTUKES.
PBN
drawing
is then
the size to which
mounted
block of wood, and
a
on
is gone
soften
the
with
over
a
is the
the whole
heightof ordinarytype, ready for printing.
block
It
reduced, only reversed.
it is
the
Sometimes
graver, to finish and
whole
work
is
this the
roulette
or
lines, but
a
excepting
A block, or cut, or engraving,as it is variously
mechanical.
called,of this sort can be supphed, according to the quality,
inch up to over
at from threepence a square
one
shilling.
There
are
inherent
in
plates,bad
of
number
a
' '
* *
mechanical
insignificant
which
process
present the
Bad
rapidlybeingamended.
bad
originals,
printingare
are
bad
workmanship,
imperfections
to the
of
"process.''
It is not an uncommon
thing to find the clearness and depth
of colour well produced in the engraver'sproofscoming out
under
the hands
of the printercolourless and patchy.
at
There
are
of the two
their
enemies
worst
processes
methods
a
gelatine matrix
embody special trade secrets
results are produced. All, however, are
a
engraving,and
photography with mechanical
is due
use
in
with
with
In
which
small
wood
for
drawing
do
cover
not
allow
avoid.
one
there
wish
such
process"
look like
are
to
with
a
third
stains
appear,
Chinese
"
by
the
which
combination
of
their extensive
cheapness
as
remarkable
the
of
; most
pared
com-
rapidity
be done.
it is well
are
they will
all run
The
be
open,
reduction.
and
all
too
*'
spots, or
that
white;
that
is
many
together,and
in
"
engraver
process
far
sufficiently
and
If
the pen
lines in
remind
to
If there
smudge.
the lines should
requiresthat
drawing
can
it is reduced
printing
they will
to
**
he must
sketch, when
apart
to their
measure
engraving, and
the work
artist what
a
**
no
subdivisions
take
Some, like collotype,
swelled
claim to
all of them
"
explained.
impressionsfrom
them
"
"
numerous
progress
on
original
your
details
that
necessary
will
not
you
is
to-
affect the-
81
ENGBAVING.
FBOOESS
in
to draw
reproduction. It is not even
necessary
ink, because
by photo-process red, brown, orange,
of these, will reproduceblack.
green, or any mixture
it should
Engravers, whom
responsiblefor
the
Ex.
blocks
mentioned
practice by
new
30.
be
A
which
no
printed in different vivid-coloured
the values, allege that bad
results are
inks,thus spoiling
often
produced
the
or
without
reduction
way
photo-engraved
draughtsman is not careful in doing his
They professtheir abiHty to reproduce perfectlyany
with
and
Engraving.
Wood
are
because
in
are
black
"
especiallyby
the
work.
ing
draw-
gelatine
82
PICTURES.
PEN
relief process
in the
and
of half-tone
out
drawings withthe necessity
of cutting away
the lights,
which is nearly
always necessary in process engravingsfrom photographs.
whether
It patters httle to them
a drawing is in pencil,
ink,
of these.
They consider,
crayon, or paint,or a combination
for
of
of view
the
black.
the pen
that
however,
point
"
distant
case
artist makes
engraving,
work, because
a
if he
mistake, from
the
pale broad lines
print too strong and
uses
such
that the
they reconmiend
obtained
by thinning the line.
Hence
should
be
crayon
work
they find
such
materials
as
lighter effects
For
pencil or
Maclure's grained
Uthographic paper, worked
by Wolff's duragraph
upon
well.
Sharp lines they
pencilsor Conte's chalks, to answer
be obtained on rough paper without producing
find can
rai^ely
effect when
rotten
a
printed,and a paper too smooth
"
and
"
enamelled
makes
the lines
must
spread. The pen-artist
necessarilyconsider,and try to meet
and the printer.
of the engraver
the obstacles
in the way
Cr(t(c(0m*
Hrt
Stebne
had
brilliant
a
the
actor, criticised
the
last
poem
proved
when
tried
criticised
far
of
necessity
find
to
who
or
and
work
in
of
*'
Sposin
the
but
too
put
down
it's
old
boys, praise,
it's
a
little
*rhis
of
out
enough,
By
glaze
cap
fits many
Everybody,
must
There
find
are
Pen-and-ink
a
be
he
foundation
not
agin'
two
work,
the
into
Gallery,
marbles
the
their
babblings
If it's
Eubens,
law
the
to
ain't
humorist
well.
or
doubt
of
he
when
till you
o' them
any
them
; but
if
especial judges,
most
disparage.
means
"He
you.
roughly
the carpet, wait
on
company
says
down
a
that's
painter.
criticise the
prying
National
rather
finger
pictures
its
with
written
are
uncommon
among
the
be
critics.
his
keeping,"
nor
of
"
about
cellars, giving up
because
the
and
man,
criticise."
for
Museum
candid
of the
name
new
British
neck
catarrhs
epic
cannot
talk
is not
of the
the
students
art
who
It
the
comers
chronic
and
Art
yet
of it.
in
stop-watch,
its dimensions
Bossu's.
critics
by
get cricks
despair
'
of
rest
obscure
the
sheer
Slick
wrote
hear
who
of
one
mathematics,
the
contracted
well-meaning
Sam
and
in
have
casts
of
and
plumb-line,
a
scale
suggested Garrick,
grammar
every
discouraged
genius
canvases
in
exact
he
to
a
by
out
rules
the
students
dusty
be
an
upon
by
of
means
measured
**to
ready
too
by
book
new
he
inspirationwhen
don't
That
shadder
pen
artist, or
his
use
''
A
greys
depth."
wants
connoisseur.
painter
"
or
^somebody's
work
original draughtsmen
though
an
art
of
design
anything else,
to
copy
in
half
in
and
a
study.
century.
itself,occupies
F
2
84
a
PEN
field
limited
critics
"
fond
are
of the sphere of
only a comer
have
of sayingthat only those who
call for the work
The
white.
The
the
should
wished
work
of the
the nineteenth
to read
of art in its
century has
old
to cultivate
to
art is not
it does
of nature.
The
to
There
for
is
mannerism^
this
why
reason
no
It is for him
pleasure
her
or
not
reckoned
render
in such
the
more
by
its critics.
It
amongst the "imperfect arts,'"
with
all
equal facility
But
his attention
or
as
be said that pen-
profoundly understood
njay
much
hbrary
Graphic Arts," Joseph Pennell's
Draughtsmen," and Charles G.
Artists of To-Day."
"
Whether
; yet,notwithstanding,
It must
exactlythe same
enterprisingstudent will find
attract
form.
rivallingin every
is a public indifferen
There
signs of relenting,ta
some
tended
degree it has ex-
shows
remuneration.
been
frequently
"
mark
facultyof seeingthings pictoriallyand
objectof
because
"
flood of
a
masters.
represent them, whether
material
and-ink
the
about
held to
been
master
affect the pen-and-ink student.
should
and
black
work
seen
paintingin this country, and
to pen-and-inkwork.
special
a
equal truth
has
stale repetition
set in
which, however,
has
**
with
The
art.
write.
or
painterEaphael
excellence that of the
such
with
not, after his time
or
eclecticism,and
said
be
to learn
high-water-mark
that is correct
themselves
concern
might
same
who
person
PICTURES.
the
aspects
be said
of
critical
wisdom
books
as
painting.
Hammerton's
Drawing and
Harper's "English
"
Pen
to
Peru
Pea
Academy
figure
Figube.
treated
The
with
"
"
life, and
attitude
human
their
injurious
owing
to
figures
fact
naked
drawing
to
It
models
unnatural.
the
object,
in
estabhsh
balance
a
otherwise
or
inspiration,
be
Where
and
independent
as
essential
un-
would
effect
be
introduced
are
the
is
"
emphasised,
over-
regarded
the
to
satirised
considered
some
which
the
in
conventional,
might
contribute
to
by
size
artificial
frequently
no
accessories
the
lesson
a
antique
picture
a
composition.
or
is
purely
which
or
is
furnish
they
Anything
"
called
are
somewhat
a
furnish
to
figure
frequently
and
picturesqueness,
or
that
unfinished,
and
is
mainly^
half
about
a.
ing.
draw-
its
form,
are
in
posed
such
too
principal
to
human
figures
are
are
"
the
the
"
AooESSOEiES.
of
draw,
dummy."
from
the
to
students
Academy
the
draw
which
purpose
"
from
drawing
"
the
The
in
These
main
describes
accurate
studying
figures."
form.
as
of
which
term
perfectly
from
figures
by necessity
;
is the
study
a
object
Academy
of
as
lay
the
This
"
and
harmony
between
the
for
trast,
con-
in
masses
"
painting.
or
Action.
The
of
effect
"
figures
bodies
or
which
simulate
movement.
Accidental
When
Lights.
a
"
prominence
the
the
principal
tonality,
or
part
gradations
of
ray
a
of
of
light
picture,
tones,
it
in
is
throws
order
into
to
serve
pre-
necessary
to
87
aLOSSABY.
portionwith the other parts. Thus,
in a rustic scene
showing strong sunlight,the rays of light
of foliage
not be neglected.
must
coming through masses
this luminous
connect
Aebial.
of
interposition
of the
eye
the
of
^In
"
an
the
objectand
a
"
"
Abchiteoture.
mainly with exteriors, interiors,
buildings. Artists contend that in
artistic
the
true
rarely shows
^Deals
"
the
general plan of
designs architecture
its
between
drawing represents vigour and
exhibit a
of life.
figuresor scenes
Applied when
in their motions.
dash
or
momentary activity
fulness
and
atmosphere
the
spectator.
Animation.
sort
part of perspectiveresulting from
That
"
qualities.
Abrangement.
Abt.
"
See
text.
A
of design
general expression,but in the sense
divided
into (1)plastic,such
as
sculpture,which presents
the organic forms '*in the round"
to us
of objectsthemselves,
and (2)graphic, which by means
of light and shade
of bodies
gives us
as
merely the appearance
they are
represented on a flat surface.
"
Attitude.
of
and
The
position of
whole
in
body
a
state
continued.
or
noticed,hence, that attitude differs from
be
gesture
action.
Bbeadth.
where
"
there
The
idea of
is freedom
photographermust
An
camera.
artist
simple arrangement
from
of
a
superfluity
reproduce
selects.
of
subject
a
details.
A
all the details in front
of his
He
plicity
multi-
will not
lights and shades to dazzle
other, but by omittingunnecessary
of
each
the
immobility,either momentary
or
repose
It will
"
or
allow
a
interfere with
details
permits Ae
88
PEN
PICTUBES.
the
lightstp spread themselves over
the picture,so that the attention
arrested.
touch"
"Broad
Bristol-boabd.
into various
Lugida.
of four
furnished
with
pencil"
are
the
^An
"
consistingof
apparatus
a
of
point
his
pencil
and
tracing. It enables
drawing to copy or
a
of
art
lens,through which
convex
draughtsman
the
anyone
frame
eye-piece
an
a
glass
a
brass
a
on
tubes, with
telescopicbrass
he makes
the
pressed together
drawing
of
irregularsides,mounted
with
see
with
Sheets
"
supported by
which
"broad
or
be
spectator may
thicknesses.
Cameba
can
of the
of
expressions.
synonymous
prism
prominent parts
paper
upon
unacquainted
delineate
object
any
great accuracy.
quality which every artist endeavours
of
to put into his drawings. It embodies
peculiarity
any
expression,feature, or stylein body, stature, sex, age, and
Chabaoteb.
which
race
A
"
one
distinguishes
Chiabo-Oscubo.
shade.
A
White.
"
^White
pigments. It is much
drawings,or to conceal
of
a
mass
^An
"
of
melted
Composition.
Costume.
history and
"
oxide
action
used
to
blots
or
or
and
zinc, little liable
of
by
mixture
represent the
with
white
to
other
parts of
blunders.
expression for the "block"
reallythe impression of a die in
international
A
drawing.
another.
expression for light
by the gradationsof colour.
change by atmospheric
Clich]6.
from
^Another
"
pictureformed
Chinese
person
Cliche is
a
metal.
"
See text.
Only an
customs,
intimate
can
knowledge of countries,their
fmnish
the
artist
with
the
89
GLOBSABY.
class. Many painters
particular
committed
glaring improprieties
peculiarto any
draughtsmen have
vestments
and
in
costume.
Cboss-hatching.
DiAGBAM.
the
of the
show
^The
"
Dbapeby.
shading.
Sometimes
Expression.
"
"
of the
movement.
pictureis produced.
and the like.
handling,pencilling,
manner,
in which
mode
^The
change
a
that takes
the influence
under
figurewhen
and
action
The
"
called
Feeling.
motion
coming
Execution.
surroundingsof a figure,which
of the
body, and sometimes
outward
and
form
indicate the
extreme
The
"
the
eye
without
boundary of view in a picture.
the point of distance is the portion
art of perspective,
See text.
picturewhere the visual rays meet.
DiSTANOE.
In
text.
simple outline
^A
"
See
"
placein
face
a
or
a
emotions.
of various
qualityin a work of
onlooker
depicts the mental
^That
which
art
emotion
to
the
of
the
artist.
Figure.
Grained
sometimes
the
save
of which
of
^Anyrepresentation
"
the cost of
"
half tone
They
are
is
of
"
wash
or
producinga
correct
whereas
in the
only be
obtained
case
of
a
half-tone
by cutting away
work
sort of
too
spaces
"
because
network
"
of
to be
obtained,
white
can
pure
surface after
metal
block
the
on,
spoilingthe
deep. They have
tone, and
by scraping their surface
advantage of enablingpure white
is reduced
blocks
difficult to
half-tone
the
body only.
"
always the danger
"grain" instead of the
there
the human
Speciallyprepared drawing papers,
Scratch
called Gillot,or
Away" papers, which
and
artist much
time
trouble, and by the use
Papers.
one-third.
about
or
"
90
PEN
the blook
has been
PI0TURB8.
These
engraved.
prepared
have
papers
surfaces
the
them, and
following
akeady impressed on
varieties may
be procured. (1)Black
diagonallines,which
enable a wash
drawing by the half-tone process to be
lines with
imitated. (2)Black straight
a similar
object.(3)
Black
aquatintlines,givinga ''splatter surface. (4) White
"
straight lines used for special purposes.
(5)
White
like ordinary
aquatint Unes, giving an appearance
drawing paper. (6)Canvas grained with a rough surface.
diagonal
or
Habdness.
and
to a drawing which is too mechanical
^Applied
deUcacy. An academic
drawing from a lay
"
lackingm
model
figure or
feeling.
represents hardness
Indian-papeb.
fine
tissue
much
used
of
surface
oppositeof
Ideal.
artistic
a
which
eye.
seals.
It
is
combination
is
the
exactly the
represents
an
artistic
idea,not
"
The
the
in
facultyof forming images
It is this that enables
the
artist to
invent
is
governed by
the
the
his
It pro"
aid of his
of all that
an
"improves
hands, eyes, and brains.
his motive, conception,invention, or creation
subjectsby
duces
below
ideal goes beyond Nature!
Nature.
on
say, yet it is founded
some
Imagination.
mind's
It
proofs.
The
object.
it,
in
as
like
cameo.
"
upon
something
designs depressed
material,
any
paper,
artistic
than
impressions easily.
first
and
^Figures or
"
dehcate
takes
takingfine
That
"
which
paper,
for
Intaqlio.
of
A sort
"
rather
"
^itis
a
of
spvrituality
the artist.
LiQHT.
"
The
quality in
picture which
a
luminosityof the atmosphere it is the main
light. The accidental or secondary lights are
"
expresses
or
the
principal
those
which
91
GLOSSARY.
offshoots
are
of the main
dartingthrough
cloud
a
light,such
between
or
of the
the rays
as
the
sun
of thickets
leaves
or burning
trees, or the effect of moonlight or candlelight,
and
bodies.
Landscape.
edifices
not
of any
portion
of
architecture
street
the
open
views
or
of
Any deviation, originalor eccentric departure
ordinary rule enforced by a particular school
adopted as the result of peculiar education
Licence.
"
the
of art, or
or
general view
comprehending
merely.
country,
from
A
"
faculty.
Line
Beauty.
op
figureof
any sort.
Mannerism.
"
ideal
line formed
established
Hogarth
The
"
The
of
manner
it as
Model.
although the
model, male
is
term
or
which
work
"
This
produces
of art may
is the
model
sculpturethe clay
marble
effigyis but
a
a
to enrich
which
a
artist is
in
a
a
model,
express the
figureis executed.
to
originalwork,
invention
in
spirituality
and
commonplace
the
creation.
low
etc.,accordingto the artist's way
Ornament.
defect
a
living
of which
In
the
copy.
is the
be
which
is the
over-refinement
the
by
peculiar
to become
as
frequently used
female, from
is his
mannerism
a
aud
Any object imitated
"
Motive.
affectation
an
artist
an
style of treating the subject, whilst
peculiarstylecarried to excess, such
by overdoing it. All
drawing is a mistake.
by a graceful
ordinarycurve.
of
men,
artist
The
himself,
motive
of^a
dignified,
did,
splen-
lookingat
the matter.
Much
added
unmeaning detail is frequently
art
subject. This is a perversionof ornamental
"
should, when
intelligent
purpose.
introduced, have
an
appropriateand
92
PEN
Pencilling.
^A work
"
it is well
when
pencil,pen,
or
Pentagbaph.
end and
is
be
excellently
pencilled
the
has
medium
An
instrument
It is
pencilat
the
placed beneath
a
the
for
enlargingor diminishing
graduated bar with a pointat
other.
The pictureto be copied
point, which
is carried
the outline,
over
pencil at the otiier end followingthe
reproducesthe subjectto the size required.
and
the
NATUBE.-^It
all works
drawn
been
brush.
"
a
is said to
finished, whether
copiesof drawings.
one
PIOTUBEB.
is
moot
a
from
Nature
point amongst
or
artists
inspiredby Nature
ment,
move-
whether
are
more
poeticalthan all works drawn from or
Byron says, "Surely a ship in the wind is
inspiredby Art.
beautiful and poetic object than a hog in the wind,
a more
although the hog is all Nature and the ship all Art." And
Whistler, who contends that the artist should apply Nature
beautiful and
his
to
colour
more
contains
the elements
purposes,
says, "Nature
and form of all pictures,
the keyboard contains
as
of all music.
To
in
the
painter that Nature is to
be taken
she is,is to say to the player that he may
sit
as
illustrates this by making his
upon the piano." Whistler
in colours
and callingthem
Nocturnes,"
pictures poems
the
he gives us
"Symphonies," "Caprices," etc. Then
shower
of sparks from
a
burning house thrown on the dark
sky, the dim gleam of lamps through mist, and suchlike
poeticalidealising.
excessively
notes
say
to
the
"
Plate-Papee.
"
A
spongy
manufactured
paper
expressly
for
from engraved plates. It takes the most
delicate
printing
lines freely,
and is much
used for photogravures of pen-andink drawings.
PoKEB-PiCTUEES.
somewhat
"
Thesc
of the character
are
a
dry-wash drawings,
Wood
and sepia work.
sort of
of bistre
94
PEN
PIOTUBES.
details,of scroll and shell decorations,
pavilions,birds,fish,
flowers, all thrown
by
Bepobe.
together, it
bad
some
in
taste
^Artists say
that
is rococo,
baroque,or
sidered
con-
design.
inaction
figurein supreme
or
enjoys repose
statuesque dignityand simplicity.The
be said,however, of objectsin action.
same
may
"
"
"
Scumbling.
Scale.
See text.
"
^Drawingto
"
distance
on
Sebies.
^A
"
scale
bears
paper
represents,whether
The
a
the
to
size
of
the
a
certain
it
subject
largeror smaller.
story told by pictures,instead of
and
story is told pictorially
Stebeotype.
the proportion
means
sentences.
consecutively.
printingusuallyfollowed,
which
consists in first obtaininga cast, in plasterof Paris,
of the whole type, as set up by the compositor,and then by
meltingmetal into this cast obtaininganother cast in relief,
Uke joinedtype, to print from.
"
Splatteb-wobk.
with
American
lightlycovered
which
comb
is drawn
a
of
sort
appearance
Taste.
finer
"
the person
of
pen-and-inkmethod
draughtsmen. A small
^A
"
with
ink, and when
across
in favour
much
tooth-brush
the parts of the
desired to splash are
covered,
the bristles of the brush.
The
power
and
art.
mean,
of taste.
is
drawing-
The
a
toothresult
rough, irregular tint,giving the drawing
like canvas
or
grained paper.
of
qualities
of the low
method
it is not
paper
is
The
an
expressing or appreciatingthe
Grace
and beauty,and the avoidance
of
are
the
attributes
which
distinguish
95
GLOSSABY.
Telautogbaph.
"
A
sketches, and
new
instrument
which
any sort of line work
writing,
enables hand-
to be
transmitted,
It consists in
reproducedany distance telegraphically.
to the usual
telegraphicapparatus,
a pentagraph attached
and will be invaluable for sendingpictorial
news.
and
WoBKiNG
to
one
which
made
experimentally,
and
as
a
ultimately
suggestion or guide from which
produce a finished picture. Working drawings made by
person are often worked
up and finished by another.
Dbawings.
"
^Thosc
are
INDEX.
C.
86
Accessories,
31,
perspective,
books
Anatomical
87
study, 50, 51
to
Architectural
drawing,
Arrangement,
54,
4
Nature,
83
Criticism,
Is what
?
Symbolic, 63
forcing
Artists
to
of
light,
67
Cloud-scape,
67
80
drawings,
Correcting
*
87
Attitude,
Costume
Critical
drapery, 52,
books
to study, 84
Cross-hatching,
B.
Begin,
26.
Blocking
Books
study, Anatomical,
Caricature,
77
Design,
87
Breadth,
Bristol-Board,
88
50,
51
21
60
style of,
Decoration,
Decorative
Critical, 84
Ornamental
83
D.
in, 15, 29
to
88
38
to, 7
how
drawings,
28, 52
and
Criticism, art,
Background,
88
Cliche, 88
Cloud-forms,
8,10
41
10
copy,
24
88
54, 56, 58
Composition,
pen-and-ink
Copying
4
Artificial
with,
working
Collotype,
63
Decorative,
24
87
Character,
Chiaro-oscuro,
Chinese
white,
59
56
87
and
25, 88
75
to
Charcoal,
87
Animation,
Art
obscura,
25, 88
study, 77
History of, 75
with,
Chalk, working
44, 48, 49
Anatomy,
Art,
Lucida,
Books
86
Action,
Camera
Camera
Caricature,
86
Lights,
Accidental
Aerial
86
Figure,
Academy
Design, 54
Ornamental,
Diagram,
Distance,
64
art, 63
books
89
26, 38,
89
to
study,
66
98
INDEX.
Drapery and costnme, 52, 88
Kensington,
Drawing-book, South
40
12, 30,
Drawing, 12
Architectural,59
Chalk, 24
Charcoal, 24
Copying pen-and-ink, 8, 10
Correcting, 28, 52
Fixing limit of, 27, 28
the model, 13, 45, 46, 91
From
the roand, 44
From
Half-tone,24
Landscape, 59,
Figure, human, 44
45
Proportions of classical,
Final
hints, 85
Fixing limit of drawings, 27,
Foreground, 26
Foreshortening, 44, 47
23
G.
Glossary, 86
Grained
89
papers,
Grass. 70
.
91
Grouping, 54,
Line, 23
56
Marine
subjects,69
Materials for pen-and-ink, 34
Mechanical, 13
of, 73
Outline, 12, 22
Other
Half-tone
Perspective,27
Photographic, 61
Eeducing, 9, 19, 37
work
of, 13
Trees, 70
Wash, 22, 24
monochrome,
24
24
39
Hardness,
90
Harmony,
Hatching,
57
21
Hints, final,85
History of caricature, 75
How
to
How
to
W^ood, 1, 9, 78
Working,
drawings,
Half -tones,
Sand, 71
Technical
Water
H.
uses
begin, 7
draw
for
process
95
How
Human
to draw
lines,20
figure,foreshortening 44
E.
Etching, 15, 16
Eye sketches, 73
Execution, 57, 89
Expression, 89
Imagination, 90
Impressions," 41,
"
Indian
54
Paper, 90
Intaglio,90
Invention, 54,
Isometrical
Failure, Beason
56
perspective,31
of, 4
Feeling, 89
Fields, 70
Figure, 89
Academy,
86
ing,
engrav-
80
Japanesques,
64
99
INDEX.
Pencilling,92
Pen-drawing, 15, 18
Pen-drawings, popular, 85
Pentagraph, 92
Landscape drawings,59
of perspective,30
Laws
Perspective, 30
Aerial, 31, 87
91
Licence,
Light, 90
Isometrical,31
Accidental, 86
Lines, 19,
to draw, 20
drawings, 23
Line
of
Linear
of, 30
Linear, 30
Rules
of, 30, 31, 32
21
Line
How
Laws
forcing of, 41
Artificial
Simply Explained, 25
Technical, 30
91
Beauty,
perspective,30
Photo-
Photographic drawings,
Photography, 15, 17
Photo-gravure, 79
Pictures,Poker, 92
M.
91
Mannerism,
method
Many-lined
of
Plate-paper,
outlining,
Materials
subjects,drawing, 69
ing,
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34
Mechanical
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Merged
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Middle
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26
^
How
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Military sketching,
Model, drawing Irom
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92
Platinotypes,18
Point of sight,32
Poker-pictures,,92
Popular pen drawings, 85
Preliminary, 1
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21
Marine
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Proportions of
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79
for, 80
classical figure, 45
46,91
Motive,
91
E.
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Nature,
of
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Beducing drawings, 9, 19, 37
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Beflections
Ornament,
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Other
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Many-lined method
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Bocks, 70
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Roulette, 93
Boyal Academy
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Schools, training
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Bulea
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Painting, 15
Paper, grained, 89
Indian, 90
Plate, 92
68
I
Sand, drawing of, 71
Sea, 67
I Series,94
32
100
INDSX.
Scale,94
Sonmbling, 42
Shadow, 38
Ships, 67
Simple outline,21
Sketch, execation of,57
Eye, 78
Values
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Sketching,ndlitary,73
Sky, 67
South
Kensington drawing book,
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Splatter-work,43, 94
Stereotype,94
Studying from Nature, 6, 9, 13
Study of water, 68
Style of decoration,64
Symbolic art,63
System to follow,7
Tint,38, 43, 67
Tone, 38, 39
Boyal
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Schools,12
Trees,drawing of,70
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Values"
Vanishing point,32
Vignettes,63
"
Taste, 94
Technical
work
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Telautograph, 95
40
W.
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Washes, 19
Water
monochrome
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Wash
Water, reflections
T.
Academy
on,
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Study of,68
What
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Useful,and Valuable Informationon a vast number
of Interesting,
with Numerous Illustrations,
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A SUPERIOR PRINTING OUTFITTOR 1/6.
Oonsistinsr of seventy-four letters,
pointsand ornaments, a type holder,
supply of ink, pad and tweezers,
be set up
at
"c., can
Any name,
pleasure,for marking linen,stamping
and
printing cards.
books, papers,
Postage
Illustrated
INDIARUBBER
Made
B.
LINDNER,
STAMPS
to Order.
of
Estimate
3d.
extra.
Catalogue
Free.
Ever/Description
Free.
Manufacturer,170,Fleet St.,Londoir,^C;
DBAN'S
SIXPENNY PRACTICAL GUIDE BOI
Dean^s
Champion
Hand
S"ri""
64.
T"nnls,
Qolf;
Games;
Sports and
Ia
Crosse,
Hurling,
Bounders,
Trap-Ball,Skittles,Bowls, RacqneU,
Ac
By Citpt.Wilson.
iU
Rales.
With
2-BllliAr"l", with
IMagrams, New and Revised Edition.
LAwn
l-Pootball,
and
Books.
10--#tiHllnir
othor
And
Animalo,
Birds,
tlloOfAc
ByJAS. Oard:
11" RowiniTi
Scullins,
and
By a AC^Dolii
Vachtini^.
the Thames
13-Art
Club.
Yacht
of
Attack
and
Sword
and Bayonet
Fencing,
_
4-eri0k"t,
Edited
and
by Robert
Now
Abel.
and
"-Dr"MjrHts,
and
River
Sea.
Play.
to
of the
Nandbook
oT
I
the Marquis of Qneeii8t"en7
Amateur
Boxing AssocuLtion Sales
the Regulation of Ckinteste
^rith
Oloves.
C. Earl, Bx-Cbs
By John
pion of Heavy Weights, Irelan^f
Art
of).
By O. C. Davibs.
Sixth
Edition.
Handtonuly
By
,
i
J
I
16" Tho
of
Art
SwimntifB^.
Harrt
Ourr, ex-champioo feSwimfl
of England.
By J. Allen.
l-antorn.
'B:
14" Tho
With
Piay,
8" Indian
and
Olubo, Dumb-bolio,
"xorciooa.
With Diagrams.
"word
By the late Professor Harrison.
S"Mairic
^
Singlestick.
Boxing. ByMigor
Now
Patterson.
By
6" PIshinv
(Handbook
For
to
STABLES,
GOBDON
Bound, Cloth QUt, e/e, PoH
Free
7/-, and
M.D., R.li:
MicMy Illustrated,
OUR FRIEND THE DOG,
CONTAINING
the
every breed of Dog in the World,
of each.
show-points,
uses, and peculiarities
properties,
(h)
A
(a) All that is known
and
:
about
completedigestof
the diseases from
which
Dogs
are
apt
60
suffer,and plainadvice for the treatment.
(c) Important information on the Bearing of the Puppy and the
treatment
of the Dam.
^
approvedmethods of Kenneling,Grooming, Feeding,and
oringingDogs to the Show Benches.
(e) Yaluable hints about Buying and Selling.
{d) The
Preparing for
x"o
DEAN $
Mr:
^yTSTs
Fleet
Stree
SON,Ltd.,
i60a.
Publlshere
of
the
**nOG
OWNER'S
ANNUAL,"
^iOWLANDS'
*
if
HAIR. COMPLEXION,
THE
FOR
ARTICLES
and
FVRBUT
TEETH,
are
ikJX"
the
BB9T,
"*^"^IMMMfMMA^^WW^"""*'
ROWLANDS' ODONTO,
An
and aromatio
dentiantifleptic,
preservatiye,
which
whitens
frioe,
tl^eteeth,prevents and arrests
decay, and sweetens the breath. It contains no
mineral acids,no grittymatter or injuriousastringents,
keeps the mouth, gums, and teeth free from
the unhealthy action of germs
in organic matter
between
the teeth, and is the most
wholesome
tooth-powderfor smokers.
2s. 9d. per box.
ROWLANDS' MACASSAR OIL
and beautifier of the hair of children and adults ; preventsit
the best preserver
lling off or turning grey, eradicates scurf and dandruff,and is also tiie best
Ibrilliantine
for ladies'and everybody'suse, and as a little goes a very long way
it
is
most economical for generaluse ; is also sold in a golden colour for
really
I
If air-haired ladies and children ; it contains no lead or mineral ingredients.
IBottles,3s. 6d., 7s., 10s. 6d., equal to four small.
\
ROWLANDS' KALYDOR,
preparationfor the Skin and
cooling,soothing,healing,and refreshing
and
all
to
the
and dust,or the cold and
of
summer
sun
exposed
Ladies,
Complexion
or
damp of winter; it is warranted free from all mineral or metallic ingredients,
oxide of zinc,of which most Cosmetics are composed, and which ruin the skin.
It effectually
dispersesChaps, Chilblains,Freckles, Tan, Sunburn, Stings of
Soughness of the Skin; relieves Irritation of the Skin,
Bednees,
Insects,
PricklyHeat, Ac, renders the
IA
most
SOFT
SKIN
L
AND
beautiful,pure, and
produces
8i. 6d. ; half -sized bottles,2s. 8d.
and
a
SMOOTH,
delicate complexion. Size 4s.
6d.
and
ROWLANDS' ESSENCE OF TYRE
Effectuallydyes red
grey
or
hair
a
permanent
bro"m
or
black.
4s.
ROWLANDS' EUKONIA.
A pure
Brunette
Toilet Powder
complexion
largeboxes, 2s. 6d.
a
Ask
Chemists
GARDEN,
for
LONDON,
and
in three tints,
White, Bose, and Cream, for ladies of
those who do not like white powder. Boxes, Is.
;
ROWLANDS'
and
ARTICLES,
avoid spurious imitations.
of
20,
Digitized
by
HATTQN
v^^^^gii.
olaoMy m
meDiel
SPRATTS
PATENT
DOG
*
CAKES.
^^^^^^^^^^^^^^^^^^^^V^^
Pamphlet
on
CANINE
DISEASES
GJRATIS.
""^"^"*"*"*""tf"#""*#*"*#"tf"^i^M"^l^l^l^l^tf*^M"""#"""""#^"^^"^I^PW
SPRAnS
PATENT
S.E.
LIMITED,
BBI(fi"0|Ey,