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+The Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Pen Drawing
+       An Illustrated Treatise
+
+Author: Charles Maginnis
+
+Release Date: January 12, 2006 [EBook #17502]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PEN DRAWING ***
+
+
+
+
+Produced by Robert J. Hall
+
+
+
+
+
+PEN DRAWING
+
+AN ILLUSTRATED TREATISE
+
+
+BY CHARLES D. MAGINNIS
+
+F.A.I.A., LL.D.
+
+FELLOW AM. ACAD. ARTS AND SCIENCES
+
+FORMERLY INSTRUCTOR IN ILLUSTRATION, COWLES ART SCHOOL
+
+INSTRUCTOR IN PEN DRAWING, BOSTON ARCHITECTURAL CLUB
+
+
+SEVENTH EDITION
+
+
+
+
+ACKNOWLEDGMENT
+
+To Mr. David A. Gregg and to Mr. Bertram G. Goodhue, who have generously
+made special drawings for this little book, and to the Publishers
+who have courteously allowed me to make use of illustrations owned
+by them, my thanks and my cordial acknowledgements are due.
+
+  C. D. M.
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+FIGURE
+   1. JOSEPH PENNELL. From _The Century Magazine_ (The Century Co:
+      New York)
+   2. MAXIME LALANNE. From "La Hollande à Vol d'Oiseau," by H. Havard
+      (A. Quantin: Paris)
+   3. MAXIME LALANNE. From "La Hollande à Vol d'Oiseau," by H. Havard
+      (A. Quantin: Paris)
+   4. RESTORATION HOUSE, ROCHESTER, ENGLAND. Drawing from a Photograph
+   5. JOSEPH PENNELL. From "Highways and Byways in North Wales" (Macmillan
+      & Co: London)
+   6. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
+   7. HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+   8. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
+   9. C. D. M. Drawn for "Pen Drawing"
+  10. C. D. M. Drawn for "Pen Drawing"
+  11. MARTIN RICO. From _La Ilustracion Española y Americana_
+  12. C. D. M. Drawn for "Pen Drawing"
+  13. DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo
+      (Léon Bonhoure: Paris)
+  14. MARTIN RICO. From _La Ilustracion Española y Americana_
+  15. ALFRED BRENNAN. From _St. Nicholas_ (The Century Co: New York)
+  16. LESLIE WILLSON. From _Pick-Me-Up_ (London)
+  17. DRAWING FROM PHOTOGRAPH. From _Harper's Magazine_ (Harper &
+      Brothers: New York)
+  18. JOSEPH PENNELL. From "The Sâone: A Summer  Voyage," by Philip
+      Gilbert Hamerton (Seeley & Co: London)
+  19. JOSEPH PENNELL. From "The Sâone: A Summer Voyage," by Philip
+      Gilbert Hamerton (Seeley & Co: London)
+  20. JOSEPH PENNELL. From _Harper's Magazine_ (Harper & Brothers:
+      New York)
+  21. E. DANTAN. From _L'Art_ (Paris)
+  22. J. F. RAFFAËLLI. From _Gazette des Beaux-Arts_ (Paris)
+  23. C. D. M. Drawn for "Pen Drawing"
+  24. D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+      D. A. Gregg (Ticknor & Co: Boston)
+  25. DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo
+      (Léon Bonhoure: Paris)
+  26. DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo
+      (Léon Bonhoure: Paris)
+  27. HARRY FENN. From _The Century Magazine_ (The Century Co:
+      New York)
+  28. REGINALD BIRCH. From _The Century Magazine_ (The Century Co:
+      New York)
+  29. JOSEPH PENNELL. From _The Century Magazine_ (The Century Co:
+      New York)
+  30. BERTRAM G. GOODHUE. From _The Architectural Review_ (Bates
+      & Guild Co: Boston)
+  31. JOSEPH PENNELL. From "Charing Cross to St.  Paul's," by Justin
+      McCarthy (Seeley & Co: London)
+  32. LEONARD RAVEN HILL. From _Pick-Me-Up_ (London)
+  33. DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo
+      (Léon Bonhoure: Paris)
+  34. P. G. JEANNIOT. From _La Vie Moderne_ (Paris)
+  35. PORCH OF AN ENGLISH CHURCH. From a Photograph
+  36. D. A. GREGG. Drawn for "Pen Drawing"
+  37. NORMANDY MOAT-HOUSE. From a Photograph
+  38. C. D. M. Drawn for "Pen Drawing"
+  39. STREET IN HOLLAND. From a Photograph
+  40. C. D. M. Drawn for "Pen Drawing"
+  41. C. D. M. Drawn for "Pen Drawing"
+  42. GEORGE F. NEWTON. From "Catalogue of the  Philadelphia & Boston
+      Face Brick Co." (Boston)
+  43. C. D. M. Drawn for "Pen Drawing"
+  44. C. D. M. Drawn for "Pen Drawing"
+  45. FRANK E. WALLIS. From _The Engineering Record_
+  46. HARRY ALLAN JACOBS. From _The Architectural Review_ (Bates
+      & Guild Co: Boston)
+  47. D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+      D. A. Gregg (Ticknor & Co: Boston)
+  48. D. A. GREGG. From _The Brickbuilder_ (Rogers & Manson: Boston)
+  49. HERBERT RAILTON. From "Coaching Days and  Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+  50. D. A. GREGG. From _The American Architect_ (The American
+      Architect and Building News Co: Boston)
+  51. WALTER M.CAMPBELL. From _The American Architect_ (The American
+      Architect and Building News Co: Boston)
+  52. HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+  53. A. F. JACCACI. From _The Century Magazine_ (The Century Co:
+      New York)
+  54. CLAUDE FAYETTE BRAGDON. From _The Brickbuilder_ (Rogers &
+      Manson: Boston)
+  55. HARVEY ELLIS. From _The Inland Architect_ (The Inland Publishing
+      Co: Chicago)
+  56. C. E. MALLOWS. From _The British Architect_ (London)
+  57. C. D. M. Drawn for "Pen Drawing"
+  58. C. D. M. Drawn for "Pen Drawing"
+  59. C. D. M. Drawn for "Pen Drawing"
+  60. C. D. M. Drawn for "Pen Drawing"
+  61. A. B. FROST. From _Scribner's Magazine_ (Charles  Scribner's
+      Sons: New York)
+  62. ALFRED G. JONES. From a Book Plate
+  63. WALTER APPLETON CLARK. From _Scribner's Magazine_ (Charles
+      Scribner's Sons: New York).
+  64. A. CAMPBELL CROSS. From _Quartier Latin_ (Paris)
+  65. MUCHA. From a Poster Design
+  66. HOWARD PYLE. From "Otto of the Silver Hand," by Howard Pyle
+      (Charles Scribner's Sons: New York)
+  67. WILL H. BRADLEY. From a Poster Design for _The Chap-Book_
+      (Herbert S. Stone & Co: Chicago)
+  68. P. J. BILLINGHURST. From a Book Plate
+  69. "BEGGARSTAFF BROTHERS." From a Poster Design
+  70. EDWARD PENFIELD. From a Design for the "Poster Calendar"
+      (R. H. Russell & Son: New York)
+  71. LOUIS J. RHEAD. From a Poster Design for "Lundborg's Perfumes"
+  72. J. W. SIMPSON. From a Book Plate
+
+
+
+
+CONTENTS
+
+  CHAPTER I.--Style in Pen Drawing
+  CHAPTER II.--Materials
+  CHAPTER III.--Technique
+  CHAPTER IV.--Values
+  CHAPTER V.--Practical Problems
+  CHAPTER VI.--Architectural Drawing
+  CHAPTER VII.--Decorative Drawing
+
+
+
+
+CHAPTER I
+
+STYLE IN PEN DRAWING
+
+Art, with its finite means, cannot hope to record the infinite
+variety and complexity of Nature, and so contents itself with a
+partial statement, addressing this to the imagination for the full
+and perfect meaning. This inadequation, and the artificial adjustments
+which it involves, are tolerated by right of what is known as artistic
+convention; and as each art has its own particular limitations, so
+each has its own particular conventions. Sculpture reproduces the
+forms of Nature, but discards the color without any shock to our
+ideas of verity; Painting gives us the color, but not the third
+dimension, and we are satisfied; and Architecture is _purely_
+conventional, since it does not even aim at the imitation of natural
+form.
+
+[Sidenote: _The Conventions of Line Drawing_]
+
+Of the kindred arts which group themselves under the head of Painting,
+none is based on such broad conventions as that with which we are
+immediately concerned--the art of Pen Drawing. In this medium,
+Nature's variety of color, when not positively ignored, is suggested
+by means of sharp black lines, of varying thickness, placed more or
+less closely together upon white paper; while natural form depends
+primarily for its representation upon arbitrary boundary lines.
+There is, of course, no authority in Nature for a positive outline:
+we see objects only by the difference in color of the other objects
+behind and around them. The technical capacity of the pen and ink
+medium, however, does not provide a value corresponding to every
+natural one, so that a broad interpretation has to be adopted which
+eliminates the less positive values; and, that form may not likewise
+be sacrificed, the outline becomes necessary, that light objects may
+stand relieved against light. This outline is the most characteristic,
+as it is the most indispensable, of the conventions of line drawing.
+To seek to abolish it only involves a resort to expedients no less
+artificial, and the results of all such attempts, dependent as
+they necessarily are upon elaboration of color, and a general
+indirectness of method, lack some of the best characteristics of
+pen drawing. More frequently, however, an elaborate color-scheme
+is merely a straining at the technical limitations of the pen in
+an effort to render the greatest possible number of values.
+
+It may be worth while to inquire whether excellence in pen drawing
+consists in thus dispensing with its recognized conventions, or
+in otherwise taxing the technical resources of the instrument.
+This involves the question of Style,--of what characteristic pen
+methods are,--a question which we will briefly consider.
+
+[Side note: _What Constituted "Style"_]
+
+It is a recognized principle that every medium of art expression
+should be treated with due regard to its nature and properties.
+The sculptor varies his technique according as he works in wood,
+granite, or marble; the painter handles his water-color in quite
+another manner than that he would employ on an oil-painting of
+the same subject; and the architect, with the subtle sense of the
+craftsman, carries this principle to such a fine issue as to impart
+an individual expression even to particular woods. He knows that
+what may be an admirable design when executed in brass may be a
+very bad one in wrought-iron and is sure to be an absurdity in
+wood. An artistic motive for a silver flagon, too, is likely to
+prove ugly for pottery or cut-glass, and so on. There is a genius,
+born of its particular properties, in every medium, which demands
+individual expression. Observe, therefore, that Art is not satisfied
+with mere unrelated beauty of form or color. It requires that the
+result confess some sensible relation to the means by which it has
+been obtained; and in proportion as it does this, it may claim
+to possess that individual and distinctive charm which we call
+"Style." It may be said, therefore, that the technical limitations
+of particular mediums impose what might properly be called natural
+conventions; and while misguided ambition may set these conventions
+aside to hammer out effects from an unwilling medium, the triumph
+is only mechanical; Art does not lie that way.
+
+[Side note: _The Province of the Pen_]
+
+Ought the pen, then, to be persuaded into the province of the brush?
+Since the natures of the two means differ, it does not stultify
+the water-color that it cannot run the deep gamut of oil. Even if
+the church-organ be the grandest and most comprehensive of musical
+instruments we may still be permitted to cherish our piano. Each
+has its own sphere, its own reason for being. So of the pen,--the
+piccolo flute of the artistic orchestra. Let it pipe its high treble
+as merrily as it may, but do not coerce it into mimicking the bassoon.
+
+[Illustration: FIG. 1 JOSEPH PENNELL]
+
+Pen drawing is most apt to lose its individuality when it begins
+to assume the characteristics of wash-drawing, such as an elaborate
+massing of grays, small light areas, and a general indirectness
+of method. A painter once told me that he was almost afraid to
+handle the pen,--"It is so fearfully direct," he said. He understood
+the instrument, certainly, for if there is one characteristic more
+than another which should distinguish pen methods it is Directness.
+The nature of the pen seems to mark as its peculiar function that
+of picking out the really vital features of a subject. Pen drawing
+has been aptly termed the "shorthand of Art;" the genius of the
+pen-point is essentially epitome.
+
+If we turn to the brush, we find its capacity such that a high
+light may be brought down to a minute fraction of an inch with a
+few swift strokes of it; whereas the tedious labor, not to speak
+of the actual technical difficulties, encountered in attempting such
+an effect of color with pen and ink, indicates that we are forcing
+the medium. Moreover, it is technically impossible to reproduce
+with the pen the low values which may be obtained with the brush;
+and it is unwise to attempt it. The way, for example, in which
+Mr. Joseph Pennell handles his pen as compared with that in which
+he handles his brush is most instructive as illustrating what I
+have been maintaining. His pen drawings are pitched in a high
+key,--brilliant blacks and large light areas, with often just enough
+half-tone to soften the effect. His wash-drawings, on the contrary,
+are so utterly different in manner as to have nothing in common
+with the others, distinguished as they are by masses of low tone
+and small light areas. Compare Figs. 1 and 5. Observe that there
+is no straining at the technical capacity of the pen or of the
+brush; no attempt to obtain an effect in one medium which seems to
+be more naturally adapted to the other. Individuality is imparted
+to each by a frank concession to its peculiar genius.
+
+[Illustration: FIG. 2 MAXIME LALANNE]
+
+[Side note: _Examples of Good Style_]
+
+I have said that the chief characteristic of pen methods is Directness.
+I think I may now say that the chief element of style is Economy
+of Means. The drawing by M. Maxime Lalanne shown in Fig. 2 is an
+excellent example of this economy carried to its extreme. Not a
+stroke could be spared, so direct and simple is it, and yet it
+is so complete and homogenous that nothing could be added to make
+it more so. The architecture is left without color, and yet we are
+made to feel that it is not white--this subtle suggestion of low
+color being obtained by a careful avoidance of any strong black
+notes in the rendering, which would have intensified the whites
+and lighted up the picture. Fig. 3, by the same artist, is even
+more notable by reason of the masterly breadth which characterizes
+the treatment of a most complicated subject. A comparison of these
+with a drawing of the Restoration House, at Rochester, England, Fig.
+4, is instructive. In the latter the method is almost painfully
+elaborate; nothing of the effect is obtained by suggestion. The
+technique is varied and interesting, but the whole drawing lacks that
+individual something which we call Style. In the Lalanne drawings we
+see foliage convincingly represented by means of the mere outlines
+and a few subtle strokes of the pen. There is no attempt at the
+literal rendering of natural objects in detail, all is accomplished
+by suggestion: and while I do not wish to be understood as insisting
+upon such a severely simple style, much less upon the purist theory
+that the function of the pen is concerned with form alone, I would
+impress upon the student that Lalanne's is incomparably the finer
+manner of the two.
+
+[Illustration: FIG. 3 MAXIME LALANNE]
+
+[Illustration: FIG. 4 FROM A PHOTOGRAPH]
+
+[Illustration: FIG. 5 JOSEPH PENNELL]
+
+[Side note: _A Word of Advice_]
+
+Between these two extremes of method there is a wide latitude for
+individual choice. Contrast with the foregoing the accompanying
+pen drawing by Mr. Pennell, Fig. 5, which gives a fair idea of the
+manner of this admirable stylist. Compared with the sketches by
+Lalanne it has more richness of color, but there is the same fine
+restraint, the same nice regard for the instrument. The student
+will find it most profitable to study the work of this masterly
+penman. By way of warning, however, let me remind him here, that in
+studying the work of any accomplished draughtsman he is selecting
+a style for the study of principles, not that he may learn to mimic
+somebody, however excellent the somebody may be; that he must,
+therefore, do a little thinking himself; that he has an individuality
+of his own which he does not confess if his work looks like some
+one's else; and, finally, that he has no more right to consciously
+appropriate the peculiarities of another's style than he has to
+appropriate his more tangible property, and no more reason to do
+so than he has to walk or talk like him.
+
+
+
+
+CHAPTER II
+
+MATERIALS
+
+Every illustrator has his special predilections in the matter of
+materials, just as he has in the matter of methods. The purpose
+of this chapter is, therefore, rather to assist the choice of the
+student by limiting it than to choose for him. It would be advisable
+for him to become acquainted with the various materials that I may
+have occasion to mention (all of them are more or less employed
+by the prominent penmen), and a partiality for particular ones will
+soon develop itself. He is reminded, however, that it is easily
+possible to exaggerate the intrinsic values of pens and papers;
+in fact the beginner invariably expects too much from them. Of
+course, he should not use any but the best,--even Vierge could
+not make a good drawing with a bad pen,--but the artistic virtues
+of a particular instrument are not likely to disclose themselves
+in the rude scratchings of the beginner. He has to master it, to
+"break it in," ere he can discover of what excellent service it
+is capable.
+
+[Side note: _Pens_]
+
+The student will find that most of the steel pens made for artists
+have but a short period of usefulness. When new they are even more
+unresponsive than when they are old. At first they are disposed to
+give a hard, wiry line, then they grow sympathetic, and, finally,
+lose their temper, when they must be immediately thrown away. As
+a general rule, the more delicate points are better suited to the
+smooth surfaces, where they are not likely to get tripped up and
+"shaken" by the roughness in the paper.
+
+To begin with the smaller points, the "Gillott Crow-quill" is an
+excellent instrument. The normal thickness of its line is extremely
+small, but so beautifully is the nib made that it will respond
+vigorously to a big sweeping stroke. I say a "sweeping stroke,"
+as its capacity is not to be taxed for uniformly big lines. An
+equally delicate point, which surpasses the crow-quill in range,
+is "Gillott's Mapping-pen." It is astonishing how large a line
+may be made with this instrument. It responds most nimbly to the
+demands made upon it, and in some respects reminds one of a brush.
+It has a short life, but it may be a merry one. Mr. Pennell makes
+mention of a pen, "Perry's Auto-Stylo," which seems to possess
+an even more wonderful capacity, but of this I cannot speak from
+experience. A coarser, but still a small point, is the "Gillott
+192"--a good pen with a fairly large range; and, for any others
+than the smooth papers, a pen smaller than this will probably be
+found undesirable for general use. A shade bigger than this is
+the "Gillott 303," a very good average size. Neither of these two
+possesses the sensitiveness of those previously mentioned, but
+for work demanding more or less uniformity of line they will be
+found more satisfactory. The smaller points are liable to lead one
+into the quagmire of finicalness. When we get beyond the next in
+size, the "Gillott 404," there is nothing about the coarse steel
+points to especially commend them for artistic use. They are usually
+stupid, unreliable affairs, whose really valuable existence is
+about fifteen working minutes. For decorative drawing the ordinary
+commercial "stub" will be found a very satisfactory instrument.
+Of course one may use several sizes of pens in the same drawing,
+and it is often necessary to do so.
+
+Before leaving the steel pens, the "double-line pen" may be mentioned,
+though it has only a limited sphere. It is a two-pointed arrangement,
+practically two pens in one, by means of which parallel lines may
+be made with one stroke. Rather interesting effects can be obtained
+with it, but on the whole it is most valuable as a curiosity. Though
+somewhat out of fashion for general use, the quill of our fathers is
+favored by many illustrators. It is splendidly adapted for broad,
+vigorous rendering of foreground effects, and is almost dangerously
+easy to handle. Reed pens, which have somewhat similar virtues,
+are now little employed, and cannot be bought. They have to be
+cut from the natural reed, and used while fresh. For many uses
+in decorative drawing one of the most satisfactory instruments is
+the glass pen, which gives an absolutely uniform line. The point
+being really the end of a thin tube, the stroke may be made in any
+direction, a most unique characteristic in a pen. It has, however,
+the disadvantages of being friable and expensive; and, as it needs
+to be kept clean, the patent water-proof ink should not be used with
+it unless absolutely necessary. A flat piece of cork or rubber should
+be placed inside the ink-bottle when this pen is used, otherwise it
+is liable to be smashed by striking the bottom of the bottle. The
+faculty possessed by the Japanese brush of retaining its point
+renders it also available for use as a pen, and it is often so
+employed.
+
+[Side note: _Inks_]
+
+In drawing for reproduction, the best ink is that which is blackest
+and least shiny. Until a few years ago it was the custom of penmen
+to grind their India ink themselves; but, besides the difficulty of
+always ensuring the proper consistency, it was a cumbersome method,
+and is now little resorted to, especially as numerous excellent
+prepared inks are ready to hand. The better known of these prepared
+inks are, "Higgins' American" (general and waterproof), Bourgeois'
+"Encre de Chine Liquide," "Carter's," "Winsor & Newton's," and
+"Rowney's." Higgins' and Carter's have the extrinsic advantages
+of being put up in bottles which do not tip over on the slightest
+provocation, and of being furnished with stoppers which can be
+handled without smearing the fingers. Otherwise, they cannot be
+said to possess superiority over the others, certainly not over
+the "Encre de Chine Liquide." Should the student have occasion
+to draw over salt-prints he will find it wise to use waterproof
+ink, as the bleaching acid which is used to fade the photographic
+image may otherwise cause the ink to run.
+
+[Side note: _Papers_]
+
+Bristol-board is probably the most popular of all surfaces for
+pen drawing. It is certainly that most approved by the process
+engraver, whose point of view in such a matter, though a purely
+mechanical one, is worthy of consideration. It has a perfectly
+smooth surface, somewhat difficult to erase from with rubber, and
+which had better be scratched with a knife when any considerable
+erasure is necessary. As the cheap boards are merely a padding
+veneered on either side with a thin coating of smooth paper, little
+scraping is required to develop a fuzzy surface upon which it is
+impossible to work. Only the best board, such as Reynolds', therefore,
+should be used. Bristol-board can be procured in sheets of various
+thicknesses as well as in blocks.
+
+Whatman's "hot-pressed" paper affords another excellent surface
+and possesses some advantages over the Bristol-board. It comes
+in sheets of various sizes, which may be either tacked down on
+a board or else "stretched." Tacking will be satisfactory enough
+if the drawing is small and is to be completed in a few hours;
+otherwise the paper is sure to "hump up," especially if the weather
+be damp. The process of stretching is as follows: Fold up the edges
+of the sheet all around, forming a margin about an inch wide. After
+moistening the paper thoroughly with a damp sponge, cover the under
+side of this turned-up margin with photographic paste or strong
+mucilage. During this operation the sheet will have softened and
+"humped up," and will admit of stretching. Now turn down the adhesive
+margin and press it firmly with the fingers, stretching the paper
+gently at the same time. As this essential part of the process must
+be performed quickly, an assistant is requisite when the sheet
+is large. Care should be taken that the paper is not strained too
+much, as it is then likely to burst when it again contracts.
+
+Although generally employed for watercolor drawing, Whatman's
+"cold-pressed" paper has some advantages as a pen surface. Slightly
+roughish in texture, it gives an interesting broken line, which
+is at times desirable.
+
+A peculiar paper which has considerable vogue, especially in France
+and England, is what is known as "clay-board." Its surface is composed
+of China clay, grained in various ways, the top of the grain being
+marked with fine black lines which give a gray tone to the paper,
+darker or lighter according to the character of the pattern. This
+tone provides the middle-tint for the drawing. By lightly scraping
+with a sharp penknife or scratcher, before or after the pen work
+is done, a more delicate gray tone may be obtained, while vigorous
+scraping will produce an absolute white. With the pen work added,
+it will be seen that a good many values are possible; and, if the
+drawing be not reduced more than one-third, it will print excellently.
+The grain, running as it does in straight lines, offers a good deal
+of obstruction to the pen, however, so that a really good line is
+impossible.
+
+Thin letter-paper is sometimes recommended for pen and ink work,
+chiefly on account of its transparency, which obviates the necessity
+of re-drawing after a preliminary sketch has been worked up in
+pencil. Over the pencil study a sheet of the letter-paper is placed
+on which the final drawing may be made with much deliberation. Bond
+paper, however, possesses the similar advantage of transparency
+besides affording a better texture for the pen.
+
+
+
+
+CHAPTER III
+
+TECHNIQUE
+
+[Side note: _The Individual Line_]
+
+The first requirement of a good pen technique is a good Individual
+Line, a line of feeling and quality. It is usually a surprise to
+the beginner to be made aware that the individual line is a thing
+of consequence,--a surprise due, without doubt, to the apparently
+careless methods of some successful illustrators. It is to be borne
+in mind, however, that some illustrators are successful in spite
+of their technique rather than because of it; and also that the
+apparently free and easy manner of some admirable technicians is
+in reality very much studied, very deliberate, and not at all to
+be confounded with the unsophisticated scribbling of the beginner.
+The student is apt to find it just about as easy to draw like Mr.
+Pennell as to write like Mr. Kipling. The best way to acquire such
+a superb freedom is to be very, very careful and painstaking. To
+appreciate how beautiful the individual line may be one has but
+to observe the rich, decorative stroke of Howard Pyle, Fig. 66,
+or that of Mucha, Fig. 65, the tender outline of Boutet de Monvel,
+the telling, masterly sweep of Gibson, or the short, crisp line of
+Vierge or Rico. Compared with any of these the line of the beginner
+will be either feeble and tentative, or harsh, wiry, and coarse.
+
+[Illustration: FIG. 6 B. G. GOODHUE]
+
+[Illustration: FIG. 7 HERBERT RAILTON]
+
+[Side note: _Variety of Line_]
+
+The second requisite is Variety of Line,--not merely variety of
+size and direction, but, since each line ought to exhibit a feeling
+for the particular texture which it is contributing to express,
+variety of character. Mr. Gibson's manner of placing very delicate
+gray lines against a series of heavy black strokes exemplifies
+some of the possibilities of such variety. Observe, in Fig. 6,
+what significance is imparted to the heavy lines on the roof of
+the little foreground building by the foil of delicate gray lines
+in the sky and surrounding roofs. This conjunction was employed
+early by Mr. Herbert Railton, who has made a beautiful use of it
+in his quaint architectural subjects. Mr. Railton's technique is
+remarkable also for the varied direction of line and its expression
+of texture. Note this characteristic in his drawing of buttresses,
+Fig. 7.
+
+[Illustration: FIG. 8 B. G. GOODHUE]
+
+[Illustration: FIG. 9 C. D. M.]
+
+[Illustration: FIG. 10 C. D. M.]
+
+[Side note: _Economy of Method_]
+
+The third element of good technique is Economy and Directness of
+Method. A tone should not be built up of a lot of meaningless strokes.
+Each line ought, sensibly and directly, to contribute to the ultimate
+result. The old mechanical process of constructing tones by
+cross-hatching is now almost obsolete. It is still employed by
+modern pen draughtsmen, but it is only one of many resources, and
+is used with nice discrimination. At times a cross-hatch is very
+desirable and very effective,--as, for example, in affording a
+subdued background for figures having small, high lights. A very
+pretty use of it is seen in the tower of Mr. Goodhue's drawing,
+Fig. 8. Observe here how the intimate treatment of the roofs is
+enhanced and relieved by the foil of closely-knit hatch on the
+tower-wall, and how effective is the little area of it at the base
+of the spire. The cross-hatch also affords a satisfactory method
+of obtaining deep, quiet shadows. See the archway "B" in Fig. 9.
+On the whole, however, the student is advised to accustom himself
+to a very sparing use of this expedient. Compare the two effects in
+Fig. 9, Some examples of good and bad cross-hatching are illustrated
+in Fig. 10. Those marked "I" and "J" may be set down as bad, being
+too coarse. The only satisfactory cross-hatch at a large scale would
+seem to be that shown in "N," where lines cross at a sharp angle;
+and this variety is effectively employed by figure illustrators.
+Perhaps no better argument against the necessity for thus building
+up tones could be adduced than the little drawing by Martin Rico,
+shown in Fig. 11. Notice what a beautiful texture he gives to the
+shadow where it falls on the street, how it differs from that on
+the walls, how deep and closely knit it all is, and yet that there
+is absolutely no cross-hatching. Remark, also, how the textures
+of the walls and roof and sky are obtained. The student would do
+well to copy such a drawing as this, or a portion of it, at least,
+on a larger scale, as much can be learned from it.
+
+[Illustration: FIG. 11 MARTIN RICO]
+
+[Size note: _Methods of Tone-Making_]
+
+I have shown various methods of making a tone in Fig. 12. It will be
+observed that Rico's shadow, in Fig. 11, is made up of a combination
+of "B" and "C," except that he uses "B" horizontally, and makes
+the line heavy and dragging. The clear, crisp shadows of Vierge
+are also worthy of study for the simplicity of method. This is
+beautifully illustrated in the detail, Fig. 13. It would be impossible
+to suggest atmosphere more vibrating with sunlight; a result due
+to the transparency of the shadows, the lines of which are sharp
+and clean, with never a suggestion of cross-hatch. Notice how the
+lines of the architectural shadows are stopped abruptly at times,
+giving an emphasis which adds to the brilliancy of the effect. The
+drawing of the buildings on the canal, by Martin Rico, Fig. 14,
+ought also to be carefully studied in this connection. Observe how
+the shadow-lines in this drawing, as in that previously mentioned,
+are made to suggest the direction of the sunlight, which is high in
+the heavens. An example of all that is refined and excellent in
+pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The
+student would do well to study this carefully for its marvellous
+beauty of line. There is little hatching, and yet the tones are deep
+and rich. The wall tone will be found to be made up similarly to "A"
+and "H" in Fig. 12. The tone "B" in the same Figure is made up of
+lines which are thin at the ends and big in the middle, fitting into
+each other irregularly, and imparting a texture somewhat different
+from that obtained by the abrupt ending of the strokes of "A." This
+method is also employed by Brennan, and is a very effective one.
+A good example of the use of this character of line (unknitted,
+however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular
+line "C" has good possibilities for texture, and the wavy character
+of "D" is most effective in the rendering of shadows, giving a
+certain vibration to the atmosphere. "E" and "F" suggest a freer
+method of rendering a tone; while "G" shows a scribbling line that
+is sometimes employed to advantage. The very interesting texture of
+the coat, Fig. 17, is made with a horizontal line having a similar
+return stroke, as may be noticed where the rendering ends. There are
+times when an irresponsible sort of line is positively desirable,--say
+for rough foreground suggestion or for freeing the picture at the
+edges.
+
+[Illustration: FIG. 12 C. D. M.]
+
+[Illustration: FIG. 13 DANIEL VIERGE]
+
+[Illustration: FIG. 14 MARTIN RICO]
+
+[Illustration: FIG. 15 ALFRED BRENNAN]
+
+[Illustration: FIG. 16 LESLIE WILLSON]
+
+[Size note: _Outline_]
+
+I have invariably found that what presents the chief difficulty
+to the student of pen and ink is the management of the Outline.
+When it is realized that, by mere outline, one may express the
+texture of a coat or a tree or a wall without any rendering whatever,
+it will be seen that nothing in pen drawing is really of so much
+importance. Notice, for example, the wonderful drawing of the dog
+in Fig. 34. Again, if a connected line had been used to define
+the corners of Railton's buttresses in Fig. 7 all the texture,
+would have been destroyed. Instead of this he has used a broken
+outline, sometimes omitting it altogether for a considerable space.
+On the ledges, too, the lines are broken. In Rico's drawing, Fig.
+11, all the outlines may be observed to have a break here and there.
+This broken line is particularly effective in out-door subjects,
+as it helps to suggest sunlit atmosphere as well as texture.
+
+[Illustration: FIG. 17 DRAWING FROM A PHOTOGRAPH]
+
+Architectural outlines, however, are not particularly subtle; it
+is when we come to render anything with vague boundaries, such as
+foliage or clouds for example, that the chief difficulties are
+encountered. Foliage is an important element of landscape drawing
+and deserves more than passing consideration. To make a successful
+rendering of a tree in pen and ink the tree must be first well drawn
+in pencil. It is absolutely impossible to obtain such a charming
+effect of foliage as that shown in Mr. Pennell's sketch, Fig. 18,
+without the most painstaking preparation in pencil. The success
+of this result is not attributable merely to the difference in
+textures, nor to the direction or character of the line; it is
+first of all a matter of good drawing. The outline should be free
+and subtle so as to suggest the edges of leafage, and the holes
+near the edges should be accented, otherwise they will be lost
+and the tree will look solid and characterless. Observe, in the
+same drawing, how Mr. Pennell suggests the structure of the leafage
+by the irregular outlines which he gives to the different series of
+lines, and which he emphasizes by bringing the lines to an abrupt
+stop. Observe also how the stronger texture of the tree in Fig. 19
+is obtained by making the lines with greater abruptness. Compare
+both of these Figures with the foreground trees by the same artist
+in Fig. 20. The last is a brilliant example of foliage drawing
+in pen and ink.
+
+[Illustration: FIG. 18 JOSEPH PENNELL]
+
+[Illustration: FIG. 19 JOSEPH PENNELL]
+
+[Illustration: FIG. 20 JOSEPH PENNELL]
+
+[Illustration: FIG. 21 E. DANTAN]
+
+[Side note: _Textures_]
+
+The matter of Textures is very important, and the student should
+learn to differentiate them as much as possible. This is done,
+as I have already said, by differences in the size and character
+of the line, and in the closeness or openness of the rendering.
+Observe the variety of textures in the drawing of the sculptor
+by Dantan, Fig. 21. The coat is rendered by such a cross-hatch
+as "N" in Fig. 10, made horizontally and with heavy lines. In the
+trousers the lines do not cross but fit in together. This is an
+excellent example for study, as is also the portrait by Raffaëlli,
+Fig. 22. The textures in the latter drawing are wonderfully well
+conveved,--the hard, bony face, the stubby beard, and the woolen
+cap with its tassel in silhouette. For the expression of texture
+with the least effort the drawings of Vierge are incomparable.
+The architectural drawing by Mr. Gregg in Fig. 50 is well worth
+careful study in this connection, as are all of Herbert Railton's
+admirable drawings of old English houses. (I recommend the study
+of Mr. Railton's work with a good deal of reservation, however.
+While it is admirable in respect of textures and fascinating in its
+color, the values are likely to be most unreal, and the mannerisms
+are so pronounced and so tiresome that I regard it as much inferior
+to that of Mr. Pennell, whose architecture always _appears_, at
+least, to have been honestly drawn on the spot.)
+
+[Illustration: FIG. 22 J. F. RAFFAËLLI]
+
+The hats in Fig. 10 are merely suggestions to the student in the
+study of elementary combinations of line in expressing textures.
+
+[Side note: _Drawing for Reproduction_]
+
+As the mechanical processes of Reproduction have much to do with
+determining pen methods they become important factors for consideration.
+While their waywardness and inflexibility are the cause of no little
+distress to the illustrator, the limitations of processes cannot
+be said, on the whole, to make for inferior standards in drawing,
+as will be seen by the following rules which they impose, and for
+which a strict regard will be found most advisable.
+
+First: Make each line clear and distinct. Do not patch up a weak
+line or leave one which has been broken or blurred by rubbing, for
+however harmless or even interesting it may seem in your original
+it will almost certainly be neither in the reproduction. When you
+make mistakes, erase the offensive part completely, or, if you
+are working on Bristol-board and the area of unsatisfactoriness
+be considerable, paste a fresh piece of paper over it and redraw.
+
+Second: Keep your work open. Aim for economy of line. If a shadow
+can be rendered with twenty strokes do not crowd in forty, as you
+will endanger its transparency. Remember that in reproduction the
+lines tend to thicken and so to crowd out the light between them.
+This is so distressingly true of newspaper reproduction that in
+drawings for this purpose the lines have to be generally very thin,
+sharp, and well apart. The above rule should be particularly regarded
+in all cases where the drawing is to be subject to much reduction.
+The degree of reduction of which pen drawings are susceptible is
+not, as is commonly supposed, subject to rule. It all depends on
+the scale of the technique.
+
+Third: Have the values few and positive. It is necessary to keep
+the gray tones pretty distinct to prevent the relation of values
+being injured, for while the gray tones darken in proportion to the
+degree of reduction, the blacks cannot, of course, grow blacker.
+A gray tone which may be light and delicate in the original, will,
+especially if it be closely knit, darken and thicken in the printing.
+These rules are most strictly to be observed when drawing for the
+cheaper classes of publications. For book and magazine work, however,
+where the plates are touched up by the engraver, and the values in a
+measure restored, the third rule is not so arbitrary. Nevertheless,
+the beginner who has ambitions in this direction will do well not
+to put difficulties in his own way by submitting work not directly
+printable.
+
+[Side note: _Some Fanciful Expedients_]
+
+There are a number of more or less fanciful expedients employed in
+modern pen work which may be noted here, and which are illustrated
+in Fig. 10. The student is advised, however, to resort to them as
+little as possible, not only because he is liable to make injudicious
+use of them, but because it is wiser for him to cultivate the less
+meretricious possibilities of the instrument.
+
+"Spatter work" is a means of obtaining a delicate printable tone,
+consisting of innumerable little dots of ink spattered on the paper.
+The process is as follows: Carefully cover with a sheet of paper
+all the drawing except the portion which is to be spattered, then
+take a tooth-brush, moisten the ends of the bristles consistently
+with ink, hold the brush, back downwards, in the left hand, and
+with a wooden match or tooth-pick rub the bristles _toward you_
+so that the ink will spray over the paper. Particular, care must
+be taken that the brush is not so loaded with ink that it will
+spatter in blots. It is well, therefore, to try it first on a rough
+sheet of paper, to remove any superfluous ink. If the spattering is
+well done, it gives a very delicate tone of interesting texture,
+but if not cleverly employed, and especially if there be a large
+area of it, it is very likely to look out of character with the
+line portions of the drawing.
+
+A method sometimes employed to give a soft black effect is to moisten
+the lobe of the thumb lightly with ink and press it upon the paper. The
+series of lines of the skin make an impression that can be reproduced
+by the ordinary line processes. As in the case of spatter work,
+superfluous ink must be looked after before making the impression
+so as to avoid leaving hard edges. Thumb markings lend themselves to
+the rendering of dark smoke, and the like, where the edges require
+to be soft and vague, and the free direction of the lines impart
+a feeling of movement.
+
+Interesting effects of texture are sometimes introduced into pen
+drawings by obtaining the impression of a canvas grain. To produce
+this, it is necessary that the drawing be made on fairly thin paper.
+The _modus operandi_ is as follows: Place the drawing over a piece
+of mounted canvas of the desired coarseness of grain, and, holding
+it firmly, rub a lithographic crayon vigorously over the surface
+of the paper. The grain of the canvas will be found to be clearly
+reproduced, and, as the crayon is absolutely black, the effect is
+capable of reproduction by the ordinary photographic processes.
+
+
+
+
+CHAPTER IV
+
+VALUES
+
+[Side note: _The Color Scheme_]
+
+After the subject has been mapped out in pencil, and before beginning
+the pen work, we have to consider and determine the proper disposition
+of the Color. By "color" is meant, in this connection, the gamut of
+values from black to white, as indicated in Fig. 23. The success
+or failure of the drawing will largely depend upon the disposition
+of these elements, the quality of the technique being a matter
+of secondary concern. Beauty of line and texture will not redeem
+a drawing in which the values are badly disposed, for upon them
+we depend for the effect of unity, or the pictorial quality. If
+the values are scattered or patchy the drawing will not focus to
+any central point of interest, and there will be no unity in the
+result.
+
+[Illustration: FIG. 23 C. D. M.]
+
+There are certain general laws by which color may be pleasingly
+disposed, but it must be borne in mind that it ought to be disposed
+naturally as well. By a "natural" scheme of color, I mean one which
+is consistent with a natural effect of light and shade. Now the
+gradation from black to white, for example, is a pleasing scheme,
+as may be observed in Fig. 24, yet the effect is unnatural, since
+the sky is black. In a purely decorative illustration like this,
+however, such logic need not be considered.
+
+[Illustration: FIG. 24 D. A. GREGG]
+
+[Side note: _Principality in the Color-Scheme_]
+
+Since, as I said before, color is the factor which makes for the
+unity of the result, the first principle to be regarded in its
+arrangement is that of Principality,--there must be some dominant
+note in the rendering. There should not, for instance, be two principal
+dark spots of equal value in the same drawing, nor two equally
+prominent areas of white. The Vierge drawing, Fig. 25, and that
+by Mr. Pennell, Fig. 5, are no exceptions to this rule; the black
+figure of the old man counting as one note in the former, as do
+the dark arches of the bridge in the latter. The work of both these
+artists is eminently worthy of study for the knowing manner in
+which they dispose their values.
+
+[Illustration: FIG. 25 DANIEL VIERGE]
+
+[Side note: _Variety_]
+
+The next thing to be sought is Variety. Too obvious or positive a
+scheme, while possibly not unsuitable for a conventional decorative
+drawing, may not be well adapted to a perspective subject. The
+large color areas should be echoed by smaller ones throughout the
+picture. Take, for example, the Vierge drawing shown in Fig. 26.
+Observe how the mass of shadow is relieved by the two light holes
+seen through the inn door. Without this repetition of the white the
+drawing would lose much of its character. In Rico's drawing, Fig.
+11, a tiny white spot in the shadow cast over the street would, I
+venture to think, be helpful, beautifully clear as it is; and the
+black area at the end of the wall seems a defect as it competes
+in value with the dark figure.
+
+[Illustration: FIG. 26 DANIEL VIERGE]
+
+[Side note: _Breadth of Effect_]
+
+Lastly, Breadth of Effect has to be considered. It is requisite
+that, however numerous the tones are (and they should not be too
+numerous), the general effect should be simple and homogeneous. The
+color must count together broadly, and not be cut up into patches.
+
+[Illustration: FIG. 27 HARRY FENN]
+
+It is important to remember that the gamut from black to white is
+a short one for the pen. One need only try to faithfully render
+the high lights of an ordinary table glass set against a gray
+background, to be assured of its limitations in this respect. To
+represent even approximately the subtle values would require so
+much ink that nothing short of a positively black background would
+suffice to give a semblance of the delicate transparent effect of
+the glass as a whole. The gray background would, therefore, be
+lost, and if a really black object were also part of the picture
+it could not be represented at all. Observe, in Fig. 27, how just
+such a problem has been worked out by Mr. Harry Fenn.
+
+It will be manifest that the student must learn to think of things
+in their broad relation. To be specific,--in the example just
+considered, in order to introduce a black object the scheme of
+color would have needed broadening so that the gray background
+could be given its proper value, thus demanding that the elaborate
+values of the glass be ignored, and just enough suggested to give
+the general effect. This reasoning would equally apply were the
+light object, instead of a glass, something of intricate design,
+presenting positive shadows. Just so much of such a design should
+be rendered as not to darken the object below its proper relative
+value as a whole. In this faculty of suggesting things without
+literally rendering them consists the subtlety of pen drawing.
+
+It may be said, therefore, that large light areas resulting from the
+necessary elimination of values are characteristic of pen drawing.
+The degree of such elimination depends, of course, upon the character
+of the subject, this being entirely a matter of relation. The more
+black there is in a drawing the greater the number of values that can
+be represented. Generally speaking, three or four are all that can be
+managed, and the beginner had better get along with three,--black,
+half-tone, and white.
+
+[Illustration: FIG. 28 REGINALD BIRCH]
+
+[Side note: _Various Color-Schemes_]
+
+While it is true that every subject is likely to contain some motive
+or suggestion for its appropriate color-scheme, it still holds that,
+many times, and especially in those cases where the introduction
+of foreground features at considerable scale is necessary for the
+interest of the picture, an artificial arrangement has to be devised.
+It is well, therefore, to be acquainted with the possibilities of
+certain color combinations. The most brilliant effect in black
+and white drawing is that obtained by placing the prominent black
+against a white area surrounded by gray. The white shows whiter
+because of the gray around it, so that the contrast of the black
+against it is extremely vigorous and telling. This may be said to
+be the illustrator's _tour de force_. We have it illustrated by
+Mr. Reginald Birch's drawing, Fig. 28. Observe how the contrast
+of black and white is framed in by the gray made up of the sky,
+the left side of the building, the horse, and the knight. In the
+drawing by Mr. Pennell, Fig. 29, we have the same scheme of color.
+Notice how the trees are darkest just where they are required to
+tell most strongly against the white in the centre of the picture.
+An admirable illustration of the effectiveness of this color-scheme
+is shown in the "Becket" poster by the "Beggarstaff Brothers,"
+Fig. 69. Another scheme is to have the principal black in the gray
+area, as in the Vierge drawing, Fig. 26 and in Rico's sketch, Fig.
+11.
+
+[Illustration: FIG. 29 JOSEPH PENNELL]
+
+[Illustration: FIG. 30 B. G. GOODHUE]
+
+[Illustration: FIG. 31 JOSEPH PENNELL]
+
+Still another and a more restful scheme is the actual gradation
+of color. This gradation, from black to white, wherein the white
+occupies the centre of the picture, is to be noted in Fig. 20.
+Observe how the dark side of the foreground tree tells against the
+light side of the one beyond, which, in its turn, is yet so strongly
+shaded as to count brilliantly against the white building. Still
+again, in Mr. Goodhue's drawing, Fig. 30, note how the transition
+from the black tree on the left to the white building is pleasingly
+softened by the gray shadow. Notice, too, how the brilliancy of
+the drawing is heightened by the gradual emphasis on the shadows
+and the openings as they approach the centre of the picture. Yet
+another example of this color-scheme is the drawing by Mr. Gregg,
+Fig. 50. The gradation here is from the top of the picture downwards.
+The sketch of the coster women by Mr. Pennell, Fig. 31, shows this
+gradation reversed.
+
+The drawing of the hansom cab, Fig. 32, by Mr. Raven Hill, illustrates
+a very strong color-scheme,--gray and white separated by black,
+the gray moderating the black on the upper side, leaving it to
+tell strongly against the white below. Notice how luminous is this
+same relation of color where it occurs in the Venetian subject by
+Rico, Fig. 14. The shadow on the water qualifies the blackness
+of the gondola below, permitting a brilliant contrast with the
+white walls of the building above.
+
+It is interesting to observe how Vierge and Pennell, but chiefly the
+former, very often depend for their grays merely upon the delicate
+tone resulting from the rendering of form and of direct shadow,
+without any local color. This may be seen in the Vierge drawing,
+Fig. 33. Observe in this, as a consequence, how brilliantly the
+tiny black counts in the little figure in the centre. Notice, too,
+in the drawing of the soldiers by Jeanniot, Fig. 34, that there
+is very little black; and yet see how brilliant is the effect,
+owing largely to the figures being permitted to stand out against
+a white ground in which nothing is indicated but the sky-line of
+the large building in the distance.
+
+[Illustration: FIG. 32 L. RAVEN HILL]
+
+[Illustration: FIG. 33 DANIEL VIERGE]
+
+[Illustration: FIG. 34 P. G. JEANNIOT]
+
+
+
+
+CHAPTER V
+
+PRACTICAL PROBLEMS
+
+I have thought it advisable in this chapter to select, and to work
+out in some detail, a few actual problems in illustration, so as
+to familiarize the student with the practical application of some
+of the principles previously laid down.
+
+[Illustration: FIG. 35 FROM A PHOTOGRAPH]
+
+[Illustration: FIG. 36 D. A. GREGG]
+
+[Side note: _First Problem_]
+
+In the first example the photograph, Fig. 35, shows the porch of
+an old English country church. Let us see how this subject has
+been interpreted in pen and ink by Mr. D. A. Gregg, Fig. 36. In
+respect to the lines, the original composition presents nothing
+essentially unpleasant. Where the strong accent of a picture occurs
+in the centre, however, it is generally desirable to avoid much
+emphasis at the edges. For this reason the pen drawing has been
+"vignetted,"--that is to say, permitted to fade away irregularly
+at the edges. Regarding the values, it will be seen that there is
+no absolute white in the photograph. A literal rendering of such
+low color would, as we saw in the preceding chapter, be out of
+the question; and so the essential values which directly contribute
+to the expression of the subject and which are independent of local
+color or accidental effect have to be sought out. We observe, then,
+that the principal note of the photograph is made by the dark part
+of the roof under the porch relieved against the light wall beyond.
+This is the direct result of light and shade, and is therefore
+logically adopted as the principal note of Mr. Gregg's sketch also.
+The wall at this point is made perfectly white to heighten the
+contrast. To still further increase the light area, the upper part
+of the porch has been left almost white, the markings suggesting
+the construction of the weather-beaten timber serving to give it
+a faint gray tone sufficient to relieve it from the white wall.
+The low color of the grass, were it rendered literally, would make
+the drawing too heavy and uninteresting, and this is therefore only
+suggested in the sketch. The roof of the main building, being equally
+objectionable on account of its mass of low tone, is similarly
+treated. Mr. Gregg's excellent handling of the old woodwork of the
+porch is well worthy of study.
+
+[Side note: _Second Problem_]
+
+Let us take another example. The photograph in Fig. 37 shows a
+moat-house in Normandy; and, except that the low tones of the foliage
+are exaggerated by the camera, the conditions are practically those
+which we would have to consider were we making a sketch on the spot.
+First of all, then, does the subject, from the point of view at
+which the photograph is taken, compose well?* It cannot be said that
+it does. The vertical lines made by the two towers are unpleasantly
+emphasized by the trees behind them. The tree on the left were
+much better reduced in height and placed somewhat to the right,
+so that the top should fill out the awkward angles of the roof
+formed by the junction of the tower and the main building. The
+trees on the right might be lowered also, but otherwise permitted
+to retain their present relation. The growth of ivy on the tower
+takes an ugly outline, and might be made more interestingly irregular
+in form.
+
+[Footnote *: The student is advised to consult "Composition," by
+Arthur W. Dow. [New York, 1898]]
+
+[Illustration: FIG. 37 FROM A PHOTOGRAPH]
+
+The next consideration is the disposition of the values. In the
+photograph the whites are confined to the roadway of the bridge
+and the bottom of the tower. This is evidently due, however, to
+local color rather than to the direction of the light, which strikes
+the nearer tower from the right, the rest of the walls being in
+shadow. While the black areas of the picture are large enough to
+carry a mass of gray without sacrificing the sunny look, such a
+scheme would be likely to produce a labored effect. Two alternative
+schemes readily suggest themselves: First, to make the archway the
+principal dark, the walls light, with a light half-tone for the
+roof, and a darker effect for the trees on the right. Or, second,
+to make these trees themselves the principal dark, as suggested by
+the photograph, allowing them to count against the gray of the
+roof and the ivy of the tower. This latter scheme is that which
+has been adopted in the sketch, Fig. 38.
+
+[Illustration: FIG. 38 C. D. M.]
+
+It will be noticed that the trees are not nearly so dark as in
+the photograph. If they were, they would be overpowering in so
+large an area of white. It was thought better, also, to change the
+direction of the light, so that the dark ivy, instead of acting
+contradictorily to the effect, might lend character to the shaded
+side. The lower portion of the nearer tower was toned in, partly
+to qualify the vertical line of the tower, which would have been
+unpleasant if the shading were uniform, and partly to carry the
+gray around to the entrance. It was thought advisable, also, to
+cut from the foreground, raising the upper limit of the picture
+correspondingly. (It is far from my intention, however, to convey
+the impression that any liberties may be taken with a subject in
+order to persuade it into a particular scheme of composition; and
+in this very instance an artistic photographer could probably have
+discovered a position for his camera which would have obviated the
+necessity for any change whatever;--a nearer view of the building,
+for one thing, would have considerably lowered the trees.)
+
+[Illustration: FIG. 39 FROM A PHOTOGRAPH]
+
+[Side note: _Third Problem_]
+
+We will consider still another subject. The photograph, Fig. 39,
+shows a street in Holland. In this case, the first thing we have
+to determine is where the interest of the subject centres. In such
+a perspective the salient point of the picture often lies in a
+foreground building; or, if the street be merely a setting for the
+representation of some incident, in a group of foreground figures.
+In either case the emphasis should be placed in the foreground,
+the distant vanishing lines of the street being rendered more or
+less vaguely. In the present subject, however, the converging sky
+and street lines are broken by the quaint clock-tower. This and the
+buildings underneath it appeal to us at once as the most important
+elements of the picture. The nearer buildings present nothing
+intrinsically interesting, and therefore serve no better purpose
+than to lead the eye to the centre of interest. Whatever actual
+values these intermediate buildings have that will hinder their
+usefulness in this regard can, therefore, be changed or actually
+ignored without affecting the integrity of the sketch or causing
+any pangs of conscience.
+
+The building on the extreme left shows very strong contrasts of
+color in the black shadow of the eaves and of the shop-front below.
+These contrasts, coming as they do at the edge of the picture,
+are bad. They would act like a showy frame on a delicate drawing,
+keeping the eye from the real subject. It may be objected, however,
+that it is natural that the contrasts should be stronger in the
+foreground. Yes; but in looking straight at the clock-tower one does
+not see any such dark shadow at the top of the very uninteresting
+building in the left foreground. The camera saw it, because the
+camera with its hundred eyes sees everything, and does not interest
+itself about any one thing in particular. Besides, if the keeper
+of the shop had the bad taste to paint it dark we are not bound
+to make a record of the fact; nor need we assume that it was done
+out of regard to the pictorial possibilities of the street. We
+decide, therefore, to render, as faithfully as we may, the values
+of the clock-tower and its immediate surroundings, and to disregard
+the discordant elements; and we have no hesitation in selecting
+for principal emphasis in our drawing, Fig. 40, the shadow under
+the projecting building. This dark accent will count brilliantly
+against the foreground and the walls of the buildings, which we
+will treat broadly as if white, ignoring the slight differences
+in value shown in the photograph. We retain, however, the literal
+values of the clock-tower and the buildings underneath it, and
+express as nearly as we can their interesting variations of texture.
+The buildings on the right are too black in the photograph, and
+these, as well as the shadow thrown across the street, we will
+considerably lighten. After some experiment, we find that the building
+on the extreme left is a nuisance, and we omit it. Even then, the
+one with the balcony next to it requires to be toned down in its
+strong values, and so the shadows here are made much lighter, the
+walls being kept white. It will be found that anything like a strong
+emphasis of the projecting eaves of the building would detract
+from the effect of the tower, so that the shadow under the eaves
+is, therefore, made grayer than in the photograph, while that of
+the balcony below is made stronger than the shadow of the eaves,
+but is lightened at the edge of the drawing to throw the emphasis
+toward the centre.
+
+[Illustration: FIG. 40 C. D. M.]
+
+To add interest to the picture, and more especially to give life
+to the shadows, several figures are introduced. It will be noticed
+that the cart is inserted at the focal point of the drawing to
+better assist the perspective.
+
+
+
+
+CHAPTER VI
+
+ARCHITECTURAL DRAWING
+
+It is but a few years since architects' perspectives were "built
+up" (it would be a mistake to say "drawn") by means of a T-square
+and the ruling pen; and if architectural drawing has not quite
+kept pace with that for general illustration since, a backward
+glance over the professional magazines encourages a feeling of
+comparative complacency. That so high a standard or so artistic
+a character is not observable in architectural as in general
+illustration is, I think, not difficult to explain. Very few of the
+clever architectural draughtsmen are illustrators by profession.
+Few, even of those who are generally known as illustrators, are
+anything more--I should perhaps say anything _less_--than versatile
+architects; and yet Mr. Pennell, who would appear to assume, in
+his book on drawing, that the point of view of the architect is
+normally pictorial, seems at a loss to explain why Mr. Robert Blum,
+for instance, can illustrate an architectural subject more artistically
+than any of the draughtsmen in the profession. Without accepting
+his premises, it is remarkably creditable to architecture that
+it counts among its members in this country such men as Mr. B.
+G. Goodhue and Mr. Wilson Eyre, Jr., and in England such thorough
+artists as Mr. Prentice and Mr. Ernest George--men known even to
+distinction for their skill along lines of purely architectural
+practice, yet any one of whom would, I venture to say, cause
+considerable displacement did he invade the ranks of magazine
+illustrators. Moreover (and the suggestion is not unkindly offered),
+were the architects and the illustrators to change places architecture
+would suffer most by the process.
+
+[Side note: _The Architects' Case_]
+
+That the average architect should be incapable of artistically
+illustrating his own design, ought, I think, to be less an occasion
+for surprise than that few painters, whose point of view is essentially
+pictorial, can make even a tolerable interpretation in line of their
+own paintings. Be it remembered that the pictures made by the architect
+are seldom the records of actualities. The buildings themselves
+are merely contemplated, and the illustrations are worked up from
+geometrical elevations in the office, very, very far from Nature.
+Moreover, the subjects are not infrequently such as lend themselves
+with an ill grace to picturesque illustration. The structure to be
+depicted may, for instance, be a heavy cubical mass with a bald
+uninteresting sky-line; or it may be a tall office building, impossible
+to reconcile with natural accessories either in pictorial scale or
+in composition. These natural accessories, too, the draughtsman
+must, with an occasional recourse to his photograph album, evolve
+out of his inner consciousness. When it is further considered that
+such structures, even when actualities, are uncompromisingly stiff
+and immaculate in their newness, presenting absolutely none of
+those interesting accidents so dear to the artist, and perhaps with
+nothing whatever about them of picturesque suggestion, we have a
+problem presented which is somewhat analogous to that presented by
+the sculpturesque possibilities of "fashionable trousering." That,
+with such uninspiring conditions, architectural illustration does not
+develop so interesting a character nor attain to so high a standard
+as distinguishes general illustration is not to be wondered at. It
+is rather an occasion for surprise that it exhibits so little of
+the artificiality of the fashion-plate after all, and that the better
+part of it, at least, is not more unworthy than figure illustration
+would be were it denied the invaluable aid of the living model.
+So much by way of apology.
+
+[Side note: _The Architects' Point of View_]
+
+The architectural perspective, however, is not to be regarded purely
+from the pictorial point of view. It is an illustration first, a
+picture afterwards, and almost invariably deals with an individual
+building, which is the essential subject. This building cannot,
+therefore, be made a mere foil for interesting "picturesqueries,"
+nor subordinated to any scenic effect of landscape or chiaroscuro.
+Natural accessories or interesting bits of street life may be added
+to give it an appropriate setting; but the result must clearly
+read "Building, with landscape," not "Landscape, with building."
+
+Much suggestion for the sympathetic handling of particular subjects
+may be found in the character of the architecture itself. The
+illustrator ought to enter into the spirit of the designer, ought to
+feel just what natural accessories lend themselves most harmoniously
+to this or that particular type. If the architecture be quaint
+and picturesque it must not have prosaic surroundings. If, on the
+other hand, it be formal or monumental, the character and scale of
+the accessories should be accordingly serious and dignified. The
+rendering ought also to vary with the subject,--a free picturesque
+manner for the one, a more studied and responsible handling for
+the other. Technique is the language of art, and a stiff pompous
+phraseology will accord ill with a story of quaint humor or pathos,
+while the homely diction that might answer very well would be sure to
+struggle at a disadvantage with the stately meanings and diplomatic
+subtleties of a state document.
+
+[Side note: _Rendering of Detail_]
+
+It would be well for the student, before venturing upon whole subjects,
+to learn to render details, such as windows, cornices, etc. Windows
+are a most important feature of the architectural drawing, and the
+beginner must study them carefully, experimenting for the method
+which will best represent their glassy surfaces. No material gives
+such play of light and shade as glass does. One window is never
+absolutely like another; so that while a certain uniformity in
+their value may be required for breadth of effect in the drawing of
+a building, there is plenty of opportunity for incidental variety
+in their treatment.
+
+A few practical hints on the rendering of windows may prove serviceable.
+Always emphasize the sash. Where there is no recess, as in wooden
+buildings, strengthen the inner line of sash, as in Fig. 41. In
+masonry buildings the frame and sash can be given their proper
+values, the area of wood being treated broadly, without regard
+to the individual members. The wood may, however, be left white
+if required, as would be the case in Colonial designs. In either
+case the dark shadow which the sash casts on the glass should be
+suggested, if the scale of the drawing be such as to permit of it.
+Do not try to show too much. One is apt to make a fussy effect,
+if, for instance, one insists on always shading the soffit of the
+masonry opening, especially if the scale of the drawing be small.
+Besides, a white soffit is not a false but merely a forced value,
+as in strong sunlight the reflected light is considerable. If the
+frame be left white, however, the soffit ought to be shaded, otherwise
+it will be difficult to keep the values distinct. In respect of
+wooden buildings there is no need to always complete the mouldings
+of the architrave. Notice in Fig. 41 that, in the window without
+the muntins, the mouldings have been carried round the top to give
+color, but that in the other they are merely suggested at the corners
+so as to avoid confusion. Care should be taken to avoid mechanical
+rendering of the muntins. For the glass itself, a uniformly flat
+tone is to be avoided. The tones should soften vaguely. It will be
+found, too, that it is not advisable to have a strong dark effect
+at the top of the window and another at the bottom; one should
+predominate.
+
+[Illustration: FIG. 41 C. D. M.]
+
+The student after careful study of Fig. 41 should make from it
+enlarged drawings, and afterwards, laying the book aside, proceed
+to render them in his own way. When he has done so, let him compare
+his work with the originals. This process ought to be repeated
+several times, the aim being always for _similarity_, not for
+_literalness_ of effect. If he can get equally good results with
+another method he need not be disconcerted at the lack of any further
+resemblance.
+
+The cornice with its shadow is another salient feature. In short
+shadows, such as those cast by cornices, it is well, if a sunny
+effect be desired, to accent the bottom edge of the shadow. The shadow
+lines ought to be generally parallel, but with enough variation to
+obviate a mechanical effect. They need not be vertical lines,--in
+fact it is better that they should take the same slant as the light.
+If they are not absolutely perpendicular, however, it is well to make
+them distinctly oblique, otherwise the effect will be unpleasant.
+A clever sketch of a cornice by Mr. George F. Newton is shown in
+Fig. 42. Notice how well the texture of the brick is expressed
+by the looseness of the pen work. Some of the detail, too, is
+dexterously handled, notably the bead and button moulding.
+
+The strength of the cornice shadow should be determined by the tone
+of the roof above it. To obtain for this shadow the very distinct
+value which it ought to have, however, does not require that the
+roof be kept always much lighter than it. In the gable roof in
+Fig. 57, the tone of the roof is shaded lighter as it approaches
+the eaves, so that the shadow may count more emphatically. This
+order may be reversed, as in the case of a building with dark roof
+and light walls, in which case the shadow may be grayer than the
+lower portion of the roof, as in "B" in Fig. 44.
+
+[Illustration: FIG. 42 GEORGE F. NEWTON]
+
+But the beginner should not yet hurry on to whole subjects. A church
+porch, as in Fig. 35, or a dormer with its shadow cast on a roof,
+as in Fig. 43, will be just as beneficial a study for him as an
+entire building, and will afford quite as good an opportunity for
+testing his knowledge of the principles of pen drawing, with the
+added advantage that either of the subjects mentioned can be mapped
+out in a few minutes, and that a failure or two, therefore, will
+not prove so discouraging as if a more intricate subject had to
+be re-drawn. I have known promising beginners to give up pen and
+ink drawing in despair because they found themselves unequal to
+subjects which would have presented not a few difficulties to the
+experienced illustrator. When the beginner grows faint-hearted,
+let him seek consolation and encouragement in the thought that were
+pen drawing something to be mastered in a week or a month there
+would be small merit in the accomplishment.
+
+[Illustration: FIG. 43 C. D. M.]
+
+[Side note: _A General System_]
+
+It is a common fault of students to dive into the picture unthinkingly,
+beginning anywhere, without the vaguest plan of a general effect,
+whereas it is of the utmost importance that every stroke of the
+pen be made with intelligent regard to the ultimate result. The
+following general method will be found valuable.
+
+Pencil the outline of the entire subject before beginning the pen
+work. It will not do to start on the rendering as soon as the building
+alone is pencilled out, leaving the accessories to be put in as
+one goes along. The adjacent buildings, the foliage, and even the
+figures must be drawn--carefully drawn--before the pen is taken up.
+The whole subject from the very beginning should be under control,
+and to that end it becomes necessary to have all the elements of
+it pre-arranged.
+
+[Side note: _Arrangement of the Values_]
+
+Next scheme out the values. This is the time to do the thinking. Do
+not start out rashly as soon as everything is outlined in pencil,
+confident in the belief that all windows, for instance, are dark,
+and that you may as well make them so at once and be done with
+them. This will be only to court disaster. Besides, all windows
+are not dark; they may be very light indeed. The color value of
+nothing is absolute. A shadow may seem almost black till a figure
+passes into it, when it may become quite gray by comparison. So a
+window with the sun shining full upon it, or even one in shade, on
+which a reflected light is cast, may be brilliantly light until the
+next instant a cloud shadow is reflected in it, making it densely
+black. Arrange the values, therefore, with reference to one general
+effect, deciding first of all on the direction of the light. Should
+this be such as to throw large areas of shadow, these masses of
+gray will be important elements in the color-scheme. An excellent
+way to study values is to make a tracing-paper copy of the line
+drawing and to experiment on this for the color with charcoal,
+making several sketches if necessary. After having determined on
+a satisfactory scheme, put fixatif on the rough sketch and keep
+it in sight. Otherwise, one is liable, especially if the subject
+is an intricate one, to be led astray by little opportunities for
+interesting effects here and there, only to discover, when too
+late, that these effects do not hang together and that the drawing
+has lost its breadth. The rough sketch is to the draughts man what
+manuscript notes are to the lecturer.
+
+[Side note: _Treatment of Detail_]
+
+Do not be over-conscious of detail. It is a common weakness of the
+architectural draughts man to be too sophisticated in his pictorial
+illustration. He knows so much about the building that no matter how
+many thousand yards away from it he may stand he will see things
+that would not reveal themselves to another with the assistance
+of a field-glass. He is conscious of the fact that there are just
+so many brick courses to the foot, that the clapboards are laid
+just so many inches to the weather, that there are just so many
+mouldings in the belt course,--that everything in general is very,
+very mathematical. This is not because his point of view is too
+big, but because it is too small. He who sees so much never by any
+chance sees the _whole building_. Let him try to think broadly of
+things. Even should he succeed in forgetting some of these factitious
+details, the result will still be stiff enough, so hard is it to
+re-adjust one's attitude after manipulating the T-square. I strongly
+recommend, as an invaluable aid toward such a re-adjustment, the
+habit of sketching from Nature,--from the figure during the winter
+evenings, and out of doors in summer.
+
+[Illustration: FIG. 44 C. D. M.]
+
+The beginner is apt to find his effects at first rather hard and
+mechanical at the best, because he has not yet attained that freedom
+of handling which ignores unimportant details, suggests rather
+than states, gives interesting variations of line and tone, and
+differentiates textures. A good part of the unpleasantness of effect
+will undoubtedly be found to be due to a mistaken regard for accuracy
+of statement, individual mouldings being lined in as deliberately
+as in the geometrical office drawings, and not an egg nor a dart
+slighted. Take, for example, the case of an old Colonial building
+with its white cornice, or any building with white trimmings. See
+the effect of such a one in an "elevation" where all the detail is
+drawn, as in "A," Fig. 44. Observe that the amount of ink necessary
+to express this detail has made the cornice darker than the rest
+of the drawing, and yet this is quite the reverse of the value
+which it would have in the actual building, see "B." To obtain
+the true value the different mouldings which make up the cornice
+should be merely suggested. Where it is not a question of local
+color, however, this matter of elimination is largely subject to
+the exigencies of reproduction; the more precisely and intimately
+one attempts to render detail, the smaller the scale of the technique
+requires to be, and the greater the difficulty. Consequently, the more
+the reduction which the drawing is likely to undergo in printing,
+the more one will be obliged to disregard the finer details. These
+finer details need not, however, be absolutely ignored. Notice, for
+instance, the clever suggestion of the sculpture in the admirable
+drawing by Mr. F. E. Wallis, Fig. 45. The conventional drawing
+of the façade, Fig. 46, is a fine illustration of the decorative
+effect of color obtainable by emphasizing the organic lines of
+the design.
+
+[Illustration: FIG. 45 FRANK E. WALLIS]
+
+[Side note: _Foliage and Figures_]
+
+The elements in a perspective drawing which present most difficulties
+to the architectural draughtsman are foliage and figures. These
+are, however, most important accessories, and must be cleverly
+handled. It is difficult to say which is the harder to draw, a tree
+or a human figure; and if the student has not sketched much from
+Nature either will prove a stumbling-block. Presuming, therefore,
+that he has already filled a few sketch-books, he had better resort
+to these, or to his photograph album, when he needs figures for
+his perspective. Designing figures and trees out of one's inner
+consciousness is slow work and not very profitable; and if the
+figure draughtsman may employ models, the architect may be permitted
+to use photographs.
+
+[Illustration: FIG. 46 HARRY ALLAN JACOBS]
+
+Unhappily for the beginner, no two illustrators consent to render
+foliage, or anything else for that matter, in quite the same way,
+and so I cannot present any authoritative formula for doing so.
+This subject has been treated, however, in a previous chapter, and
+nothing need be added here except to call attention to an employment
+of foliage peculiar to architectural drawings. This is the broad
+suggestive rendering of dark leafage at the sides of a building,
+to give it relief. The example shown in Fig. 47 is from one of
+Mr. Gregg's drawings.
+
+[Illustration: FIG. 47 D. A. GREGG]
+
+The rendering of the human figure need not be dealt with under
+this head, as figures in an architectural subject are of necessity
+relatively small, and therefore have to be rendered very broadly.
+Careful drawing is none the less essential, however, if their presence
+is to be justified; and badly drawn figures furnish a tempting
+target for the critic of architectural pictures. Certainly, it
+is only too evident that the people usually seen in such pictures
+are utterly incapable of taking the slightest interest whatever in
+architecture, or in anything else; and not infrequently they seem
+to be even more immovable objects than the buildings themselves,
+so fixed and inflexible are they. Such figures as these only detract
+from the interest of the drawing, instead of adding to it, and the
+draughtsman who has no special aptitude is wise in either omitting
+them altogether, or in using very few, and is perhaps still wiser
+if he entrusts the drawing of these to one of his associates more
+accomplished in this special direction.
+
+The first thing to decide in the matter of figures is their arrangement
+and grouping, and when this has been determined they should be
+sketched in lightly in pencil. In this connection a few words by
+way of suggestion may be found useful. Be careful to avoid anything
+like an equal spacing of the figures. Group the people interestingly.
+I have seen as many as thirty individuals in a drawing, no two of
+whom seemed to be acquainted,--a very unhappy condition of affairs
+even from a purely pictorial point of view. Do not over-emphasize the
+base of a building by stringing all the figures along the sidewalks.
+The lines of the curbs would thus confine and frame them in
+unpleasantly. Break the continuity of the street lines with figures
+or carriages in the roadway, as in Fig. 55. After the figures have
+been satisfactorily arranged, they ought to be carefully drawn as
+to outline. In doing so, take pains to vary the postures, giving
+them action, and avoiding the stiff wooden, fashion-plate type of
+person so common to architectural drawings. When the time comes
+to render these accessories with the pen (and this ought, by the
+way, to be the last thing done) do not lose the freedom and breadth
+of the drawing by dwelling too long on them. Rise superior to such
+details as the patterns of neckties.
+
+We will now consider the application to architectural subjects
+of the remarks on technique and color contained in the previous
+chapters.
+
+[Side note: _Architectural Textures_]
+
+To learn to render the different textures of the materials used in
+architecture, the student would do well to examine and study the
+methods of prominent illustrators, and then proceed to forget them,
+developing meanwhile a method of his own. It will be instructive for
+him, however, as showing the opportunity for play of individuality,
+to notice how very different, for instance, is Mr. Gregg's manner
+of rendering brick work to that of Mr. Railton. Compare Figs. 48
+and 49. One is splendidly broad,--almost decorative,--the other
+intimate and picturesque. The work of both these men is eminently
+worthy of study. For the sophisticated simplicity and directness of
+his method and the almost severe conscientiousness of his drawing,
+no less than for his masterly knowledge of black and white, no safer
+guide could be commended to the young architectural pen-man for the
+study of principles than Mr. Gregg. Architectural illustration in
+America owes much to his influence and, indeed, he may be said to
+have furnished it with a grammar. Take his drawing of the English
+cottages, Fig. 50. It is a masterly piece of pen work. There is
+not a feeble or tentative stroke in the whole of it. The color
+is brilliant and the textures are expressed with wonderful skill.
+The student ought to carefully observe the rendering of the various
+roofs. Notice how the character of the thatch on the second cottage
+differs from that on the first, and how radically the method of
+rendering of either varies from that used on the shingle roof at
+the end of the picture. Compare also the two gable chimneys with
+each other as well as with the old ruin seen over the tree-tops.
+Here is a drawing by an architectural draughtsman of an architectural
+_actuality_ and not of an artificial abstraction. This is a fairer
+ground on which to meet the illustrators of the picturesque.
+
+[Illustration: FIG. 48 D. A. GREGG]
+
+[Illustration: FIG. 49 HERBERT RAILTON]
+
+[Illustration: FIG. 50 D. A. GREGG]
+
+[Illustration: FIG. 51 WALTER M. CAMPBELL]
+
+[Illustration: FIG. 52 HERBERT RAILTON]
+
+[Illustration: FIG. 53 A. F. JACCACI]
+
+[Illustration: FIG. 54 C. F. BRAGDON]
+
+[Illustration: FIG. 55 HARVEY ELLIS]
+
+[Side note: _Examples_]
+
+Mr. Campbell's drawing, Fig. 51, is a very good example of the
+rendering of stone textures. The old masonry is capitally expressed
+by the short irregular line. The student is advised to select some
+portion of this, as well as of the preceding example to copy, using,
+no matter how small the drawings he may make, a pen not smaller
+than number 303. I know of no architectural illustrator who hits
+stonework off quite so cleverly as Mr. Goodhue. Notice, in his
+drawing of the masonry, in Fig. 8, how the stones are picked out
+and rendered individually in places and how this intimate treatment
+is confined to the top of the tower where it tells against the
+textures of the various roofs and how it is then merged in a broad
+gray tone which is carried to the street. Mr. Railton's sketches are
+full of clever suggestion for the architectural illustrator in the
+way of texture. Figs. 7 and 52 show his free rendering of masonry.
+The latter is an especially very good subject for study. Observe
+how well the texture tells in the high portion of the abutment by
+reason of the thick, broken lines. For a distant effect of stone
+texture, the drawing by Mr. Jaccaci, Fig. 53, is a fine example.
+In this the rendering is confined merely to the organic lines of
+the architecture, and yet the texture is capitally expressed by
+the quality of the stroke, which is loose and much broken. The
+general result is extremely crisp and pleasing. For broad rendering
+of brick textures, perhaps there is no one who shows such a masterly
+method as Mr. Gregg. As may be seen in his sketch of the blacksmith
+shop, Fig. 48, he employs an irregular dragging line with a great
+deal of feeling. The brick panel by Mr. Bragdon, Fig. 54, is a neat
+piece of work. There is excellent texture, too, in the picturesque
+drawing by Mr. Harvey Ellis, Fig. 55:--observe the rendering of
+the rough brick surface at the left side of the building. A more
+intimate treatment is that illustrated in the detail by Mr. C.
+E. Mallows, the English draughts man, Fig. 56. In this drawing,
+however, the edges of the building are unpleasantly hard, and are
+somewhat out of character with the quaint rendering of the surfaces.
+Mr. Goodhue uses a similar treatment, and, I think, rather more
+successfully. On the whole, the broader method, where the texture
+is carried out more uniformly, is more to be commended, at least
+for the study of the beginner. Some examples of shingle and slate
+textures are illustrated by Fig. 57. It is advisable to employ a
+larger pen for the shingle, so as to ensure the requisite coarseness
+of effect.
+
+[Illustration: FIG. 56 C. E. MALLOWS]
+
+[Illustration: FIG. 57 C. D. M.]
+
+[Illustration: FIG. 58 C. D. M.]
+
+[Side note: _An Architectural Problem_]
+
+To favorably illustrate an architectural subject it will be found
+generally expedient to give prominence to one particular elevation
+in the perspective, the other being permitted to vanish sharply. Fig.
+58 may be said to be a fairly typical problem for the architectural
+penman. The old building on the right, it must be understood, is
+not a mere accessory, but is an essential part of the picture. The
+matter of surroundings is the first we have to decide upon, and
+these ought always to be disposed with reference to the particular
+form of composition which the subject may suggest. Were we dealing
+with the foreground building alone there would be no difficulty
+in adjusting the oval or the diamond form of composition to it.*
+As it is, the difficulty lies in the long crested roof-line which
+takes the same oblique angle as the line of the street, and the
+influence of this line must be, as far as possible, counteracted.
+Now the heavy over-hang of the principal roof will naturally cast
+a shadow which will be an important line in the composition, so we
+arrange our accessories at the right of the picture in reference
+to this. Observe that the line of the eaves, if continued, would
+intersect the top of the gable chimney. The dwelling and the tree
+then form a focus for the converging lines of sidewalk and roof,
+thus qualifying the vertical effect of the building on the right.
+As the obliquity of the composition is still objectionable, we
+decide to introduce a foreground figure which will break up the
+line of the long sidewalk, and place it so that it will increase
+the influence of some contrary line, see Fig. 59. We find that by
+putting it a little to the right of the entrance and on a line
+with that of the left sidewalk, the picture is pleasingly balanced.
+
+[Footnote *: See footnote on page 62.]
+
+[Illustration: FIG. 59 C. D. M.]
+
+We are now ready to consider the disposition of the values. As I
+have said before, these are determined by the scheme of light and
+shade. For this reason any given subject may be variously treated.
+We do not necessarily seek the scheme which will make the most
+pictorial effect, however, but the one which will serve to set
+off the building to the best advantage. It is apparent that the
+most intelligible idea of the form of the structure will be given
+by shading one side; and, as the front is the more important and
+the more interesting elevation, on which we need sunlight to give
+expression to the composition, it is natural to shade the other,
+thus affording a foil for the bright effects on the front. This
+bright effect will be further enhanced if we assume that the local
+color of the roof is darker than that of the walls, so that we
+can give it a gray tone, which will also make the main building
+stand away from the other. If, however, we were to likewise assume
+that the roof of the other building were darker than its walls, we
+should be obliged to emphasize the objectionable roof line, and
+as, in any case, we want a dark effect lower down on the walls to
+give relief to our main building, we will assume that the local color
+of the older walls is darker than that of the new. The shadow of the
+main cornice we will make quite strong, emphasis being placed on
+the nearer corner, which is made almost black. This color is repeated
+in the windows, which, coming as they do in a group, are some of
+them more filled in than others, to avoid an effect of monotony.
+The strong note of the drawing is then given by the foreground
+figure.
+
+[Illustration: FIG. 60 C. D. M.]
+
+Another scheme for the treatment of this same subject is illustrated
+by Fig. 60. Here, by the introduction of the tree at the right of
+the picture, a triangular composition is adopted. Observe that the
+sidewalk and roof lines at the left side of the building radiate
+to the bottom and top of the tree respectively. The shadow of the
+tree helps to form the bottom line of the triangle. In this case
+the foreground figure is omitted, as it would have made the
+triangularity too obvious. In the color-scheme the tree is made the
+principal dark, and this dark is repeated in the cornice shadow,
+windows and figures as before. The gray tone of the old building
+qualifies the blackness of the tree, which would otherwise have made
+too strong a contrast at the edge of the picture, and so detracted
+from the interest of the main building.
+
+
+
+
+CHAPTER VII
+
+DECORATIVE DRAWING
+
+In all modern decorative illustration, and, indeed, in all departments
+of decorative design, the influences of two very different and distinct
+points of view are noticeable; the one demanding a realistic, the
+other a purely conventional art. The logic of the first is, that
+all good pictorial art is essentially decorative; that of the second,
+that the decorative subject must be designed in organic relation to
+the space which it is to occupy, and be so treated that the design
+will primarily fulfil a purely ornamental function. That is to say,
+whatever of dramatic or literary interest the decorative design
+may possess must be, as it were, woven into it, so that the general
+effect shall please as instantly, as directly, and as independently
+of the meaning, as the pattern of an Oriental rug. The former, it
+will be seen, is an imitative, the latter an inventive art. In
+the one, the elements of the subject are rendered with all possible
+naturalism; while, in the other, effects of atmosphere and the
+accidental play of light and shade are sacrificed to a conventional
+rendering, by which the design is kept flat upon the paper or wall.
+One represents the point of view of the painter and the pictorial
+illustrator; the other that of the designer and the architect. The
+second, or conventional idea, has now come to be widely accepted
+as a true basic principle in decorative art.
+
+[Side note: _The New Decorative School_]
+
+The idea is not by any means novel; it has always been the fundamental
+principle of Japanese art; but its genesis was not in Japan. The
+immediate inspiration of the new Decorative school, as far as it
+is concerned with the decoration of books, at least, was found in
+the art of Dürer, Holbein, and the German engravers of the sixteenth
+century,--interest in which period has been lately so stimulated
+by the Arts and Crafts movement in England. This movement, which
+may fairly be regarded as one of the most powerful influences in
+latter-day art, was begun with the aim of restoring those healthy
+conditions which obtained before the artist and the craftsman came
+to be two distinct and very much extranged workers. The activities
+of the movement were at first more directly concerned with the
+art of good book-making, which fructified in the famous Kelmscott
+Press (an institution which, while necessarily undemocratic, has
+exerted a tremendous influence on modern printing), and to-day
+there is scarcely any sphere of industrial art which has not been
+influenced by the Arts and Crafts impetus.
+
+[Side note: _Criticisms of the School_]
+
+This modern decorative renaissance has a root in sound art principles,
+which promises for it a vigorous vitality; and perhaps the only
+serious criticism which has been directed against it is, that it
+encourages archaic crudities of technique which ignore the high
+development of the reproductive processes of the present day; and,
+moreover, that its sympathies tend towards mediæval life and feeling.
+While such a criticism might reasonably be suggested by the work of
+some of its individual adherents, it does not touch in the least
+the essential principles of the school. Art cannot be said to scout
+modernity because it refuses to adjust itself to the every caprice
+of Science. The architect rather despises the mechanically perfect
+brick (very much to the surprise of the manufacturer); and though
+the camera can record more than the pencil or the brush, yet the
+artist is not trying to see more than he ever did before. There
+are, too, many decorative illustrators who, while very distinctly
+confessing their indebtedness to old examples; are yet perfectly
+eclectic and individual, both in the choice and development of
+motive. Take, for example, the very modern subject of the cyclist
+by Mr. A. B. Frost, Fig. 61. There are no archaisms in it whatever.
+The drawing is as naturalistic and just as careful as if it were
+designed for a picture. The shadows, too, are cast, giving an effect
+of strong outdoor light; but the treatment, broad and beautifully
+simple so as to be reconcilable with the lettering which accompanied
+it, is well within conventional lines. That the character of the
+technical treatment is such as to place no tax on the mechanical
+inventiveness of the processman is not inexcusable archæology.
+
+[Illustration: FIG. 61 A. B. FROST]
+
+A valuable attribute of this conventional art is, that it puts no
+bounds to the fancy of the designer. It is a figurative language
+in which he may get away from commonplace statement. What has always
+seemed to me a very logical employment of convention appears in the
+_Punch_ cartoons of Sir John Tenniel and Mr. Lindley Sambourne.
+Even in those cartoons which are devoid of physical caricature (and
+they are generally free from this), we see at a glance that it is
+the political and not the personal relations of the personæ that
+are represented; whereas in the naturalistic cartoons of _Puck_,
+for example, one cannot resist the feeling that personalities are
+being roughly handled.
+
+[Side note: _Relation_]
+
+A chief principle in all decorative design and treatment is that of
+Relation. If the space to be ornamented be a book-page the design
+and treatment must be such as to harmonize with the printing. The
+type must be considered as an element in the design, and, as the
+effect of a page of type is broad and uniformly flat, the ornament
+must be made to count as broad and flat likewise. The same principle
+holds equally in mural decoration. There the design ought to be
+subordinate to the general effect of the architecture. The wall
+is not to be considered merely as a convenient place on which to
+plaster a picture, its structural purpose must be regarded, and
+this cannot be expressed if the design or treatment be purely
+pictorial--if vague perspective distances and strong foreground
+accents be used without symmetry or order, except that order which
+governs itself alone. In other words, the decoration must be organic.
+
+[Illustration: FIG. 62 ALFRED G. JONES]
+
+[Side note: _Classes of Decorative Design_]
+
+Decorative illustrations may be broadly classified under three
+heads as follows: First, those wherein the composition and the
+treatment are both conventional, as, for example, in the ex-libris
+by Mr. A. G. Jones, Fig. 62. Second, where the composition is
+naturalistic, and the treatment only is conventional, as in Mr.
+Frost's design. Third, where the composition is decorative but
+not conventional, and the treatment is semi-natural, as in the
+drawing by Mr. Walter Appleton Clark, Fig. 63. (The latter subject
+is of such a character as to lend itself without convention to a
+decorative effect; and, although the figure is modeled as in a
+pictorial illustration, the organic lines are so emphasized throughout
+as to preserve the decorative character, and the whole keeps its
+place on the page.) Under this third head would be included those
+subjects of a pictorial nature whose composition and values are
+such as to make them reconcilable to a decorative use by means
+of borders or very defined edges, as in the illustration by Mr.
+A. Campbell Cross, Fig. 64.
+
+[Illustration: FIG. 63 W. APPLETON CLARK]
+
+[Illustration: FIG. 64 A. CAMPBELL CROSS]
+
+[Side note: _The Decorative Outline_]
+
+Another essential characteristic of decorative drawing is the emphasized
+Outline. This may be heavy or delicate, according to the nature of
+the subject or individual taste. The designs by Mr. W. Nicholson
+and Mr. Selwyn Image, for instance, are drawn with a fatness of
+outline not to be obtained with anything but a brush; while the
+outlines of M. Boutet de Monvel, marked as they are, are evidently
+the work of a more than usually fine pen. In each case, however,
+everything is in keeping with the scale of the outline adopted,
+so that this always retains its proper emphasis. The decorative
+outline should never be broken, but should be kept firm, positive,
+and uniform. It may be heavy, and yet be rich and feeling, as may
+be seen in the Mucha design, Fig.65. Generally speaking, the line
+ought not to be made with a nervous stroke, but rather with a slow,
+deliberate drag. The natural wavering of the hand need occasion no
+anxiety, and, indeed, it is often more helpful to the line than
+otherwise.
+
+[Illustration: FIG. 65 MUCHA]
+
+Perhaps there is no more difficult thing to do well than to model
+the figure while still preserving the decorative outline. Several
+examples of the skilful accomplishment of this problem are illustrated
+here. Observe, for instance, how in the quaint Dürer-like design
+by Mr. Howard Pyle, Fig. 66, the edges of the drapery-folds are
+emphasized in the shadow by keeping them white, and see how wonderfully
+effective the result is. The same device is also to be noticed in
+the book-plate design by Mr. A. G. Jones, Fig. 62, as well as in
+the more conventional treatment of the black figure in the Bradley
+poster, Fig. 67.
+
+[Illustration: FIG. 66 HOWARD PYLE]
+
+[Illustration: FIG. 67 WILL H. BRADLEY
+
+[Side note: _Color_]
+
+In the rendering of decorative subjects, the Color should be, as
+much as possible, designed. Whereas a poster, which is made with
+a view to its entire effect being grasped at once, may be rendered
+in flat masses of color, the head- or tail-piece for a decorative
+book-page should be worked out in more detail, and the design should
+be finer and more varied in color. The more the color is attained
+by means of pattern, instead of by mere irresponsible lines, the
+more decorative is the result. Observe the color-making by pattern
+in the book-plate by Mr. P. J. Billinghurst, Fig. 68. A great variety
+of textures may be obtained by means of varied patterns without
+affecting the breadth of the color-scheme. This may be noticed
+in the design last mentioned, in which the textures are extremely
+well rendered, as well as in the poster design by Mr. Bradley for
+the _Chap-Book_, just referred to.
+
+[Illustration: FIG. 68 P. J. BILLINGHURST]
+
+[Illustration: FIG. 69 "BEGGARSTAFF BROTHERS"]
+
+The color-scheme ought to be simple and broad. No set rules can
+be laid down to govern its disposition, which must always have
+reference to the whole design. The importance of employing such a
+broad and simple scheme in decorative drawing needs no better argument
+than the effective poster design by the "Beggarstaff Brothers,"
+Fig. 69, and that by Mr. Penfield, Fig.70. Of course the more
+conventional the design the less regard need be paid to anything
+like a logical disposition of color. A figure may be set against
+a black landscape with white trees without fear of criticism from
+reasonable people, provided it looks effective there.
+
+[Illustration: FIG. 70 EDWARD PENFIELD]
+
+[Side note: _Modern Decorative Draughtsmen_]
+
+A word or two, in conclusion, concerning some of the modern decorative
+draughtsmen. Of those who work in the sixteenth century manner,
+Mr. Howard Pyle is unquestionably the superior technician. His
+line, masterly in its sureness, is rich and charged with feeling.
+Mr. H. Ospovat, one of the younger group of English decorators,
+has also a charming technique, rather freer than that of Mr. Pyle,
+and yet reminding one of it. Mr. Louis Rhead is another of the same
+school, whose designs are deserving of study. The example of his
+work shown in Fig. 71--excellent both in color and in drawing--is
+one of his earlier designs. Mr. J. W. Simpson, in the book-plate,
+Fig. 72, shows the broadest possible decorative method; a method
+which, while too broad for anything but a poster or a book-label,
+is just what the student should aim at being able to attain.
+
+[Illustration: FIG. 71 LOUIS J. RHEAD]
+
+[Illustration: FIG. 72 J. W. SIMPSON]
+
+Some of those decorators whose work shows a Japanese influence have
+a most exquisite method. Of these, that remarkable draughtsman, M.
+Boutet de Monvel, easily takes the first place. Those who have had
+the good fortune to see his original drawings will not easily forget
+the delicate beauty of outline nor the wonderfully tender coloring
+which distinguishes them. Mr. Maxfield Parrish is another masterly
+decorator who is noted for his free use of Japanese precedent as
+well as for the resourcefulness of his technique. The drawings
+of Mr. Henry McCarter, too, executed as they are in pure line, are
+especially valuable to the student of the pen. In respect both of
+the design and treatment of decorative subjects, the work of the
+late Aubrey Beardsley is more individual than that of any other
+modern draughtsman. That of our own clever and eccentric Bradley,
+while very clearly confessing its obligations, has yet a distinctive
+character of its own. The work of the two latter draughts men,
+however, is not to be recommended to the unsophisticated beginner
+for imitation, for it is likely to be more harmful than otherwise.
+Nevertheless, by steering clear of the grotesque conventions with
+which they treat the human figure, by carefully avoiding the intense
+blacks in which a great deal of their work abounds, and by generally
+maintaining a healthy condition of mind, much is to be learned
+from a study of their peculiar methods.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
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+<pre>
+
+The Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Pen Drawing
+       An Illustrated Treatise
+
+Author: Charles Maginnis
+
+Release Date: January 12, 2006 [EBook #17502]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PEN DRAWING ***
+
+
+
+
+Produced by Robert J. Hall
+
+
+
+
+
+</pre>
+
+<h1>PEN DRAWING<br />
+<span style="font-size: smaller;">AN ILLUSTRATED TREATISE</span></h1>
+
+<p class="author">
+BY CHARLES D. MAGINNIS
+</p>
+
+<p class="center">
+F.A.I.A., LL.D.<br />
+FELLOW AM. ACAD. ARTS AND SCIENCES<br />
+FORMERLY INSTRUCTOR IN ILLUSTRATION, COWLES ART SCHOOL<br />
+INSTRUCTOR IN PEN DRAWING, BOSTON ARCHITECTURAL CLUB
+</p>
+
+<p class="center">
+SEVENTH EDITION
+</p>
+
+<h2>ACKNOWLEDGMENT</h2>
+
+<p class="indent">
+To Mr. David A. Gregg and to Mr. Bertram G. Goodhue, who have generously
+made special drawings for this little book, and to the Publishers
+who have courteously allowed me to make use of illustrations owned
+by them, my thanks and my cordial acknowledgements are due.
+</p>
+
+<p class="bquote">
+C. D. M.
+</p>
+
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+<p>FIGURE</p>
+
+<ol>
+<li>JOSEPH PENNELL. From <i>The Century Magazine</i> (The Century Co:
+ New York)</li>
+<li>MAXIME LALANNE. From "La Hollande &agrave; Vol d'Oiseau," by H.
+ Havard (A. Quantin: Paris)</li>
+<li>MAXIME LALANNE. From "La Hollande &agrave; Vol d'Oiseau," by H.
+ Havard (A. Quantin: Paris)</li>
+<li>RESTORATION HOUSE, ROCHESTER, ENGLAND. Drawing from a Photograph</li>
+<li>JOSEPH PENNELL. From "Highways and Byways in North Wales" (Macmillan
+ Co: London)</li>
+<li>BERTRAM G. GOODHUE. Drawn for "Pen Drawing"</li>
+<li>HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+ W. Outram Tristram (Macmillan &amp; Co: London)</li>
+<li>BERTRAM G. GOODHUE. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>MARTIN RICO. From <i>La Ilustracion Espa&ntilde;ola y Americana</i></li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>DANIEL VIERGE. From "Pablo de S&eacute;govie," by Francisco de Quevedo
+ (L&eacute;on Bonhoure: Paris)</li>
+<li>MARTIN RICO. From <i>La Ilustracion Espa&ntilde;ola y Americana</i></li>
+<li>ALFRED BRENNAN. From <i>St. Nicholas</i> (The Century Co: New York)</li>
+<li>LESLIE WILLSON. From <i>Pick-Me-Up</i> (London)</li>
+<li>DRAWING FROM PHOTOGRAPH. From <i>Harper's Magazine</i> (Harper &amp;
+ Brothers: New York)</li>
+<li>JOSEPH PENNELL. From "The S&acirc;one: A Summer Voyage," by Philip
+ Gilbert Hamerton (Seeley &amp; Co: London)</li>
+<li>JOSEPH PENNELL. From "The S&acirc;one: A Summer Voyage," by Philip
+ Gilbert Hamerton (Seeley &amp; Co: London)</li>
+<li>JOSEPH PENNELL. From <i>Harper's Magazine</i> (Harper &amp; Brothers:
+ New York)</li>
+<li>E. DANTAN. From <i>L'Art</i> (Paris)</li>
+<li>J. F. RAFFA&Euml;LLI. From <i>Gazette des Beaux-Arts</i> (Paris)</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+ D. A. Gregg (Ticknor &amp; Co: Boston)</li>
+<li>DANIEL VIERGE. From "Pablo de S&eacute;govie," by Francisco de Quevedo
+ (L&eacute;on Bonhoure: Paris)</li>
+<li>DANIEL VIERGE. From "Pablo de S&eacute;govie," by Francisco de Quevedo
+ (L&eacute;on Bonhoure: Paris)</li>
+<li>HARRY FENN. From <i>The Century Magazine</i> (The Century Co:
+ New York)</li>
+<li>REGINALD BIRCH. From <i>The Century Magazine</i> (The Century Co:
+ New York)</li>
+<li>JOSEPH PENNELL. From <i>The Century Magazine</i> (The Century Co:
+ New York)</li>
+<li>BERTRAM G. GOODHUE. From <i>The Architectural Review</i> (Bates
+ &amp; Guild Co: Boston)</li>
+<li>JOSEPH PENNELL. From "Charing Cross to St.&nbsp;&nbsp;Paul's," by Justin
+ McCarthy (Seeley &amp; Co: London)</li>
+<li>LEONARD RAVEN HILL. From <i>Pick-Me-Up</i> (London)</li>
+<li>DANIEL VIERGE. From "Pablo de S&eacute;govie," by Francisco de Quevedo
+ (L&eacute;on Bonhoure: Paris)</li>
+<li>P. G. JEANNIOT. From <i>La Vie Moderne</i> (Paris)</li>
+<li>PORCH OF AN ENGLISH CHURCH. From a Photograph</li>
+<li>D. A. GREGG. Drawn for "Pen Drawing"</li>
+<li>37. NORMANDY MOAT-HOUSE. From a Photograph</li>
+<li>38. C. D. M. Drawn for "Pen Drawing"</li>
+<li>STREET IN HOLLAND. From a Photograph</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>GEORGE F. NEWTON. From "Catalogue of the Philadelphia &amp; Boston
+ Face Brick Co." (Boston)</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>FRANK E. WALLIS. From <i>The Engineering Record</i></li>
+<li>HARRY ALLAN JACOBS. From <i>The Architectural Review</i> (Bates
+ &amp; Guild Co: Boston)</li>
+<li>D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+ D. A. Gregg (Ticknor &amp; Co: Boston)</li>
+<li>D. A. GREGG. From <i>The Brickbuilder</i> (Rogers &amp; Manson:
+ Boston)</li>
+<li>HERBERT RAILTON. From "Coaching Days and&nbsp;&nbsp;Coaching Ways," by
+ W. Outram Tristram (Macmillan &amp; Co: London)</li>
+<li>D. A. GREGG. From <i>The American Architect</i> (The American
+ Architect and Building News Co: Boston)</li>
+<li>WALTER M.CAMPBELL. From <i>The American Architect</i> (The American
+ Architect and Building News Co: Boston)</li>
+<li>HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+ W. Outram Tristram (Macmillan &amp; Co: London)</li>
+<li>A. F. JACCACI. From <i>The Century Magazine</i> (The Century Co:
+ New York)</li>
+<li>CLAUDE FAYETTE BRAGDON. From <i>The Brickbuilder</i> (Rogers &amp;
+ Manson: Boston)</li>
+<li>HARVEY ELLIS. From <i>The Inland Architect</i> (The Inland Publishing
+ Co: Chicago)</li>
+<li>C. E. MALLOWS. From <i>The British Architect</i> (London)</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>C. D. M. Drawn for "Pen Drawing"</li>
+<li>A. B. FROST. From <i>Scribner's Magazine</i> (Charles Scribner's
+ Sons: New York)</li>
+<li>ALFRED G. JONES. From a Book Plate</li>
+<li>WALTER APPLETON CLARK. From <i>Scribner's Magazine</i> (Charles
+ Scribner's Sons: New York).</li>
+<li>A. CAMPBELL CROSS. From <i>Quartier Latin</i> (Paris)</li>
+<li>MUCHA. From a Poster Design</li>
+<li>HOWARD PYLE. From "Otto of the Silver Hand," by Howard Pyle
+ (Charles Scribner's Sons: New York)</li>
+<li>WILL H. BRADLEY. From a Poster Design for <i>The Chap-Book</i>
+ (Herbert S. Stone &amp; Co: Chicago)</li>
+<li>P. J. BILLINGHURST. From a Book Plate</li>
+<li>"BEGGARSTAFF BROTHERS." From a Poster Design</li>
+<li>EDWARD PENFIELD. From a Design for the "Poster Calendar"
+ (R. H. Russell &amp; Son: New York)</li>
+<li>LOUIS J. RHEAD. From a Poster Design for "Lundborg's Perfumes"</li>
+<li>J. W. SIMPSON. From a Book Plate</li>
+</ol>
+
+<h2>CONTENTS</h2>
+
+<p>
+CHAPTER I.&mdash;<a href="#chapter_I">Style in Pen Drawing</a><br>
+CHAPTER II.&mdash;<a href="#chapter_II">Materials</a><br>
+CHAPTER III.&mdash;<a href="#chapter_III">Technique</a><br>
+CHAPTER IV.&mdash;<a href="#chapter_IV">Values</a><br>
+CHAPTER V.&mdash;<a href="#chapter_V">Practical Problems</a><br>
+CHAPTER VI.&mdash;<a href="#chapter_VI">Architectural Drawing</a><br>
+CHAPTER VII.&mdash;<a href="#chapter_VII">Decorative Drawing</a>
+</p>
+
+<h2><a name="chapter_I">CHAPTER I</a></h2>
+
+<p class="subtitle">STYLE IN PEN DRAWING</p>
+
+<p class="indent">
+Art, with its finite means, cannot hope to record the infinite
+variety and complexity of Nature, and so contents itself with a
+partial statement, addressing this to the imagination for the full
+and perfect meaning. This inadequation, and the artificial adjustments
+which it involves, are tolerated by right of what is known as artistic
+convention; and as each art has its own particular limitations, so
+each has its own particular conventions. Sculpture reproduces the
+forms of Nature, but discards the color without any shock to our
+ideas of verity; Painting gives us the color, but not the third
+dimension, and we are satisfied; and Architecture is <i>purely</i>
+conventional, since it does not even aim at the imitation of natural
+form.
+</p>
+
+<p class="indent">
+<span class="sidenote">The Conventions of Line Drawing</span>
+Of the kindred arts which group themselves under the head of Painting,
+none is based on such broad conventions as that with which we are
+immediately concerned&mdash;the art of Pen Drawing. In this medium,
+Nature's variety of color, when not positively ignored, is suggested
+by means of sharp black lines, of varying thickness, placed more or
+less closely together upon white paper; while natural form depends
+primarily for its representation upon arbitrary boundary lines.
+There is, of course, no authority in Nature for a positive outline:
+we see objects only by the difference in color of the other objects
+behind and around them. The technical capacity of the pen and ink
+medium, however, does not provide a value corresponding to every
+natural one, so that a broad interpretation has to be adopted which
+eliminates the less positive values; and, that form may not likewise
+be sacrificed, the outline becomes necessary, that light objects may
+stand relieved against light. This outline is the most characteristic,
+as it is the most indispensable, of the conventions of line drawing.
+To seek to abolish it only involves a resort to expedients no less
+artificial, and the results of all such attempts, dependent as
+they necessarily are upon elaboration of color, and a general
+indirectness of method, lack some of the best characteristics of
+pen drawing. More frequently, however, an elaborate color-scheme
+is merely a straining at the technical limitations of the pen in
+an effort to render the greatest possible number of values.
+</p>
+
+<p class="indent">
+It may be worth while to inquire whether excellence in pen drawing
+consists in thus dispensing with its recognized conventions, or
+in otherwise taxing the technical resources of the instrument.
+This involves the question of Style,&mdash;of what characteristic
+pen methods are,&mdash;a question which we will briefly consider.
+</p>
+
+<p class="indent">
+<span class="sidenote">What Constituted "Style"</span>
+It is a recognized principle that every medium of art expression
+should be treated with due regard to its nature and properties.
+The sculptor varies his technique according as he works in wood,
+granite, or marble; the painter handles his water-color in quite
+another manner than that he would employ on an oil-painting of
+the same subject; and the architect, with the subtle sense of the
+craftsman, carries this principle to such a fine issue as to impart
+an individual expression even to particular woods. He knows that
+what may be an admirable design when executed in brass may be a
+very bad one in wrought-iron and is sure to be an absurdity in
+wood. An artistic motive for a silver flagon, too, is likely to
+prove ugly for pottery or cut-glass, and so on. There is a genius,
+born of its particular properties, in every medium, which demands
+individual expression. Observe, therefore, that Art is not satisfied
+with mere unrelated beauty of form or color. It requires that the
+result confess some sensible relation to the means by which it has
+been obtained; and in proportion as it does this, it may claim
+to possess that individual and distinctive charm which we call
+"Style." It may be said, therefore, that the technical limitations
+of particular mediums impose what might properly be called natural
+conventions; and while misguided ambition may set these conventions
+aside to hammer out effects from an unwilling medium, the triumph
+is only mechanical; Art does not lie that way.
+</p>
+
+<p class="indent">
+<span class="sidenote">The Province of the Pen</span>
+Ought the pen, then, to be persuaded into the province of the brush?
+Since the natures of the two means differ, it does not stultify
+the water-color that it cannot run the deep gamut of oil. Even if
+the church-organ be the grandest and most comprehensive of musical
+instruments we may still be permitted to cherish our piano. Each has
+its own sphere, its own reason for being. So of the pen,&mdash;the
+piccolo flute of the artistic orchestra. Let it pipe its high treble
+as merrily as it may, but do not coerce it into mimicking the bassoon.
+</p>
+
+<table class="center" style="width: 421px;">
+<tr><td colspan="2">
+ <img src="images/fig001.jpg" width="421" height="598" alt="Fig. 1">
+</td></tr>
+<tr><td>FIG. 1</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<p class="indent">
+Pen drawing is most apt to lose its individuality when it begins
+to assume the characteristics of wash-drawing, such as an elaborate
+massing of grays, small light areas, and a general indirectness of
+method. A painter once told me that he was almost afraid to handle
+the pen,&mdash;"It is so fearfully direct," he said. He understood
+the instrument, certainly, for if there is one characteristic more
+than another which should distinguish pen methods it is Directness.
+The nature of the pen seems to mark as its peculiar function that
+of picking out the really vital features of a subject. Pen drawing
+has been aptly termed the "shorthand of Art;" the genius of the
+pen-point is essentially epitome.
+</p>
+
+<p class="indent">
+If we turn to the brush, we find its capacity such that a high
+light may be brought down to a minute fraction of an inch with a
+few swift strokes of it; whereas the tedious labor, not to speak
+of the actual technical difficulties, encountered in attempting such
+an effect of color with pen and ink, indicates that we are forcing
+the medium. Moreover, it is technically impossible to reproduce
+with the pen the low values which may be obtained with the brush;
+and it is unwise to attempt it. The way, for example, in which
+Mr. Joseph Pennell handles his pen as compared with that in which
+he handles his brush is most instructive as illustrating what I
+have been maintaining. His pen drawings are pitched in a high
+key,&mdash;brilliant blacks and large light areas, with often just
+enough half-tone to soften the effect. His wash-drawings, on the
+contrary, are so utterly different in manner as to have nothing
+in common with the others, distinguished as they are by masses
+of low tone and small light areas. Compare Figs. 1 and 5. Observe
+that there is no straining at the technical capacity of the pen or
+of the brush; no attempt to obtain an effect in one medium which
+seems to be more naturally adapted to the other. Individuality is
+imparted to each by a frank concession to its peculiar genius.
+</p>
+
+<table class="center" style="width: 429px;">
+<tr><td colspan="2">
+ <img src="images/fig002.jpg" width="429" height="306" alt="Fig. 2">
+</td></tr>
+<tr><td>FIG. 2</td><td class="right">MAXIME LALANNE</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Examples of Good Style</span>
+I have said that the chief characteristic of pen methods is Directness.
+I think I may now say that the chief element of style is Economy
+of Means. The drawing by M. Maxime Lalanne shown in Fig. 2 is an
+excellent example of this economy carried to its extreme. Not a
+stroke could be spared, so direct and simple is it, and yet it
+is so complete and homogenous that nothing could be added to make
+it more so. The architecture is left without color, and yet we are
+made to feel that it is not white&mdash;this subtle suggestion
+of low color being obtained by a careful avoidance of any strong
+black notes in the rendering, which would have intensified the
+whites and lighted up the picture. Fig. 3, by the same artist,
+is even more notable by reason of the masterly breadth which
+characterizes the treatment of a most complicated subject. A comparison
+of these with a drawing of the Restoration House, at Rochester,
+England, Fig. 4, is instructive. In the latter the method is almost
+painfully elaborate; nothing of the effect is obtained by suggestion.
+The technique is varied and interesting, but the whole drawing
+lacks that individual something which we call Style. In the Lalanne
+drawings we see foliage convincingly represented by means of the
+mere outlines and a few subtle strokes of the pen. There is no
+attempt at the literal rendering of natural objects in detail,
+all is accomplished by suggestion: and while I do not wish to be
+understood as insisting upon such a severely simple style, much less
+upon the purist theory that the function of the pen is concerned
+with form alone, I would impress upon the student that Lalanne's
+is incomparably the finer manner of the two.
+</p>
+
+<table class="center" style="width: 533px;">
+<tr><td colspan="2">
+ <img src="images/fig003.jpg" width="533" height="395" alt="Fig. 3">
+</td></tr>
+<tr><td>FIG. 3</td><td class="right">MAXIME LALANNE</td></tr>
+</table>
+
+<table class="center" style="width: 415px;">
+<tr><td colspan="2">
+ <img src="images/fig004.jpg" width="415" height="480" alt="Fig. 4">
+</td></tr>
+<tr><td>FIG. 4</td><td class="right">FROM A PHOTOGRAPH</td></tr>
+</table>
+
+<table class="center" style="width: 436px;">
+<tr><td colspan="2">
+ <img src="images/fig005.jpg" width="436" height="250" alt="Fig. 5">
+</td></tr>
+<tr><td>FIG. 5</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">A Word of Advice</span>
+Between these two extremes of method there is a wide latitude for
+individual choice. Contrast with the foregoing the accompanying
+pen drawing by Mr. Pennell, Fig. 5, which gives a fair idea of the
+manner of this admirable stylist. Compared with the sketches by
+Lalanne it has more richness of color, but there is the same fine
+restraint, the same nice regard for the instrument. The student
+will find it most profitable to study the work of this masterly
+penman. By way of warning, however, let me remind him here, that in
+studying the work of any accomplished draughtsman he is selecting
+a style for the study of principles, not that he may learn to mimic
+somebody, however excellent the somebody may be; that he must,
+therefore, do a little thinking himself; that he has an individuality
+of his own which he does not confess if his work looks like some
+one's else; and, finally, that he has no more right to consciously
+appropriate the peculiarities of another's style than he has to
+appropriate his more tangible property, and no more reason to do
+so than he has to walk or talk like him.
+</p>
+
+<h2><a name="chapter_II">CHAPTER II</a></h2>
+
+<p class="subtitle">MATERIALS</p>
+
+<p class="indent">
+Every illustrator has his special predilections in the matter of
+materials, just as he has in the matter of methods. The purpose
+of this chapter is, therefore, rather to assist the choice of the
+student by limiting it than to choose for him. It would be advisable
+for him to become acquainted with the various materials that I may
+have occasion to mention (all of them are more or less employed
+by the prominent penmen), and a partiality for particular ones will
+soon develop itself. He is reminded, however, that it is easily
+possible to exaggerate the intrinsic values of pens and papers; in
+fact the beginner invariably expects too much from them. Of course,
+he should not use any but the best,&mdash;even Vierge could not
+make a good drawing with a bad pen,&mdash;but the artistic virtues
+of a particular instrument are not likely to disclose themselves
+in the rude scratchings of the beginner. He has to master it, to
+"break it in," ere he can discover of what excellent service it
+is capable.
+</p>
+
+<p class="indent">
+<span class="sidenote">Pens</span>
+The student will find that most of the steel pens made for artists
+have but a short period of usefulness. When new they are even more
+unresponsive than when they are old. At first they are disposed to
+give a hard, wiry line, then they grow sympathetic, and, finally,
+lose their temper, when they must be immediately thrown away. As
+a general rule, the more delicate points are better suited to the
+smooth surfaces, where they are not likely to get tripped up and
+"shaken" by the roughness in the paper.
+</p>
+
+<p class="indent">
+To begin with the smaller points, the "Gillott Crow-quill" is an
+excellent instrument. The normal thickness of its line is extremely
+small, but so beautifully is the nib made that it will respond
+vigorously to a big sweeping stroke. I say a "sweeping stroke,"
+as its capacity is not to be taxed for uniformly big lines. An
+equally delicate point, which surpasses the crow-quill in range,
+is "Gillott's Mapping-pen." It is astonishing how large a line
+may be made with this instrument. It responds most nimbly to the
+demands made upon it, and in some respects reminds one of a brush.
+It has a short life, but it may be a merry one. Mr. Pennell makes
+mention of a pen, "Perry's Auto-Stylo," which seems to possess
+an even more wonderful capacity, but of this I cannot speak from
+experience. A coarser, but still a small point, is the "Gillott
+192"&mdash;a good pen with a fairly large range; and, for any others
+than the smooth papers, a pen smaller than this will probably be
+found undesirable for general use. A shade bigger than this is
+the "Gillott 303," a very good average size. Neither of these two
+possesses the sensitiveness of those previously mentioned, but
+for work demanding more or less uniformity of line they will be
+found more satisfactory. The smaller points are liable to lead one
+into the quagmire of finicalness. When we get beyond the next in
+size, the "Gillott 404," there is nothing about the coarse steel
+points to especially commend them for artistic use. They are usually
+stupid, unreliable affairs, whose really valuable existence is
+about fifteen working minutes. For decorative drawing the ordinary
+commercial "stub" will be found a very satisfactory instrument.
+Of course one may use several sizes of pens in the same drawing,
+and it is often necessary to do so.
+</p>
+
+<p class="indent">
+Before leaving the steel pens, the "double-line pen" may be mentioned,
+though it has only a limited sphere. It is a two-pointed arrangement,
+practically two pens in one, by means of which parallel lines may
+be made with one stroke. Rather interesting effects can be obtained
+with it, but on the whole it is most valuable as a curiosity. Though
+somewhat out of fashion for general use, the quill of our fathers is
+favored by many illustrators. It is splendidly adapted for broad,
+vigorous rendering of foreground effects, and is almost dangerously
+easy to handle. Reed pens, which have somewhat similar virtues,
+are now little employed, and cannot be bought. They have to be
+cut from the natural reed, and used while fresh. For many uses
+in decorative drawing one of the most satisfactory instruments is
+the glass pen, which gives an absolutely uniform line. The point
+being really the end of a thin tube, the stroke may be made in any
+direction, a most unique characteristic in a pen. It has, however,
+the disadvantages of being friable and expensive; and, as it needs
+to be kept clean, the patent water-proof ink should not be used with
+it unless absolutely necessary. A flat piece of cork or rubber should
+be placed inside the ink-bottle when this pen is used, otherwise it
+is liable to be smashed by striking the bottom of the bottle. The
+faculty possessed by the Japanese brush of retaining its point
+renders it also available for use as a pen, and it is often so
+employed.
+</p>
+
+<p class="indent">
+<span class="sidenote">Inks</span>
+In drawing for reproduction, the best ink is that which is blackest
+and least shiny. Until a few years ago it was the custom of penmen
+to grind their India ink themselves; but, besides the difficulty of
+always ensuring the proper consistency, it was a cumbersome method,
+and is now little resorted to, especially as numerous excellent
+prepared inks are ready to hand. The better known of these prepared
+inks are, "Higgins' American" (general and waterproof), Bourgeois'
+"Encre de Chine Liquide," "Carter's," "Winsor &amp; Newton's," and
+"Rowney's." Higgins' and Carter's have the extrinsic advantages
+of being put up in bottles which do not tip over on the slightest
+provocation, and of being furnished with stoppers which can be
+handled without smearing the fingers. Otherwise, they cannot be
+said to possess superiority over the others, certainly not over
+the "Encre de Chine Liquide." Should the student have occasion
+to draw over salt-prints he will find it wise to use waterproof
+ink, as the bleaching acid which is used to fade the photographic
+image may otherwise cause the ink to run.
+</p>
+
+<p class="indent">
+<span class="sidenote">Papers</span>
+Bristol-board is probably the most popular of all surfaces for
+pen drawing. It is certainly that most approved by the process
+engraver, whose point of view in such a matter, though a purely
+mechanical one, is worthy of consideration. It has a perfectly
+smooth surface, somewhat difficult to erase from with rubber, and
+which had better be scratched with a knife when any considerable
+erasure is necessary. As the cheap boards are merely a padding
+veneered on either side with a thin coating of smooth paper, little
+scraping is required to develop a fuzzy surface upon which it is
+impossible to work. Only the best board, such as Reynolds', therefore,
+should be used. Bristol-board can be procured in sheets of various
+thicknesses as well as in blocks.
+</p>
+
+<p class="indent">
+Whatman's "hot-pressed" paper affords another excellent surface
+and possesses some advantages over the Bristol-board. It comes
+in sheets of various sizes, which may be either tacked down on
+a board or else "stretched." Tacking will be satisfactory enough
+if the drawing is small and is to be completed in a few hours;
+otherwise the paper is sure to "hump up," especially if the weather
+be damp. The process of stretching is as follows: Fold up the edges
+of the sheet all around, forming a margin about an inch wide. After
+moistening the paper thoroughly with a damp sponge, cover the under
+side of this turned-up margin with photographic paste or strong
+mucilage. During this operation the sheet will have softened and
+"humped up," and will admit of stretching. Now turn down the adhesive
+margin and press it firmly with the fingers, stretching the paper
+gently at the same time. As this essential part of the process must
+be performed quickly, an assistant is requisite when the sheet
+is large. Care should be taken that the paper is not strained too
+much, as it is then likely to burst when it again contracts.
+</p>
+
+<p class="indent">
+Although generally employed for watercolor drawing, Whatman's
+"cold-pressed" paper has some advantages as a pen surface. Slightly
+roughish in texture, it gives an interesting broken line, which
+is at times desirable.
+</p>
+
+<p class="indent">
+A peculiar paper which has considerable vogue, especially in France
+and England, is what is known as "clay-board." Its surface is composed
+of China clay, grained in various ways, the top of the grain being
+marked with fine black lines which give a gray tone to the paper,
+darker or lighter according to the character of the pattern. This
+tone provides the middle-tint for the drawing. By lightly scraping
+with a sharp penknife or scratcher, before or after the pen work
+is done, a more delicate gray tone may be obtained, while vigorous
+scraping will produce an absolute white. With the pen work added,
+it will be seen that a good many values are possible; and, if the
+drawing be not reduced more than one-third, it will print excellently.
+The grain, running as it does in straight lines, offers a good deal
+of obstruction to the pen, however, so that a really good line is
+impossible.
+</p>
+
+<p class="indent">
+Thin letter-paper is sometimes recommended for pen and ink work,
+chiefly on account of its transparency, which obviates the necessity
+of re-drawing after a preliminary sketch has been worked up in
+pencil. Over the pencil study a sheet of the letter-paper is placed
+on which the final drawing may be made with much deliberation. Bond
+paper, however, possesses the similar advantage of transparency
+besides affording a better texture for the pen.
+</p>
+
+<h2><a name="chapter_III">CHAPTER III</a></h2>
+
+<p class="subtitle">TECHNIQUE</p>
+
+<p class="indent">
+<span class="sidenote">The Individual Line</span>
+The first requirement of a good pen technique is a good Individual
+Line, a line of feeling and quality. It is usually a surprise to
+the beginner to be made aware that the individual line is a thing of
+consequence,&mdash;a surprise due, without doubt, to the apparently
+careless methods of some successful illustrators. It is to be borne
+in mind, however, that some illustrators are successful in spite
+of their technique rather than because of it; and also that the
+apparently free and easy manner of some admirable technicians is
+in reality very much studied, very deliberate, and not at all to
+be confounded with the unsophisticated scribbling of the beginner.
+The student is apt to find it just about as easy to draw like Mr.
+Pennell as to write like Mr. Kipling. The best way to acquire such
+a superb freedom is to be very, very careful and painstaking. To
+appreciate how beautiful the individual line may be one has but
+to observe the rich, decorative stroke of Howard Pyle, Fig. 66,
+or that of Mucha, Fig. 65, the tender outline of Boutet de Monvel,
+the telling, masterly sweep of Gibson, or the short, crisp line of
+Vierge or Rico. Compared with any of these the line of the beginner
+will be either feeble and tentative, or harsh, wiry, and coarse.
+</p>
+
+<table class="center" style="width: 406px;">
+<tr><td colspan="2">
+ <img src="images/fig006.jpg" width="406" height="210" alt="Fig. 6">
+</td></tr>
+<tr><td>FIG. 6</td><td class="right">B. G. GOODHUE</td></tr>
+</table>
+
+<table class="center" style="width: 427px;">
+<tr><td colspan="2">
+ <img src="images/fig007.jpg" width="427" height="663" alt="Fig. 7">
+</td></tr>
+<tr><td>FIG. 7</td><td class="right">HERBERT RAILTON</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Variety of Line</span>
+The second requisite is Variety of Line,&mdash;not merely variety
+of size and direction, but, since each line ought to exhibit a
+feeling for the particular texture which it is contributing to
+express, variety of character. Mr. Gibson's manner of placing very
+delicate gray lines against a series of heavy black strokes exemplifies
+some of the possibilities of such variety. Observe, in Fig. 6,
+what significance is imparted to the heavy lines on the roof of
+the little foreground building by the foil of delicate gray lines
+in the sky and surrounding roofs. This conjunction was employed
+early by Mr. Herbert Railton, who has made a beautiful use of it
+in his quaint architectural subjects. Mr. Railton's technique is
+remarkable also for the varied direction of line and its expression
+of texture. Note this characteristic in his drawing of buttresses,
+Fig. 7.
+</p>
+
+<table class="center" style="width: 442px;">
+<tr><td colspan="2">
+ <img src="images/fig008.jpg" width="442" height="649" alt="Fig. 8">
+</td></tr>
+<tr><td>FIG. 8</td><td class="right">B. G. GOODHUE</td></tr>
+</table>
+
+<table class="center" style="width: 425px;">
+<tr><td colspan="2">
+ <img src="images/fig009.jpg" width="425" height="302" alt="Fig. 9">
+</td></tr>
+<tr><td>FIG. 9</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<table class="center" style="width: 581px;">
+<tr><td colspan="2">
+ <img src="images/fig010.jpg" width="581" height="429" alt="Fig. 10">
+</td></tr>
+<tr><td>FIG. 10</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Economy of Method</span>
+The third element of good technique is Economy and Directness of
+Method. A tone should not be built up of a lot of meaningless strokes.
+Each line ought, sensibly and directly, to contribute to the ultimate
+result. The old mechanical process of constructing tones by
+cross-hatching is now almost obsolete. It is still employed by
+modern pen draughtsmen, but it is only one of many resources, and
+is used with nice discrimination. At times a cross-hatch is very
+desirable and very effective,&mdash;as, for example, in affording
+a subdued background for figures having small, high lights. A very
+pretty use of it is seen in the tower of Mr. Goodhue's drawing,
+Fig. 8. Observe here how the intimate treatment of the roofs is
+enhanced and relieved by the foil of closely-knit hatch on the
+tower-wall, and how effective is the little area of it at the base
+of the spire. The cross-hatch also affords a satisfactory method
+of obtaining deep, quiet shadows. See the archway "B" in Fig. 9.
+On the whole, however, the student is advised to accustom himself
+to a very sparing use of this expedient. Compare the two effects in
+Fig. 9, Some examples of good and bad cross-hatching are illustrated
+in Fig. 10. Those marked "I" and "J" may be set down as bad, being
+too coarse. The only satisfactory cross-hatch at a large scale would
+seem to be that shown in "N," where lines cross at a sharp angle;
+and this variety is effectively employed by figure illustrators.
+Perhaps no better argument against the necessity for thus building
+up tones could be adduced than the little drawing by Martin Rico,
+shown in Fig. 11. Notice what a beautiful texture he gives to the
+shadow where it falls on the street, how it differs from that on
+the walls, how deep and closely knit it all is, and yet that there
+is absolutely no cross-hatching. Remark, also, how the textures
+of the walls and roof and sky are obtained. The student would do
+well to copy such a drawing as this, or a portion of it, at least,
+on a larger scale, as much can be learned from it.
+</p>
+
+<table class="center" style="width: 344px;">
+<tr><td colspan="2">
+ <img src="images/fig011.jpg" width="344" height="739" alt="Fig. 11">
+</td></tr>
+<tr><td>FIG. 11</td><td class="right">MARTIN RICO</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Methods of Tone-Making</span>
+I have shown various methods of making a tone in Fig. 12. It will be
+observed that Rico's shadow, in Fig. 11, is made up of a combination
+of "B" and "C," except that he uses "B" horizontally, and makes
+the line heavy and dragging. The clear, crisp shadows of Vierge
+are also worthy of study for the simplicity of method. This is
+beautifully illustrated in the detail, Fig. 13. It would be impossible
+to suggest atmosphere more vibrating with sunlight; a result due
+to the transparency of the shadows, the lines of which are sharp
+and clean, with never a suggestion of cross-hatch. Notice how the
+lines of the architectural shadows are stopped abruptly at times,
+giving an emphasis which adds to the brilliancy of the effect. The
+drawing of the buildings on the canal, by Martin Rico, Fig. 14,
+ought also to be carefully studied in this connection. Observe how
+the shadow-lines in this drawing, as in that previously mentioned,
+are made to suggest the direction of the sunlight, which is high in
+the heavens. An example of all that is refined and excellent in
+pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The
+student would do well to study this carefully for its marvellous
+beauty of line. There is little hatching, and yet the tones are deep
+and rich. The wall tone will be found to be made up similarly to "A"
+and "H" in Fig. 12. The tone "B" in the same Figure is made up of
+lines which are thin at the ends and big in the middle, fitting into
+each other irregularly, and imparting a texture somewhat different
+from that obtained by the abrupt ending of the strokes of "A." This
+method is also employed by Brennan, and is a very effective one.
+A good example of the use of this character of line (unknitted,
+however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular
+line "C" has good possibilities for texture, and the wavy character
+of "D" is most effective in the rendering of shadows, giving a
+certain vibration to the atmosphere. "E" and "F" suggest a freer
+method of rendering a tone; while "G" shows a scribbling line that
+is sometimes employed to advantage. The very interesting texture of
+the coat, Fig. 17, is made with a horizontal line having a similar
+return stroke, as may be noticed where the rendering ends. There
+are times when an irresponsible sort of line is positively
+desirable,&mdash;say for rough foreground suggestion or for freeing
+the picture at the edges.
+</p>
+
+<table class="center" style="width: 541px;">
+<tr><td colspan="2">
+ <img src="images/fig012.jpg" width="541" height="414" alt="Fig. 12">
+</td></tr>
+<tr><td>FIG. 12</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<table class="center" style="width: 410px;">
+<tr><td colspan="2">
+ <img src="images/fig013.jpg" width="410" height="712" alt="Fig. 13">
+</td></tr>
+<tr><td>FIG. 13</td><td class="right">DANIEL VIERGE</td></tr>
+</table>
+
+<table class="center" style="width: 726px;">
+<tr><td colspan="2">
+ <img src="images/fig014.jpg" width="726" height="440" alt="Fig. 14">
+</td></tr>
+<tr><td>FIG. 14</td><td class="right">MARTIN RICO</td></tr>
+</table>
+
+<table class="center" style="width: 675px;">
+<tr><td colspan="2">
+ <img src="images/fig015.jpg" width="675" height="428" alt="Fig. 15">
+</td></tr>
+<tr><td>FIG. 15</td><td class="right">ALFRED BRENNAN</td></tr>
+</table>
+
+<table class="center" style="width: 381px;">
+<tr><td colspan="2">
+ <img src="images/fig016.jpg" width="381" height="567" alt="Fig. 16">
+</td></tr>
+<tr><td>FIG. 16</td><td class="right">LESLIE WILLSON</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Outline</span>
+I have invariably found that what presents the chief difficulty
+to the student of pen and ink is the management of the Outline.
+When it is realized that, by mere outline, one may express the
+texture of a coat or a tree or a wall without any rendering whatever,
+it will be seen that nothing in pen drawing is really of so much
+importance. Notice, for example, the wonderful drawing of the dog
+in Fig. 34. Again, if a connected line had been used to define
+the corners of Railton's buttresses in Fig. 7 all the texture,
+would have been destroyed. Instead of this he has used a broken
+outline, sometimes omitting it altogether for a considerable space.
+On the ledges, too, the lines are broken. In Rico's drawing, Fig.
+11, all the outlines may be observed to have a break here and there.
+This broken line is particularly effective in out-door subjects,
+as it helps to suggest sunlit atmosphere as well as texture.
+</p>
+
+<table class="center" style="width: 334px;">
+<tr><td colspan="2">
+ <img src="images/fig017.jpg" width="334" height="380" alt="Fig. 17">
+</td></tr>
+<tr><td>FIG. 17</td><td class="right">DRAWING FROM A PHOTOGRAPH</td></tr>
+</table>
+
+<p class="indent">
+Architectural outlines, however, are not particularly subtle; it
+is when we come to render anything with vague boundaries, such as
+foliage or clouds for example, that the chief difficulties are
+encountered. Foliage is an important element of landscape drawing
+and deserves more than passing consideration. To make a successful
+rendering of a tree in pen and ink the tree must be first well drawn
+in pencil. It is absolutely impossible to obtain such a charming
+effect of foliage as that shown in Mr. Pennell's sketch, Fig. 18,
+without the most painstaking preparation in pencil. The success
+of this result is not attributable merely to the difference in
+textures, nor to the direction or character of the line; it is
+first of all a matter of good drawing. The outline should be free
+and subtle so as to suggest the edges of leafage, and the holes
+near the edges should be accented, otherwise they will be lost
+and the tree will look solid and characterless. Observe, in the
+same drawing, how Mr. Pennell suggests the structure of the leafage
+by the irregular outlines which he gives to the different series of
+lines, and which he emphasizes by bringing the lines to an abrupt
+stop. Observe also how the stronger texture of the tree in Fig. 19
+is obtained by making the lines with greater abruptness. Compare
+both of these Figures with the foreground trees by the same artist
+in Fig. 20. The last is a brilliant example of foliage drawing
+in pen and ink.
+</p>
+
+<table class="center" style="width: 507px;">
+<tr><td colspan="2">
+ <img src="images/fig018.jpg" width="507" height="424" alt="Fig. 18">
+</td></tr>
+<tr><td>FIG. 18</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<table class="center" style="width: 224px;">
+<tr><td colspan="2">
+ <img src="images/fig019.jpg" width="224" height="287" alt="Fig. 19">
+</td></tr>
+<tr><td>FIG. 19</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<table class="center" style="width: 408px;">
+<tr><td colspan="2">
+ <img src="images/fig020.jpg" width="408" height="510" alt="Fig. 20">
+</td></tr>
+<tr><td>FIG. 20</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<table class="center" style="width: 267px;">
+<tr><td colspan="2">
+ <img src="images/fig021.jpg" width="267" height="676" alt="Fig. 21">
+</td></tr>
+<tr><td>FIG. 21</td><td class="right">E. DANTAN</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Textures</span>
+The matter of Textures is very important, and the student should
+learn to differentiate them as much as possible. This is done,
+as I have already said, by differences in the size and character
+of the line, and in the closeness or openness of the rendering.
+Observe the variety of textures in the drawing of the sculptor
+by Dantan, Fig. 21. The coat is rendered by such a cross-hatch
+as "N" in Fig. 10, made horizontally and with heavy lines. In the
+trousers the lines do not cross but fit in together. This is an
+excellent example for study, as is also the portrait by Raffa&euml;lli,
+Fig. 22. The textures in the latter drawing are wonderfully well
+conveved,&mdash;the hard, bony face, the stubby beard, and the
+woolen cap with its tassel in silhouette. For the expression of
+texture with the least effort the drawings of Vierge are incomparable.
+The architectural drawing by Mr. Gregg in Fig. 50 is well worth
+careful study in this connection, as are all of Herbert Railton's
+admirable drawings of old English houses. (I recommend the study
+of Mr. Railton's work with a good deal of reservation, however.
+While it is admirable in respect of textures and fascinating in its
+color, the values are likely to be most unreal, and the mannerisms
+are so pronounced and so tiresome that I regard it as much inferior
+to that of Mr. Pennell, whose architecture always <i>appears</i>,
+at least, to have been honestly drawn on the spot.)
+</p>
+
+<table class="center" style="width: 424px;">
+<tr><td colspan="2">
+ <img src="images/fig022.jpg" width="424" height="521" alt="Fig. 22">
+</td></tr>
+<tr><td>FIG. 22</td><td class="right">J. F. RAFFA&Euml;LLI</td></tr>
+</table>
+
+<p class="indent">
+The hats in Fig. 10 are merely suggestions to the student in the
+study of elementary combinations of line in expressing textures.
+</p>
+
+<p class="indent">
+<span class="sidenote">Drawing for Reproduction</span>
+As the mechanical processes of Reproduction have much to do with
+determining pen methods they become important factors for consideration.
+While their waywardness and inflexibility are the cause of no little
+distress to the illustrator, the limitations of processes cannot
+be said, on the whole, to make for inferior standards in drawing,
+as will be seen by the following rules which they impose, and for
+which a strict regard will be found most advisable.
+</p>
+
+<p class="indent">
+First: Make each line clear and distinct. Do not patch up a weak
+line or leave one which has been broken or blurred by rubbing, for
+however harmless or even interesting it may seem in your original
+it will almost certainly be neither in the reproduction. When you
+make mistakes, erase the offensive part completely, or, if you
+are working on Bristol-board and the area of unsatisfactoriness
+be considerable, paste a fresh piece of paper over it and redraw.
+</p>
+
+<p class="indent">
+Second: Keep your work open. Aim for economy of line. If a shadow
+can be rendered with twenty strokes do not crowd in forty, as you
+will endanger its transparency. Remember that in reproduction the
+lines tend to thicken and so to crowd out the light between them.
+This is so distressingly true of newspaper reproduction that in
+drawings for this purpose the lines have to be generally very thin,
+sharp, and well apart. The above rule should be particularly regarded
+in all cases where the drawing is to be subject to much reduction.
+The degree of reduction of which pen drawings are susceptible is
+not, as is commonly supposed, subject to rule. It all depends on
+the scale of the technique.
+</p>
+
+<p class="indent">
+Third: Have the values few and positive. It is necessary to keep
+the gray tones pretty distinct to prevent the relation of values
+being injured, for while the gray tones darken in proportion to the
+degree of reduction, the blacks cannot, of course, grow blacker.
+A gray tone which may be light and delicate in the original, will,
+especially if it be closely knit, darken and thicken in the printing.
+These rules are most strictly to be observed when drawing for the
+cheaper classes of publications. For book and magazine work, however,
+where the plates are touched up by the engraver, and the values in a
+measure restored, the third rule is not so arbitrary. Nevertheless,
+the beginner who has ambitions in this direction will do well not
+to put difficulties in his own way by submitting work not directly
+printable.
+</p>
+
+<p class="indent">
+<span class="sidenote">Some Fanciful Expedients</span>
+There are a number of more or less fanciful expedients employed in
+modern pen work which may be noted here, and which are illustrated
+in Fig. 10. The student is advised, however, to resort to them as
+little as possible, not only because he is liable to make injudicious
+use of them, but because it is wiser for him to cultivate the less
+meretricious possibilities of the instrument.
+</p>
+
+<p class="indent">
+"Spatter work" is a means of obtaining a delicate printable tone,
+consisting of innumerable little dots of ink spattered on the paper.
+The process is as follows: Carefully cover with a sheet of paper
+all the drawing except the portion which is to be spattered, then
+take a tooth-brush, moisten the ends of the bristles consistently
+with ink, hold the brush, back downwards, in the left hand, and
+with a wooden match or tooth-pick rub the bristles <i>toward you</i>
+so that the ink will spray over the paper. Particular, care must
+be taken that the brush is not so loaded with ink that it will
+spatter in blots. It is well, therefore, to try it first on a rough
+sheet of paper, to remove any superfluous ink. If the spattering is
+well done, it gives a very delicate tone of interesting texture,
+but if not cleverly employed, and especially if there be a large
+area of it, it is very likely to look out of character with the
+line portions of the drawing.
+</p>
+
+<p class="indent">
+A method sometimes employed to give a soft black effect is to moisten
+the lobe of the thumb lightly with ink and press it upon the paper. The
+series of lines of the skin make an impression that can be reproduced
+by the ordinary line processes. As in the case of spatter work,
+superfluous ink must be looked after before making the impression
+so as to avoid leaving hard edges. Thumb markings lend themselves to
+the rendering of dark smoke, and the like, where the edges require
+to be soft and vague, and the free direction of the lines impart
+a feeling of movement.
+</p>
+
+<p class="indent">
+Interesting effects of texture are sometimes introduced into pen
+drawings by obtaining the impression of a canvas grain. To produce
+this, it is necessary that the drawing be made on fairly thin paper.
+The <i>modus operandi</i> is as follows: Place the drawing over a
+piece of mounted canvas of the desired coarseness of grain, and,
+holding it firmly, rub a lithographic crayon vigorously over the
+surface of the paper. The grain of the canvas will be found to be
+clearly reproduced, and, as the crayon is absolutely black, the
+effect is capable of reproduction by the ordinary photographic
+processes.
+</p>
+
+<h2><a name="chapter_IV">CHAPTER IV</a></h2>
+
+<p class="subtitle">VALUES</p>
+
+<p class="indent">
+<span class="sidenote">The Color Scheme</span>
+After the subject has been mapped out in pencil, and before beginning
+the pen work, we have to consider and determine the proper disposition
+of the Color. By "color" is meant, in this connection, the gamut of
+values from black to white, as indicated in Fig. 23. The success
+or failure of the drawing will largely depend upon the disposition
+of these elements, the quality of the technique being a matter
+of secondary concern. Beauty of line and texture will not redeem
+a drawing in which the values are badly disposed, for upon them
+we depend for the effect of unity, or the pictorial quality. If
+the values are scattered or patchy the drawing will not focus to
+any central point of interest, and there will be no unity in the
+result.
+</p>
+
+<table class="center" style="width: 79px; float: left;">
+<tr><td colspan="2">
+ <img src="images/fig023.jpg" width="79" height="234" alt="Fig. 23">
+</td></tr>
+<tr><td>FIG.&nbsp;23</td><td class="right">C.&nbsp;D.&nbsp;M.</td></tr>
+</table>
+
+<p class="indent">
+There are certain general laws by which color may be pleasingly
+disposed, but it must be borne in mind that it ought to be disposed
+naturally as well. By a "natural" scheme of color, I mean one which
+is consistent with a natural effect of light and shade. Now the
+gradation from black to white, for example, is a pleasing scheme,
+as may be observed in Fig. 24, yet the effect is unnatural, since
+the sky is black. In a purely decorative illustration like this,
+however, such logic need not be considered.
+</p>
+
+<table class="center" style="width: 178px; float: right">
+<tr><td colspan="2">
+ <img src="images/fig024.jpg" width="178" height="219" alt="Fig. 24">
+</td></tr>
+<tr><td>FIG. 24</td><td class="right">D. A. GREGG</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Principality in the Color-Scheme</span>
+Since, as I said before, color is the factor which makes for the unity
+of the result, the first principle to be regarded in its arrangement
+is that of Principality,&mdash;there must be some dominant note in
+the rendering. There should not, for instance, be two principal
+dark spots of equal value in the same drawing, nor two equally
+prominent areas of white. The Vierge drawing, Fig. 25, and that
+by Mr. Pennell, Fig. 5, are no exceptions to this rule; the black
+figure of the old man counting as one note in the former, as do
+the dark arches of the bridge in the latter. The work of both these
+artists is eminently worthy of study for the knowing manner in
+which they dispose their values.
+</p>
+
+<table class="center" style="width: 412px;">
+<tr><td colspan="2">
+ <img src="images/fig025.jpg" width="412" height="522" alt="Fig. 25">
+</td></tr>
+<tr><td>FIG. 25</td><td class="right">DANIEL VIERGE</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Variety</span>
+The next thing to be sought is Variety. Too obvious or positive a
+scheme, while possibly not unsuitable for a conventional decorative
+drawing, may not be well adapted to a perspective subject. The
+large color areas should be echoed by smaller ones throughout the
+picture. Take, for example, the Vierge drawing shown in Fig. 26.
+Observe how the mass of shadow is relieved by the two light holes
+seen through the inn door. Without this repetition of the white the
+drawing would lose much of its character. In Rico's drawing, Fig.
+11, a tiny white spot in the shadow cast over the street would, I
+venture to think, be helpful, beautifully clear as it is; and the
+black area at the end of the wall seems a defect as it competes
+in value with the dark figure.
+</p>
+
+<table class="center" style="width: 458px;">
+<tr><td colspan="2">
+ <img src="images/fig026.jpg" width="458" height="492" alt="Fig. 26">
+</td></tr>
+<tr><td>FIG. 26</td><td class="right">DANIEL VIERGE</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Breadth of Effect</span>
+Lastly, Breadth of Effect has to be considered. It is requisite
+that, however numerous the tones are (and they should not be too
+numerous), the general effect should be simple and homogeneous. The
+color must count together broadly, and not be cut up into patches.
+</p>
+
+<table class="center" style="width: 239px;">
+<tr><td colspan="2">
+ <img src="images/fig027.jpg" width="239" height="387" alt="Fig. 27">
+</td></tr>
+<tr><td>FIG. 27</td><td class="right">HARRY FENN</td></tr>
+</table>
+
+<p class="indent">
+It is important to remember that the gamut from black to white is
+a short one for the pen. One need only try to faithfully render
+the high lights of an ordinary table glass set against a gray
+background, to be assured of its limitations in this respect. To
+represent even approximately the subtle values would require so
+much ink that nothing short of a positively black background would
+suffice to give a semblance of the delicate transparent effect of
+the glass as a whole. The gray background would, therefore, be
+lost, and if a really black object were also part of the picture
+it could not be represented at all. Observe, in Fig. 27, how just
+such a problem has been worked out by Mr. Harry Fenn.
+</p>
+
+<p class="indent">
+It will be manifest that the student must learn to think of things
+in their broad relation. To be specific,&mdash;in the example just
+considered, in order to introduce a black object the scheme of
+color would have needed broadening so that the gray background
+could be given its proper value, thus demanding that the elaborate
+values of the glass be ignored, and just enough suggested to give
+the general effect. This reasoning would equally apply were the
+light object, instead of a glass, something of intricate design,
+presenting positive shadows. Just so much of such a design should
+be rendered as not to darken the object below its proper relative
+value as a whole. In this faculty of suggesting things without
+literally rendering them consists the subtlety of pen drawing.
+</p>
+
+<p class="indent">
+It may be said, therefore, that large light areas resulting from the
+necessary elimination of values are characteristic of pen drawing.
+The degree of such elimination depends, of course, upon the character
+of the subject, this being entirely a matter of relation. The more
+black there is in a drawing the greater the number of values that
+can be represented. Generally speaking, three or four are all that
+can be managed, and the beginner had better get along with
+three,&mdash;black, half-tone, and white.
+</p>
+
+<table class="center" style="width: 399px;">
+<tr><td colspan="2">
+ <img src="images/fig028.jpg" width="399" height="434" alt="Fig. 28">
+</td></tr>
+<tr><td>FIG. 28</td><td class="right">REGINALD BIRCH</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Various Color-Schemes</span>
+While it is true that every subject is likely to contain some motive
+or suggestion for its appropriate color-scheme, it still holds that,
+many times, and especially in those cases where the introduction
+of foreground features at considerable scale is necessary for the
+interest of the picture, an artificial arrangement has to be devised.
+It is well, therefore, to be acquainted with the possibilities of
+certain color combinations. The most brilliant effect in black
+and white drawing is that obtained by placing the prominent black
+against a white area surrounded by gray. The white shows whiter
+because of the gray around it, so that the contrast of the black
+against it is extremely vigorous and telling. This may be said to
+be the illustrator's <i>tour de force</i>. We have it illustrated
+by Mr. Reginald Birch's drawing, Fig. 28. Observe how the contrast
+of black and white is framed in by the gray made up of the sky,
+the left side of the building, the horse, and the knight. In the
+drawing by Mr. Pennell, Fig. 29, we have the same scheme of color.
+Notice how the trees are darkest just where they are required to
+tell most strongly against the white in the centre of the picture.
+An admirable illustration of the effectiveness of this color-scheme
+is shown in the "Becket" poster by the "Beggarstaff Brothers,"
+Fig. 69. Another scheme is to have the principal black in the gray
+area, as in the Vierge drawing, Fig. 26 and in Rico's sketch, Fig.
+11.
+</p>
+
+<table class="center" style="width: 662px;">
+<tr><td colspan="2">
+ <img src="images/fig029.jpg" width="662" height="431" alt="Fig. 29">
+</td></tr>
+<tr><td>FIG. 29</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<table class="center" style="width: 469px;">
+<tr><td colspan="2">
+ <img src="images/fig030.jpg" width="469" height="679" alt="Fig. 30">
+</td></tr>
+<tr><td>FIG. 30</td><td class="right">B. G. GOODHUE</td></tr>
+</table>
+
+<table class="center" style="width: 448px;">
+<tr><td colspan="2">
+ <img src="images/fig031.jpg" width="448" height="439" alt="Fig. 31">
+</td></tr>
+<tr><td>FIG. 31</td><td class="right">JOSEPH PENNELL</td></tr>
+</table>
+
+<p class="indent">
+Still another and a more restful scheme is the actual gradation
+of color. This gradation, from black to white, wherein the white
+occupies the centre of the picture, is to be noted in Fig. 20.
+Observe how the dark side of the foreground tree tells against the
+light side of the one beyond, which, in its turn, is yet so strongly
+shaded as to count brilliantly against the white building. Still
+again, in Mr. Goodhue's drawing, Fig. 30, note how the transition
+from the black tree on the left to the white building is pleasingly
+softened by the gray shadow. Notice, too, how the brilliancy of
+the drawing is heightened by the gradual emphasis on the shadows
+and the openings as they approach the centre of the picture. Yet
+another example of this color-scheme is the drawing by Mr. Gregg,
+Fig. 50. The gradation here is from the top of the picture downwards.
+The sketch of the coster women by Mr. Pennell, Fig. 31, shows this
+gradation reversed.
+</p>
+
+<p class="indent">
+The drawing of the hansom cab, Fig. 32, by Mr. Raven Hill, illustrates
+a very strong color-scheme,&mdash;gray and white separated by black,
+the gray moderating the black on the upper side, leaving it to
+tell strongly against the white below. Notice how luminous is this
+same relation of color where it occurs in the Venetian subject by
+Rico, Fig. 14. The shadow on the water qualifies the blackness
+of the gondola below, permitting a brilliant contrast with the
+white walls of the building above.
+</p>
+
+<p class="indent">
+It is interesting to observe how Vierge and Pennell, but chiefly the
+former, very often depend for their grays merely upon the delicate
+tone resulting from the rendering of form and of direct shadow,
+without any local color. This may be seen in the Vierge drawing,
+Fig. 33. Observe in this, as a consequence, how brilliantly the
+tiny black counts in the little figure in the centre. Notice, too,
+in the drawing of the soldiers by Jeanniot, Fig. 34, that there
+is very little black; and yet see how brilliant is the effect,
+owing largely to the figures being permitted to stand out against
+a white ground in which nothing is indicated but the sky-line of
+the large building in the distance.
+</p>
+
+<table class="center" style="width: 413px;">
+<tr><td colspan="2">
+ <img src="images/fig032.jpg" width="413" height="676" alt="Fig. 32">
+</td></tr>
+<tr><td>FIG. 32</td><td class="right">L. RAVEN HILL</td></tr>
+</table>
+
+<table class="center" style="width: 523px;">
+<tr><td colspan="2">
+ <img src="images/fig033.jpg" width="523" height="307" alt="Fig. 33">
+</td></tr>
+<tr><td>FIG. 33</td><td class="right">DANIEL VIERGE</td></tr>
+</table>
+
+<table class="center" style="width: 697px;">
+<tr><td colspan="2">
+ <img src="images/fig034.jpg" width="697" height="442" alt="Fig. 34">
+</td></tr>
+<tr><td>FIG. 34</td><td class="right">P. G. JEANNIOT</td></tr>
+</table>
+
+<h2><a name="chapter_V">CHAPTER V</a></h2>
+
+<p class="subtitle">PRACTICAL PROBLEMS</p>
+
+<p class="indent">
+I have thought it advisable in this chapter to select, and to work
+out in some detail, a few actual problems in illustration, so as
+to familiarize the student with the practical application of some
+of the principles previously laid down.
+</p>
+
+<table class="center" style="width: 229px;">
+<tr><td colspan="2">
+ <img src="images/fig035.jpg" width="229" height="336" alt="Fig. 35">
+</td></tr>
+<tr><td>FIG. 35</td><td class="right">FROM A PHOTOGRAPH</td></tr>
+</table>
+
+<table class="center" style="width: 220px;">
+<tr><td colspan="2">
+ <img src="images/fig036.jpg" width="220" height="288" alt="Fig. 36">
+</td></tr>
+<tr><td>FIG. 36</td><td class="right">D. A. GREGG</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">First Problem</span>
+In the first example the photograph, Fig. 35, shows the porch of
+an old English country church. Let us see how this subject has
+been interpreted in pen and ink by Mr. D. A. Gregg, Fig. 36. In
+respect to the lines, the original composition presents nothing
+essentially unpleasant. Where the strong accent of a picture occurs
+in the centre, however, it is generally desirable to avoid much
+emphasis at the edges. For this reason the pen drawing has been
+"vignetted,"&mdash;that is to say, permitted to fade away irregularly
+at the edges. Regarding the values, it will be seen that there is
+no absolute white in the photograph. A literal rendering of such
+low color would, as we saw in the preceding chapter, be out of
+the question; and so the essential values which directly contribute
+to the expression of the subject and which are independent of local
+color or accidental effect have to be sought out. We observe, then,
+that the principal note of the photograph is made by the dark part
+of the roof under the porch relieved against the light wall beyond.
+This is the direct result of light and shade, and is therefore
+logically adopted as the principal note of Mr. Gregg's sketch also.
+The wall at this point is made perfectly white to heighten the
+contrast. To still further increase the light area, the upper part
+of the porch has been left almost white, the markings suggesting
+the construction of the weather-beaten timber serving to give it
+a faint gray tone sufficient to relieve it from the white wall.
+The low color of the grass, were it rendered literally, would make
+the drawing too heavy and uninteresting, and this is therefore only
+suggested in the sketch. The roof of the main building, being equally
+objectionable on account of its mass of low tone, is similarly
+treated. Mr. Gregg's excellent handling of the old woodwork of the
+porch is well worthy of study.
+</p>
+
+<p class="indent">
+<span class="sidenote">Second Problem</span>
+Let us take another example. The photograph in Fig. 37 shows a
+moat-house in Normandy; and, except that the low tones of the foliage
+are exaggerated by the camera, the conditions are practically those
+which we would have to consider were we making a sketch on the spot.
+First of all, then, does the subject, from the point of view at
+which the photograph is taken, compose well?* It cannot be said that
+it does. The vertical lines made by the two towers are unpleasantly
+emphasized by the trees behind them. The tree on the left were
+much better reduced in height and placed somewhat to the right,
+so that the top should fill out the awkward angles of the roof
+formed by the junction of the tower and the main building. The
+trees on the right might be lowered also, but otherwise permitted
+to retain their present relation. The growth of ivy on the tower
+takes an ugly outline, and might be made more interestingly irregular
+in form.
+</p>
+
+<p class="footnote">
+[Footnote *: The student is advised to consult "Composition," by
+Arthur W. Dow. [New York, 1898]]
+</p>
+
+<table class="center" style="width: 408px;">
+<tr><td colspan="2">
+ <img src="images/fig037.jpg" width="408" height="519" alt="Fig. 37">
+</td></tr>
+<tr><td>FIG. 37</td><td class="right">FROM A PHOTOGRAPH</td></tr>
+</table>
+
+<p class="indent">
+The next consideration is the disposition of the values. In the
+photograph the whites are confined to the roadway of the bridge
+and the bottom of the tower. This is evidently due, however, to
+local color rather than to the direction of the light, which strikes
+the nearer tower from the right, the rest of the walls being in
+shadow. While the black areas of the picture are large enough to
+carry a mass of gray without sacrificing the sunny look, such a
+scheme would be likely to produce a labored effect. Two alternative
+schemes readily suggest themselves: First, to make the archway the
+principal dark, the walls light, with a light half-tone for the
+roof, and a darker effect for the trees on the right. Or, second,
+to make these trees themselves the principal dark, as suggested by
+the photograph, allowing them to count against the gray of the
+roof and the ivy of the tower. This latter scheme is that which
+has been adopted in the sketch, Fig. 38.
+</p>
+
+<table class="center" style="width: 410px;">
+<tr><td colspan="2">
+ <img src="images/fig038.jpg" width="410" height="500" alt="Fig. 38">
+</td></tr>
+<tr><td>FIG. 38</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+It will be noticed that the trees are not nearly so dark as in
+the photograph. If they were, they would be overpowering in so
+large an area of white. It was thought better, also, to change the
+direction of the light, so that the dark ivy, instead of acting
+contradictorily to the effect, might lend character to the shaded
+side. The lower portion of the nearer tower was toned in, partly
+to qualify the vertical line of the tower, which would have been
+unpleasant if the shading were uniform, and partly to carry the
+gray around to the entrance. It was thought advisable, also, to
+cut from the foreground, raising the upper limit of the picture
+correspondingly. (It is far from my intention, however, to convey
+the impression that any liberties may be taken with a subject in
+order to persuade it into a particular scheme of composition; and
+in this very instance an artistic photographer could probably have
+discovered a position for his camera which would have obviated
+the necessity for any change whatever;&mdash;a nearer view of the
+building, for one thing, would have considerably lowered the trees.)
+</p>
+
+<table class="center" style="width: 227px;">
+<tr><td colspan="2">
+ <img src="images/fig039.jpg" width="227" height="382" alt="Fig. 39">
+</td></tr>
+<tr><td>FIG. 39</td><td class="right">FROM A PHOTOGRAPH</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Third Problem</span>
+We will consider still another subject. The photograph, Fig. 39,
+shows a street in Holland. In this case, the first thing we have
+to determine is where the interest of the subject centres. In such
+a perspective the salient point of the picture often lies in a
+foreground building; or, if the street be merely a setting for the
+representation of some incident, in a group of foreground figures.
+In either case the emphasis should be placed in the foreground,
+the distant vanishing lines of the street being rendered more or
+less vaguely. In the present subject, however, the converging sky
+and street lines are broken by the quaint clock-tower. This and the
+buildings underneath it appeal to us at once as the most important
+elements of the picture. The nearer buildings present nothing
+intrinsically interesting, and therefore serve no better purpose
+than to lead the eye to the centre of interest. Whatever actual
+values these intermediate buildings have that will hinder their
+usefulness in this regard can, therefore, be changed or actually
+ignored without affecting the integrity of the sketch or causing
+any pangs of conscience.
+</p>
+
+<p class="indent">
+The building on the extreme left shows very strong contrasts of
+color in the black shadow of the eaves and of the shop-front below.
+These contrasts, coming as they do at the edge of the picture,
+are bad. They would act like a showy frame on a delicate drawing,
+keeping the eye from the real subject. It may be objected, however,
+that it is natural that the contrasts should be stronger in the
+foreground. Yes; but in looking straight at the clock-tower one does
+not see any such dark shadow at the top of the very uninteresting
+building in the left foreground. The camera saw it, because the
+camera with its hundred eyes sees everything, and does not interest
+itself about any one thing in particular. Besides, if the keeper
+of the shop had the bad taste to paint it dark we are not bound
+to make a record of the fact; nor need we assume that it was done
+out of regard to the pictorial possibilities of the street. We
+decide, therefore, to render, as faithfully as we may, the values
+of the clock-tower and its immediate surroundings, and to disregard
+the discordant elements; and we have no hesitation in selecting
+for principal emphasis in our drawing, Fig. 40, the shadow under
+the projecting building. This dark accent will count brilliantly
+against the foreground and the walls of the buildings, which we
+will treat broadly as if white, ignoring the slight differences
+in value shown in the photograph. We retain, however, the literal
+values of the clock-tower and the buildings underneath it, and
+express as nearly as we can their interesting variations of texture.
+The buildings on the right are too black in the photograph, and
+these, as well as the shadow thrown across the street, we will
+considerably lighten. After some experiment, we find that the building
+on the extreme left is a nuisance, and we omit it. Even then, the
+one with the balcony next to it requires to be toned down in its
+strong values, and so the shadows here are made much lighter, the
+walls being kept white. It will be found that anything like a strong
+emphasis of the projecting eaves of the building would detract
+from the effect of the tower, so that the shadow under the eaves
+is, therefore, made grayer than in the photograph, while that of
+the balcony below is made stronger than the shadow of the eaves,
+but is lightened at the edge of the drawing to throw the emphasis
+toward the centre.
+</p>
+
+<table class="center" style="width: 405px;">
+<tr><td colspan="2">
+ <img src="images/fig040.jpg" width="405" height="644" alt="Fig. 40">
+</td></tr>
+<tr><td>FIG. 40</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+To add interest to the picture, and more especially to give life
+to the shadows, several figures are introduced. It will be noticed
+that the cart is inserted at the focal point of the drawing to
+better assist the perspective.
+</p>
+
+<h2><a name="chapter_VI">CHAPTER VI</a></h2>
+
+<p class="subtitle">ARCHITECTURAL DRAWING</p>
+
+<p class="indent">
+It is but a few years since architects' perspectives were "built
+up" (it would be a mistake to say "drawn") by means of a T-square
+and the ruling pen; and if architectural drawing has not quite
+kept pace with that for general illustration since, a backward
+glance over the professional magazines encourages a feeling of
+comparative complacency. That so high a standard or so artistic
+a character is not observable in architectural as in general
+illustration is, I think, not difficult to explain. Very few of the
+clever architectural draughtsmen are illustrators by profession. Few,
+even of those who are generally known as illustrators, are anything
+more&mdash;I should perhaps say anything <i>less</i>&mdash;than
+versatile architects; and yet Mr. Pennell, who would appear to assume,
+in his book on drawing, that the point of view of the architect
+is normally pictorial, seems at a loss to explain why Mr. Robert
+Blum, for instance, can illustrate an architectural subject more
+artistically than any of the draughtsmen in the profession. Without
+accepting his premises, it is remarkably creditable to architecture
+that it counts among its members in this country such men as Mr. B.
+G. Goodhue and Mr. Wilson Eyre, Jr., and in England such thorough
+artists as Mr. Prentice and Mr. Ernest George&mdash;men known even
+to distinction for their skill along lines of purely architectural
+practice, yet any one of whom would, I venture to say, cause
+considerable displacement did he invade the ranks of magazine
+illustrators. Moreover (and the suggestion is not unkindly offered),
+were the architects and the illustrators to change places architecture
+would suffer most by the process.
+</p>
+
+<p class="indent">
+<span class="sidenote">The Architects' Case</span>
+That the average architect should be incapable of artistically
+illustrating his own design, ought, I think, to be less an occasion
+for surprise than that few painters, whose point of view is essentially
+pictorial, can make even a tolerable interpretation in line of their
+own paintings. Be it remembered that the pictures made by the architect
+are seldom the records of actualities. The buildings themselves
+are merely contemplated, and the illustrations are worked up from
+geometrical elevations in the office, very, very far from Nature.
+Moreover, the subjects are not infrequently such as lend themselves
+with an ill grace to picturesque illustration. The structure to be
+depicted may, for instance, be a heavy cubical mass with a bald
+uninteresting sky-line; or it may be a tall office building, impossible
+to reconcile with natural accessories either in pictorial scale or
+in composition. These natural accessories, too, the draughtsman
+must, with an occasional recourse to his photograph album, evolve
+out of his inner consciousness. When it is further considered that
+such structures, even when actualities, are uncompromisingly stiff
+and immaculate in their newness, presenting absolutely none of
+those interesting accidents so dear to the artist, and perhaps with
+nothing whatever about them of picturesque suggestion, we have a
+problem presented which is somewhat analogous to that presented by
+the sculpturesque possibilities of "fashionable trousering." That,
+with such uninspiring conditions, architectural illustration does not
+develop so interesting a character nor attain to so high a standard
+as distinguishes general illustration is not to be wondered at. It
+is rather an occasion for surprise that it exhibits so little of
+the artificiality of the fashion-plate after all, and that the better
+part of it, at least, is not more unworthy than figure illustration
+would be were it denied the invaluable aid of the living model.
+So much by way of apology.
+</p>
+
+<p class="indent">
+<span class="sidenote">The Architects' Point of View</span>
+The architectural perspective, however, is not to be regarded purely
+from the pictorial point of view. It is an illustration first, a
+picture afterwards, and almost invariably deals with an individual
+building, which is the essential subject. This building cannot,
+therefore, be made a mere foil for interesting "picturesqueries,"
+nor subordinated to any scenic effect of landscape or chiaroscuro.
+Natural accessories or interesting bits of street life may be added
+to give it an appropriate setting; but the result must clearly
+read "Building, with landscape," not "Landscape, with building."
+</p>
+
+<p class="indent">
+Much suggestion for the sympathetic handling of particular subjects
+may be found in the character of the architecture itself. The
+illustrator ought to enter into the spirit of the designer, ought to
+feel just what natural accessories lend themselves most harmoniously
+to this or that particular type. If the architecture be quaint
+and picturesque it must not have prosaic surroundings. If, on the
+other hand, it be formal or monumental, the character and scale
+of the accessories should be accordingly serious and dignified.
+The rendering ought also to vary with the subject,&mdash;a free
+picturesque manner for the one, a more studied and responsible
+handling for the other. Technique is the language of art, and a
+stiff pompous phraseology will accord ill with a story of quaint
+humor or pathos, while the homely diction that might answer very
+well would be sure to struggle at a disadvantage with the stately
+meanings and diplomatic subtleties of a state document.
+</p>
+
+<p class="indent">
+<span class="sidenote">Rendering of Detail</span>
+It would be well for the student, before venturing upon whole subjects,
+to learn to render details, such as windows, cornices, etc. Windows
+are a most important feature of the architectural drawing, and the
+beginner must study them carefully, experimenting for the method
+which will best represent their glassy surfaces. No material gives
+such play of light and shade as glass does. One window is never
+absolutely like another; so that while a certain uniformity in
+their value may be required for breadth of effect in the drawing of
+a building, there is plenty of opportunity for incidental variety
+in their treatment.
+</p>
+
+<p class="indent">
+A few practical hints on the rendering of windows may prove serviceable.
+Always emphasize the sash. Where there is no recess, as in wooden
+buildings, strengthen the inner line of sash, as in Fig. 41. In
+masonry buildings the frame and sash can be given their proper
+values, the area of wood being treated broadly, without regard
+to the individual members. The wood may, however, be left white
+if required, as would be the case in Colonial designs. In either
+case the dark shadow which the sash casts on the glass should be
+suggested, if the scale of the drawing be such as to permit of it.
+Do not try to show too much. One is apt to make a fussy effect,
+if, for instance, one insists on always shading the soffit of the
+masonry opening, especially if the scale of the drawing be small.
+Besides, a white soffit is not a false but merely a forced value,
+as in strong sunlight the reflected light is considerable. If the
+frame be left white, however, the soffit ought to be shaded, otherwise
+it will be difficult to keep the values distinct. In respect of
+wooden buildings there is no need to always complete the mouldings
+of the architrave. Notice in Fig. 41 that, in the window without
+the muntins, the mouldings have been carried round the top to give
+color, but that in the other they are merely suggested at the corners
+so as to avoid confusion. Care should be taken to avoid mechanical
+rendering of the muntins. For the glass itself, a uniformly flat
+tone is to be avoided. The tones should soften vaguely. It will be
+found, too, that it is not advisable to have a strong dark effect
+at the top of the window and another at the bottom; one should
+predominate.
+</p>
+
+<table class="center" style="width: 260px;">
+<tr><td colspan="2">
+ <img src="images/fig041.jpg" width="260" height="388" alt="Fig. 41">
+</td></tr>
+<tr><td>FIG. 41</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+The student after careful study of Fig. 41 should make from it
+enlarged drawings, and afterwards, laying the book aside, proceed
+to render them in his own way. When he has done so, let him compare
+his work with the originals. This process ought to be repeated
+several times, the aim being always for <i>similarity</i>, not for
+<i>literalness</i> of effect. If he can get equally good results
+with another method he need not be disconcerted at the lack of
+any further resemblance.
+</p>
+
+<p class="indent">
+The cornice with its shadow is another salient feature. In short
+shadows, such as those cast by cornices, it is well, if a sunny effect
+be desired, to accent the bottom edge of the shadow. The shadow lines
+ought to be generally parallel, but with enough variation to obviate
+a mechanical effect. They need not be vertical lines,&mdash;in fact
+it is better that they should take the same slant as the light. If
+they are not absolutely perpendicular, however, it is well to make
+them distinctly oblique, otherwise the effect will be unpleasant.
+A clever sketch of a cornice by Mr. George F. Newton is shown in
+Fig. 42. Notice how well the texture of the brick is expressed
+by the looseness of the pen work. Some of the detail, too, is
+dexterously handled, notably the bead and button moulding.
+</p>
+
+<p class="indent">
+The strength of the cornice shadow should be determined by the tone
+of the roof above it. To obtain for this shadow the very distinct
+value which it ought to have, however, does not require that the
+roof be kept always much lighter than it. In the gable roof in
+Fig. 57, the tone of the roof is shaded lighter as it approaches
+the eaves, so that the shadow may count more emphatically. This
+order may be reversed, as in the case of a building with dark roof
+and light walls, in which case the shadow may be grayer than the
+lower portion of the roof, as in "B" in Fig. 44.
+</p>
+
+<table class="center" style="width: 224px;">
+<tr><td colspan="2">
+ <img src="images/fig042.jpg" width="224" height="602" alt="Fig. 42">
+</td></tr>
+<tr><td>FIG. 42</td><td class="right">GEORGE F. NEWTON</td></tr>
+</table>
+
+<p class="indent">
+But the beginner should not yet hurry on to whole subjects. A church
+porch, as in Fig. 35, or a dormer with its shadow cast on a roof,
+as in Fig. 43, will be just as beneficial a study for him as an
+entire building, and will afford quite as good an opportunity for
+testing his knowledge of the principles of pen drawing, with the
+added advantage that either of the subjects mentioned can be mapped
+out in a few minutes, and that a failure or two, therefore, will
+not prove so discouraging as if a more intricate subject had to
+be re-drawn. I have known promising beginners to give up pen and
+ink drawing in despair because they found themselves unequal to
+subjects which would have presented not a few difficulties to the
+experienced illustrator. When the beginner grows faint-hearted,
+let him seek consolation and encouragement in the thought that were
+pen drawing something to be mastered in a week or a month there
+would be small merit in the accomplishment.
+</p>
+
+<table class="center" style="width: 220px;">
+<tr><td colspan="2">
+ <img src="images/fig043.jpg" width="220" height="480" alt="Fig. 43">
+</td></tr>
+<tr><td>FIG. 43</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">A General System</span>
+It is a common fault of students to dive into the picture unthinkingly,
+beginning anywhere, without the vaguest plan of a general effect,
+whereas it is of the utmost importance that every stroke of the
+pen be made with intelligent regard to the ultimate result. The
+following general method will be found valuable.
+</p>
+
+<p class="indent">
+Pencil the outline of the entire subject before beginning the pen
+work. It will not do to start on the rendering as soon as the building
+alone is pencilled out, leaving the accessories to be put in as
+one goes along. The adjacent buildings, the foliage, and even the
+figures must be drawn&mdash;carefully drawn&mdash;before the pen
+is taken up. The whole subject from the very beginning should be
+under control, and to that end it becomes necessary to have all
+the elements of it pre-arranged.
+</p>
+
+<p class="indent">
+<span class="sidenote">Arrangement of the Values</span>
+Next scheme out the values. This is the time to do the thinking. Do
+not start out rashly as soon as everything is outlined in pencil,
+confident in the belief that all windows, for instance, are dark,
+and that you may as well make them so at once and be done with
+them. This will be only to court disaster. Besides, all windows
+are not dark; they may be very light indeed. The color value of
+nothing is absolute. A shadow may seem almost black till a figure
+passes into it, when it may become quite gray by comparison. So a
+window with the sun shining full upon it, or even one in shade, on
+which a reflected light is cast, may be brilliantly light until the
+next instant a cloud shadow is reflected in it, making it densely
+black. Arrange the values, therefore, with reference to one general
+effect, deciding first of all on the direction of the light. Should
+this be such as to throw large areas of shadow, these masses of
+gray will be important elements in the color-scheme. An excellent
+way to study values is to make a tracing-paper copy of the line
+drawing and to experiment on this for the color with charcoal,
+making several sketches if necessary. After having determined on
+a satisfactory scheme, put fixatif on the rough sketch and keep
+it in sight. Otherwise, one is liable, especially if the subject
+is an intricate one, to be led astray by little opportunities for
+interesting effects here and there, only to discover, when too
+late, that these effects do not hang together and that the drawing
+has lost its breadth. The rough sketch is to the draughts man what
+manuscript notes are to the lecturer.
+</p>
+
+<p class="indent">
+<span class="sidenote">Treatment of Detail</span>
+Do not be over-conscious of detail. It is a common weakness of the
+architectural draughts man to be too sophisticated in his pictorial
+illustration. He knows so much about the building that no matter how
+many thousand yards away from it he may stand he will see things
+that would not reveal themselves to another with the assistance
+of a field-glass. He is conscious of the fact that there are just
+so many brick courses to the foot, that the clapboards are laid
+just so many inches to the weather, that there are just so many
+mouldings in the belt course,&mdash;that everything in general
+is very, very mathematical. This is not because his point of view
+is too big, but because it is too small. He who sees so much never
+by any chance sees the <i>whole building</i>. Let him try to think
+broadly of things. Even should he succeed in forgetting some of
+these factitious details, the result will still be stiff enough,
+so hard is it to re-adjust one's attitude after manipulating the
+T-square. I strongly recommend, as an invaluable aid toward such
+a re-adjustment, the habit of sketching from Nature,&mdash;from
+the figure during the winter evenings, and out of doors in summer.
+</p>
+
+<table class="center" style="width: 415px;">
+<tr><td colspan="2">
+ <img src="images/fig044.jpg" width="415" height="212" alt="Fig. 44">
+</td></tr>
+<tr><td>FIG. 44</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+The beginner is apt to find his effects at first rather hard and
+mechanical at the best, because he has not yet attained that freedom
+of handling which ignores unimportant details, suggests rather
+than states, gives interesting variations of line and tone, and
+differentiates textures. A good part of the unpleasantness of effect
+will undoubtedly be found to be due to a mistaken regard for accuracy
+of statement, individual mouldings being lined in as deliberately
+as in the geometrical office drawings, and not an egg nor a dart
+slighted. Take, for example, the case of an old Colonial building
+with its white cornice, or any building with white trimmings. See
+the effect of such a one in an "elevation" where all the detail is
+drawn, as in "A," Fig. 44. Observe that the amount of ink necessary
+to express this detail has made the cornice darker than the rest
+of the drawing, and yet this is quite the reverse of the value
+which it would have in the actual building, see "B." To obtain
+the true value the different mouldings which make up the cornice
+should be merely suggested. Where it is not a question of local
+color, however, this matter of elimination is largely subject to
+the exigencies of reproduction; the more precisely and intimately
+one attempts to render detail, the smaller the scale of the technique
+requires to be, and the greater the difficulty. Consequently, the more
+the reduction which the drawing is likely to undergo in printing,
+the more one will be obliged to disregard the finer details. These
+finer details need not, however, be absolutely ignored. Notice, for
+instance, the clever suggestion of the sculpture in the admirable
+drawing by Mr. F. E. Wallis, Fig. 45. The conventional drawing of
+the fa&ccedil;ade, Fig. 46, is a fine illustration of the decorative
+effect of color obtainable by emphasizing the organic lines of the
+design.
+</p>
+
+<table class="center" style="width: 502px;">
+<tr><td colspan="2">
+ <img src="images/fig045.jpg" width="502" height="418" alt="Fig. 45">
+</td></tr>
+<tr><td>FIG. 45</td><td class="right">FRANK E. WALLIS</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Foliage and Figures</span>
+The elements in a perspective drawing which present most difficulties
+to the architectural draughtsman are foliage and figures. These
+are, however, most important accessories, and must be cleverly
+handled. It is difficult to say which is the harder to draw, a tree
+or a human figure; and if the student has not sketched much from
+Nature either will prove a stumbling-block. Presuming, therefore,
+that he has already filled a few sketch-books, he had better resort
+to these, or to his photograph album, when he needs figures for
+his perspective. Designing figures and trees out of one's inner
+consciousness is slow work and not very profitable; and if the
+figure draughtsman may employ models, the architect may be permitted
+to use photographs.
+</p>
+
+<table class="center" style="width: 417px;">
+<tr><td colspan="2">
+ <img src="images/fig046.jpg" width="417" height="527" alt="Fig. 46">
+</td></tr>
+<tr><td>FIG. 46</td><td class="right">HARRY ALLAN JACOBS</td></tr>
+</table>
+
+<p class="indent">
+Unhappily for the beginner, no two illustrators consent to render
+foliage, or anything else for that matter, in quite the same way,
+and so I cannot present any authoritative formula for doing so.
+This subject has been treated, however, in a previous chapter, and
+nothing need be added here except to call attention to an employment
+of foliage peculiar to architectural drawings. This is the broad
+suggestive rendering of dark leafage at the sides of a building,
+to give it relief. The example shown in Fig. 47 is from one of
+Mr. Gregg's drawings.
+</p>
+
+<table class="center" style="width: 392px;">
+<tr><td colspan="2">
+ <img src="images/fig047.jpg" width="392" height="326" alt="Fig. 47">
+</td></tr>
+<tr><td>FIG. 47</td><td class="right">D. A. GREGG</td></tr>
+</table>
+
+<p class="indent">
+The rendering of the human figure need not be dealt with under
+this head, as figures in an architectural subject are of necessity
+relatively small, and therefore have to be rendered very broadly.
+Careful drawing is none the less essential, however, if their presence
+is to be justified; and badly drawn figures furnish a tempting
+target for the critic of architectural pictures. Certainly, it
+is only too evident that the people usually seen in such pictures
+are utterly incapable of taking the slightest interest whatever in
+architecture, or in anything else; and not infrequently they seem
+to be even more immovable objects than the buildings themselves,
+so fixed and inflexible are they. Such figures as these only detract
+from the interest of the drawing, instead of adding to it, and the
+draughtsman who has no special aptitude is wise in either omitting
+them altogether, or in using very few, and is perhaps still wiser
+if he entrusts the drawing of these to one of his associates more
+accomplished in this special direction.
+</p>
+
+<p class="indent">
+The first thing to decide in the matter of figures is their arrangement
+and grouping, and when this has been determined they should be
+sketched in lightly in pencil. In this connection a few words by
+way of suggestion may be found useful. Be careful to avoid anything
+like an equal spacing of the figures. Group the people interestingly.
+I have seen as many as thirty individuals in a drawing, no two
+of whom seemed to be acquainted,&mdash;a very unhappy condition
+of affairs even from a purely pictorial point of view. Do not
+over-emphasize the base of a building by stringing all the figures
+along the sidewalks. The lines of the curbs would thus confine and
+frame them in unpleasantly. Break the continuity of the street
+lines with figures or carriages in the roadway, as in Fig. 55.
+After the figures have been satisfactorily arranged, they ought to
+be carefully drawn as to outline. In doing so, take pains to vary
+the postures, giving them action, and avoiding the stiff wooden,
+fashion-plate type of person so common to architectural drawings.
+When the time comes to render these accessories with the pen (and
+this ought, by the way, to be the last thing done) do not lose
+the freedom and breadth of the drawing by dwelling too long on
+them. Rise superior to such details as the patterns of neckties.
+</p>
+
+<p class="indent">
+We will now consider the application to architectural subjects
+of the remarks on technique and color contained in the previous
+chapters.
+</p>
+
+<p class="indent">
+<span class="sidenote">Architectural Textures</span>
+To learn to render the different textures of the materials used in
+architecture, the student would do well to examine and study the
+methods of prominent illustrators, and then proceed to forget them,
+developing meanwhile a method of his own. It will be instructive for
+him, however, as showing the opportunity for play of individuality,
+to notice how very different, for instance, is Mr. Gregg's manner
+of rendering brick work to that of Mr. Railton. Compare Figs. 48 and
+49. One is splendidly broad,&mdash;almost decorative,&mdash;the other
+intimate and picturesque. The work of both these men is eminently
+worthy of study. For the sophisticated simplicity and directness of
+his method and the almost severe conscientiousness of his drawing,
+no less than for his masterly knowledge of black and white, no safer
+guide could be commended to the young architectural pen-man for the
+study of principles than Mr. Gregg. Architectural illustration in
+America owes much to his influence and, indeed, he may be said to
+have furnished it with a grammar. Take his drawing of the English
+cottages, Fig. 50. It is a masterly piece of pen work. There is
+not a feeble or tentative stroke in the whole of it. The color
+is brilliant and the textures are expressed with wonderful skill.
+The student ought to carefully observe the rendering of the various
+roofs. Notice how the character of the thatch on the second cottage
+differs from that on the first, and how radically the method of
+rendering of either varies from that used on the shingle roof at
+the end of the picture. Compare also the two gable chimneys with
+each other as well as with the old ruin seen over the tree-tops.
+Here is a drawing by an architectural draughtsman of an architectural
+<i>actuality</i> and not of an artificial abstraction. This is a
+fairer ground on which to meet the illustrators of the picturesque.
+</p>
+
+<table class="center" style="width: 405px;">
+<tr><td colspan="2">
+ <img src="images/fig048.jpg" width="405" height="232" alt="Fig. 48">
+</td></tr>
+<tr><td>FIG. 48</td><td class="right">D. A. GREGG</td></tr>
+</table>
+
+<table class="center" style="width: 405px;">
+<tr><td colspan="2">
+ <img src="images/fig049.jpg" width="405" height="543" alt="Fig. 49">
+</td></tr>
+<tr><td>FIG. 49</td><td class="right">HERBERT RAILTON</td></tr>
+</table>
+
+<table class="center" style="width: 413px;">
+<tr><td colspan="2">
+ <img src="images/fig050.jpg" width="413" height="556" alt="Fig. 50">
+</td></tr>
+<tr><td>FIG. 50</td><td class="right">D. A. GREGG</td></tr>
+</table>
+
+<table class="center" style="width: 418px;">
+<tr><td colspan="2">
+ <img src="images/fig051.jpg" width="418" height="606" alt="Fig. 51">
+</td></tr>
+<tr><td>FIG. 51</td><td class="right">WALTER M. CAMPBELL</td></tr>
+</table>
+
+<table class="center" style="width: 324px;">
+<tr><td colspan="2">
+ <img src="images/fig052.jpg" width="324" height="437" alt="Fig. 52">
+</td></tr>
+<tr><td>FIG. 52</td><td class="right">HERBERT RAILTON</td></tr>
+</table>
+
+<table class="center" style="width: 676px;">
+<tr><td colspan="2">
+ <img src="images/fig053.jpg" width="676" height="259" alt="Fig. 53">
+</td></tr>
+<tr><td>FIG. 53</td><td class="right">A. F. JACCACI</td></tr>
+</table>
+
+<table class="center" style="width: 411px;">
+<tr><td colspan="2">
+ <img src="images/fig054.jpg" width="411" height="321" alt="Fig. 54">
+</td></tr>
+<tr><td>FIG. 54</td><td class="right">C. F. BRAGDON</td></tr>
+</table>
+
+<table class="center" style="width: 680px;">
+<tr><td colspan="2">
+ <img src="images/fig055.jpg" width="680" height="438" alt="Fig. 55">
+</td></tr>
+<tr><td>FIG. 55</td><td class="right">HARVEY ELLIS</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Examples</span>
+Mr. Campbell's drawing, Fig. 51, is a very good example of the
+rendering of stone textures. The old masonry is capitally expressed
+by the short irregular line. The student is advised to select some
+portion of this, as well as of the preceding example to copy, using,
+no matter how small the drawings he may make, a pen not smaller
+than number 303. I know of no architectural illustrator who hits
+stonework off quite so cleverly as Mr. Goodhue. Notice, in his
+drawing of the masonry, in Fig. 8, how the stones are picked out
+and rendered individually in places and how this intimate treatment
+is confined to the top of the tower where it tells against the
+textures of the various roofs and how it is then merged in a broad
+gray tone which is carried to the street. Mr. Railton's sketches are
+full of clever suggestion for the architectural illustrator in the
+way of texture. Figs. 7 and 52 show his free rendering of masonry.
+The latter is an especially very good subject for study. Observe
+how well the texture tells in the high portion of the abutment by
+reason of the thick, broken lines. For a distant effect of stone
+texture, the drawing by Mr. Jaccaci, Fig. 53, is a fine example.
+In this the rendering is confined merely to the organic lines of
+the architecture, and yet the texture is capitally expressed by
+the quality of the stroke, which is loose and much broken. The
+general result is extremely crisp and pleasing. For broad rendering
+of brick textures, perhaps there is no one who shows such a masterly
+method as Mr. Gregg. As may be seen in his sketch of the blacksmith
+shop, Fig. 48, he employs an irregular dragging line with a great
+deal of feeling. The brick panel by Mr. Bragdon, Fig. 54, is a neat
+piece of work. There is excellent texture, too, in the picturesque
+drawing by Mr. Harvey Ellis, Fig. 55:&mdash;observe the rendering
+of the rough brick surface at the left side of the building. A
+more intimate treatment is that illustrated in the detail by Mr.
+C. E. Mallows, the English draughts man, Fig. 56. In this drawing,
+however, the edges of the building are unpleasantly hard, and are
+somewhat out of character with the quaint rendering of the surfaces.
+Mr. Goodhue uses a similar treatment, and, I think, rather more
+successfully. On the whole, the broader method, where the texture
+is carried out more uniformly, is more to be commended, at least
+for the study of the beginner. Some examples of shingle and slate
+textures are illustrated by Fig. 57. It is advisable to employ a
+larger pen for the shingle, so as to ensure the requisite coarseness
+of effect.
+</p>
+
+<table class="center" style="width: 427px;">
+<tr><td colspan="2">
+ <img src="images/fig056.jpg" width="427" height="362" alt="Fig. 56">
+</td></tr>
+<tr><td>FIG. 56</td><td class="right">C. E. MALLOWS</td></tr>
+</table>
+
+<table class="center" style="width: 743px;">
+<tr><td colspan="2">
+ <img src="images/fig057.jpg" width="743" height="411" alt="Fig. 57">
+</td></tr>
+<tr><td>FIG. 57</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<table class="center" style="width: 411px;">
+<tr><td colspan="2">
+ <img src="images/fig058.jpg" width="411" height="330" alt="Fig. 58">
+</td></tr>
+<tr><td>FIG. 58</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">An Architectural Problem</span>
+To favorably illustrate an architectural subject it will be found
+generally expedient to give prominence to one particular elevation
+in the perspective, the other being permitted to vanish sharply. Fig.
+58 may be said to be a fairly typical problem for the architectural
+penman. The old building on the right, it must be understood, is
+not a mere accessory, but is an essential part of the picture. The
+matter of surroundings is the first we have to decide upon, and
+these ought always to be disposed with reference to the particular
+form of composition which the subject may suggest. Were we dealing
+with the foreground building alone there would be no difficulty
+in adjusting the oval or the diamond form of composition to it.*
+As it is, the difficulty lies in the long crested roof-line which
+takes the same oblique angle as the line of the street, and the
+influence of this line must be, as far as possible, counteracted.
+Now the heavy over-hang of the principal roof will naturally cast
+a shadow which will be an important line in the composition, so we
+arrange our accessories at the right of the picture in reference
+to this. Observe that the line of the eaves, if continued, would
+intersect the top of the gable chimney. The dwelling and the tree
+then form a focus for the converging lines of sidewalk and roof,
+thus qualifying the vertical effect of the building on the right.
+As the obliquity of the composition is still objectionable, we
+decide to introduce a foreground figure which will break up the
+line of the long sidewalk, and place it so that it will increase
+the influence of some contrary line, see Fig. 59. We find that by
+putting it a little to the right of the entrance and on a line
+with that of the left sidewalk, the picture is pleasingly balanced.
+</p>
+
+<p class="footnote">
+[Footnote *: See footnote on page 62.]
+</p>
+
+<table class="center" style="width: 410px;">
+<tr><td colspan="2">
+ <img src="images/fig059.jpg" width="410" height="332" alt="Fig. 59">
+</td></tr>
+<tr><td>FIG. 59</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+We are now ready to consider the disposition of the values. As I
+have said before, these are determined by the scheme of light and
+shade. For this reason any given subject may be variously treated.
+We do not necessarily seek the scheme which will make the most
+pictorial effect, however, but the one which will serve to set
+off the building to the best advantage. It is apparent that the
+most intelligible idea of the form of the structure will be given
+by shading one side; and, as the front is the more important and
+the more interesting elevation, on which we need sunlight to give
+expression to the composition, it is natural to shade the other,
+thus affording a foil for the bright effects on the front. This
+bright effect will be further enhanced if we assume that the local
+color of the roof is darker than that of the walls, so that we
+can give it a gray tone, which will also make the main building
+stand away from the other. If, however, we were to likewise assume
+that the roof of the other building were darker than its walls, we
+should be obliged to emphasize the objectionable roof line, and
+as, in any case, we want a dark effect lower down on the walls to
+give relief to our main building, we will assume that the local color
+of the older walls is darker than that of the new. The shadow of the
+main cornice we will make quite strong, emphasis being placed on
+the nearer corner, which is made almost black. This color is repeated
+in the windows, which, coming as they do in a group, are some of
+them more filled in than others, to avoid an effect of monotony.
+The strong note of the drawing is then given by the foreground
+figure.
+</p>
+
+<table class="center" style="width: 415px;">
+<tr><td colspan="2">
+ <img src="images/fig060.jpg" width="415" height="318" alt="Fig. 60">
+</td></tr>
+<tr><td>FIG. 60</td><td class="right">C. D. M.</td></tr>
+</table>
+
+<p class="indent">
+Another scheme for the treatment of this same subject is illustrated
+by Fig. 60. Here, by the introduction of the tree at the right of
+the picture, a triangular composition is adopted. Observe that the
+sidewalk and roof lines at the left side of the building radiate
+to the bottom and top of the tree respectively. The shadow of the
+tree helps to form the bottom line of the triangle. In this case
+the foreground figure is omitted, as it would have made the
+triangularity too obvious. In the color-scheme the tree is made the
+principal dark, and this dark is repeated in the cornice shadow,
+windows and figures as before. The gray tone of the old building
+qualifies the blackness of the tree, which would otherwise have made
+too strong a contrast at the edge of the picture, and so detracted
+from the interest of the main building.
+</p>
+
+<h2><a name="chapter_VII">CHAPTER VII</a></h2>
+
+<p class="subtitle">DECORATIVE DRAWING</p>
+
+<p class="indent">
+In all modern decorative illustration, and, indeed, in all departments
+of decorative design, the influences of two very different and distinct
+points of view are noticeable; the one demanding a realistic, the
+other a purely conventional art. The logic of the first is, that
+all good pictorial art is essentially decorative; that of the second,
+that the decorative subject must be designed in organic relation to
+the space which it is to occupy, and be so treated that the design
+will primarily fulfil a purely ornamental function. That is to say,
+whatever of dramatic or literary interest the decorative design
+may possess must be, as it were, woven into it, so that the general
+effect shall please as instantly, as directly, and as independently
+of the meaning, as the pattern of an Oriental rug. The former, it
+will be seen, is an imitative, the latter an inventive art. In
+the one, the elements of the subject are rendered with all possible
+naturalism; while, in the other, effects of atmosphere and the
+accidental play of light and shade are sacrificed to a conventional
+rendering, by which the design is kept flat upon the paper or wall.
+One represents the point of view of the painter and the pictorial
+illustrator; the other that of the designer and the architect. The
+second, or conventional idea, has now come to be widely accepted
+as a true basic principle in decorative art.
+</p>
+
+<p class="indent">
+<span class="sidenote">The New Decorative School</span>
+The idea is not by any means novel; it has always been the fundamental
+principle of Japanese art; but its genesis was not in Japan. The
+immediate inspiration of the new Decorative school, as far as it
+is concerned with the decoration of books, at least, was found
+in the art of D&uuml;rer, Holbein, and the German engravers of
+the sixteenth century,&mdash;interest in which period has been
+lately so stimulated by the Arts and Crafts movement in England.
+This movement, which may fairly be regarded as one of the most
+powerful influences in latter-day art, was begun with the aim of
+restoring those healthy conditions which obtained before the artist
+and the craftsman came to be two distinct and very much extranged
+workers. The activities of the movement were at first more directly
+concerned with the art of good book-making, which fructified in the
+famous Kelmscott Press (an institution which, while necessarily
+undemocratic, has exerted a tremendous influence on modern printing),
+and to-day there is scarcely any sphere of industrial art which
+has not been influenced by the Arts and Crafts impetus.
+</p>
+
+<p class="indent">
+<span class="sidenote">Criticisms of the School</span>
+This modern decorative renaissance has a root in sound art principles,
+which promises for it a vigorous vitality; and perhaps the only
+serious criticism which has been directed against it is, that it
+encourages archaic crudities of technique which ignore the high
+development of the reproductive processes of the present day; and,
+moreover, that its sympathies tend towards medi&aelig;val life and
+feeling. While such a criticism might reasonably be suggested by
+the work of some of its individual adherents, it does not touch
+in the least the essential principles of the school. Art cannot
+be said to scout modernity because it refuses to adjust itself
+to the every caprice of Science. The architect rather despises
+the mechanically perfect brick (very much to the surprise of the
+manufacturer); and though the camera can record more than the pencil
+or the brush, yet the artist is not trying to see more than he
+ever did before. There are, too, many decorative illustrators who,
+while very distinctly confessing their indebtedness to old examples;
+are yet perfectly eclectic and individual, both in the choice and
+development of motive. Take, for example, the very modern subject
+of the cyclist by Mr. A. B. Frost, Fig. 61. There are no archaisms
+in it whatever. The drawing is as naturalistic and just as careful
+as if it were designed for a picture. The shadows, too, are cast,
+giving an effect of strong outdoor light; but the treatment, broad
+and beautifully simple so as to be reconcilable with the lettering
+which accompanied it, is well within conventional lines. That the
+character of the technical treatment is such as to place no tax on
+the mechanical inventiveness of the processman is not inexcusable
+arch&aelig;ology.
+</p>
+
+<table class="center" style="width: 412px;">
+<tr><td colspan="2">
+ <img src="images/fig061.jpg" width="412" height="332" alt="Fig. 61">
+</td></tr>
+<tr><td>FIG. 61</td><td class="right">A. B. FROST</td></tr>
+</table>
+
+<p class="indent">
+A valuable attribute of this conventional art is, that it puts no
+bounds to the fancy of the designer. It is a figurative language
+in which he may get away from commonplace statement. What has always
+seemed to me a very logical employment of convention appears in the
+<i>Punch</i> cartoons of Sir John Tenniel and Mr. Lindley Sambourne.
+Even in those cartoons which are devoid of physical caricature (and
+they are generally free from this), we see at a glance that it is
+the political and not the personal relations of the person&aelig;
+that are represented; whereas in the naturalistic cartoons of
+<i>Puck</i>, for example, one cannot resist the feeling that
+personalities are being roughly handled.
+</p>
+
+<p class="indent">
+<span class="sidenote">Relation</span>
+A chief principle in all decorative design and treatment is that of
+Relation. If the space to be ornamented be a book-page the design
+and treatment must be such as to harmonize with the printing. The
+type must be considered as an element in the design, and, as the
+effect of a page of type is broad and uniformly flat, the ornament
+must be made to count as broad and flat likewise. The same principle
+holds equally in mural decoration. There the design ought to be
+subordinate to the general effect of the architecture. The wall
+is not to be considered merely as a convenient place on which to
+plaster a picture, its structural purpose must be regarded, and
+this cannot be expressed if the design or treatment be purely
+pictorial&mdash;if vague perspective distances and strong foreground
+accents be used without symmetry or order, except that order which
+governs itself alone. In other words, the decoration must be organic.
+</p>
+
+<table class="center" style="width: 400px;">
+<tr><td colspan="2">
+ <img src="images/fig062.jpg" width="400" height="604" alt="Fig. 62">
+</td></tr>
+<tr><td>FIG. 62</td><td class="right">ALFRED G. JONES</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Classes of Decorative Design</span>
+Decorative illustrations may be broadly classified under three
+heads as follows: First, those wherein the composition and the
+treatment are both conventional, as, for example, in the ex-libris
+by Mr. A. G. Jones, Fig. 62. Second, where the composition is
+naturalistic, and the treatment only is conventional, as in Mr.
+Frost's design. Third, where the composition is decorative but
+not conventional, and the treatment is semi-natural, as in the
+drawing by Mr. Walter Appleton Clark, Fig. 63. (The latter subject
+is of such a character as to lend itself without convention to a
+decorative effect; and, although the figure is modeled as in a
+pictorial illustration, the organic lines are so emphasized throughout
+as to preserve the decorative character, and the whole keeps its
+place on the page.) Under this third head would be included those
+subjects of a pictorial nature whose composition and values are
+such as to make them reconcilable to a decorative use by means
+of borders or very defined edges, as in the illustration by Mr.
+A. Campbell Cross, Fig. 64.
+</p>
+
+<table class="center" style="width: 214px;">
+<tr><td colspan="2">
+ <img src="images/fig063.jpg" width="214" height="399" alt="Fig. 63">
+</td></tr>
+<tr><td>FIG. 63</td><td class="right">W. APPLETON CLARK</td></tr>
+</table>
+
+<table class="center" style="width: 231px;">
+<tr><td colspan="2">
+ <img src="images/fig064.jpg" width="231" height="504" alt="Fig. 64">
+</td></tr>
+<tr><td>FIG. 64</td><td class="right">A. CAMPBELL CROSS</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">The Decorative Outline</span>
+Another essential characteristic of decorative drawing is the emphasized
+Outline. This may be heavy or delicate, according to the nature of
+the subject or individual taste. The designs by Mr. W. Nicholson
+and Mr. Selwyn Image, for instance, are drawn with a fatness of
+outline not to be obtained with anything but a brush; while the
+outlines of M. Boutet de Monvel, marked as they are, are evidently
+the work of a more than usually fine pen. In each case, however,
+everything is in keeping with the scale of the outline adopted,
+so that this always retains its proper emphasis. The decorative
+outline should never be broken, but should be kept firm, positive,
+and uniform. It may be heavy, and yet be rich and feeling, as may
+be seen in the Mucha design, Fig.65. Generally speaking, the line
+ought not to be made with a nervous stroke, but rather with a slow,
+deliberate drag. The natural wavering of the hand need occasion no
+anxiety, and, indeed, it is often more helpful to the line than
+otherwise.
+</p>
+
+<table class="center" style="width: 225px;">
+<tr><td colspan="2">
+ <img src="images/fig065.jpg" width="225" height="316" alt="Fig. 65">
+</td></tr>
+<tr><td>FIG. 65</td><td class="right">MUCHA</td></tr>
+</table>
+
+<p class="indent">
+Perhaps there is no more difficult thing to do well than to model
+the figure while still preserving the decorative outline. Several
+examples of the skilful accomplishment of this problem are illustrated
+here. Observe, for instance, how in the quaint D&uuml;rer-like
+design by Mr. Howard Pyle, Fig. 66, the edges of the drapery-folds
+are emphasized in the shadow by keeping them white, and see how
+wonderfully effective the result is. The same device is also to
+be noticed in the book-plate design by Mr. A. G. Jones, Fig. 62,
+as well as in the more conventional treatment of the black figure
+in the Bradley poster, Fig. 67.
+</p>
+
+<table class="center" style="width: 421px;">
+<tr><td colspan="2">
+ <img src="images/fig066.jpg" width="421" height="640" alt="Fig. 66">
+</td></tr>
+<tr><td>FIG. 66</td><td class="right">HOWARD PYLE</td></tr>
+</table>
+
+<table class="center" style="width: 416px;">
+<tr><td colspan="2">
+ <img src="images/fig067.jpg" width="416" height="645" alt="Fig. 67">
+</td></tr>
+<tr><td>FIG. 67</td><td class="right">WILL H. BRADLEY</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Color</span>
+In the rendering of decorative subjects, the Color should be, as
+much as possible, designed. Whereas a poster, which is made with
+a view to its entire effect being grasped at once, may be rendered
+in flat masses of color, the head- or tail-piece for a decorative
+book-page should be worked out in more detail, and the design should
+be finer and more varied in color. The more the color is attained
+by means of pattern, instead of by mere irresponsible lines, the
+more decorative is the result. Observe the color-making by pattern
+in the book-plate by Mr. P. J. Billinghurst, Fig. 68. A great variety
+of textures may be obtained by means of varied patterns without
+affecting the breadth of the color-scheme. This may be noticed
+in the design last mentioned, in which the textures are extremely
+well rendered, as well as in the poster design by Mr. Bradley for
+the <i>Chap-Book</i>, just referred to.
+</p>
+
+<table class="center" style="width: 229px;">
+<tr><td colspan="2">
+ <img src="images/fig068.jpg" width="229" height="431" alt="Fig. 68">
+</td></tr>
+<tr><td>FIG. 68</td><td class="right">P. J. BILLINGHURST</td></tr>
+</table>
+
+<table class="center" style="width: 228px;">
+<tr><td colspan="2">
+ <img src="images/fig069.jpg" width="228" height="383" alt="Fig. 69">
+</td></tr>
+<tr><td>FIG. 69</td><td class="right">"BEGGARSTAFF BROTHERS"</td></tr>
+</table>
+
+<p class="indent">
+The color-scheme ought to be simple and broad. No set rules can
+be laid down to govern its disposition, which must always have
+reference to the whole design. The importance of employing such a
+broad and simple scheme in decorative drawing needs no better argument
+than the effective poster design by the "Beggarstaff Brothers,"
+Fig. 69, and that by Mr. Penfield, Fig.70. Of course the more
+conventional the design the less regard need be paid to anything
+like a logical disposition of color. A figure may be set against
+a black landscape with white trees without fear of criticism from
+reasonable people, provided it looks effective there.
+</p>
+
+<table class="center" style="width: 413px;">
+<tr><td colspan="2">
+ <img src="images/fig070.jpg" width="413" height="498" alt="Fig. 70">
+</td></tr>
+<tr><td>FIG. 70</td><td class="right">EDWARD PENFIELD</td></tr>
+</table>
+
+<p class="indent">
+<span class="sidenote">Modern Decorative Draughtsmen</span>
+A word or two, in conclusion, concerning some of the modern decorative
+draughtsmen. Of those who work in the sixteenth century manner,
+Mr. Howard Pyle is unquestionably the superior technician. His
+line, masterly in its sureness, is rich and charged with feeling.
+Mr. H. Ospovat, one of the younger group of English decorators,
+has also a charming technique, rather freer than that of Mr. Pyle,
+and yet reminding one of it. Mr. Louis Rhead is another of the
+same school, whose designs are deserving of study. The example
+of his work shown in Fig. 71&mdash;excellent both in color and in
+drawing&mdash;is one of his earlier designs. Mr. J. W. Simpson,
+in the book-plate, Fig. 72, shows the broadest possible decorative
+method; a method which, while too broad for anything but a poster
+or a book-label, is just what the student should aim at being able
+to attain.
+</p>
+
+<table class="center" style="width: 228px;">
+<tr><td colspan="2">
+ <img src="images/fig071.jpg" width="228" height="342" alt="Fig. 71">
+</td></tr>
+<tr><td>FIG. 71</td><td class="right">LOUIS J. RHEAD</td></tr>
+</table>
+
+<table class="center" style="width: 224px;">
+<tr><td colspan="2">
+ <img src="images/fig072.jpg" width="224" height="252" alt="Fig. 72">
+</td></tr>
+<tr><td>FIG. 72</td><td class="right">J. W. SIMPSON</td></tr>
+</table>
+
+<p class="indent">
+Some of those decorators whose work shows a Japanese influence have
+a most exquisite method. Of these, that remarkable draughtsman, M.
+Boutet de Monvel, easily takes the first place. Those who have had
+the good fortune to see his original drawings will not easily forget
+the delicate beauty of outline nor the wonderfully tender coloring
+which distinguishes them. Mr. Maxfield Parrish is another masterly
+decorator who is noted for his free use of Japanese precedent as
+well as for the resourcefulness of his technique. The drawings
+of Mr. Henry McCarter, too, executed as they are in pure line, are
+especially valuable to the student of the pen. In respect both of
+the design and treatment of decorative subjects, the work of the
+late Aubrey Beardsley is more individual than that of any other
+modern draughtsman. That of our own clever and eccentric Bradley,
+while very clearly confessing its obligations, has yet a distinctive
+character of its own. The work of the two latter draughts men,
+however, is not to be recommended to the unsophisticated beginner
+for imitation, for it is likely to be more harmful than otherwise.
+Nevertheless, by steering clear of the grotesque conventions with
+which they treat the human figure, by carefully avoiding the intense
+blacks in which a great deal of their work abounds, and by generally
+maintaining a healthy condition of mind, much is to be learned
+from a study of their peculiar methods.
+</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
+
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+
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+The Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Pen Drawing
+       An Illustrated Treatise
+
+Author: Charles Maginnis
+
+Release Date: January 12, 2006 [EBook #17502]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PEN DRAWING ***
+
+
+
+
+Produced by Robert J. Hall
+
+
+
+
+
+PEN DRAWING
+
+AN ILLUSTRATED TREATISE
+
+
+BY CHARLES D. MAGINNIS
+
+F.A.I.A., LL.D.
+
+FELLOW AM. ACAD. ARTS AND SCIENCES
+
+FORMERLY INSTRUCTOR IN ILLUSTRATION, COWLES ART SCHOOL
+
+INSTRUCTOR IN PEN DRAWING, BOSTON ARCHITECTURAL CLUB
+
+
+SEVENTH EDITION
+
+
+
+
+ACKNOWLEDGMENT
+
+To Mr. David A. Gregg and to Mr. Bertram G. Goodhue, who have generously
+made special drawings for this little book, and to the Publishers
+who have courteously allowed me to make use of illustrations owned
+by them, my thanks and my cordial acknowledgements are due.
+
+  C. D. M.
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+FIGURE
+   1. JOSEPH PENNELL. From _The Century Magazine_ (The Century Co:
+      New York)
+   2. MAXIME LALANNE. From "La Hollande a Vol d'Oiseau," by H. Havard
+      (A. Quantin: Paris)
+   3. MAXIME LALANNE. From "La Hollande a Vol d'Oiseau," by H. Havard
+      (A. Quantin: Paris)
+   4. RESTORATION HOUSE, ROCHESTER, ENGLAND. Drawing from a Photograph
+   5. JOSEPH PENNELL. From "Highways and Byways in North Wales" (Macmillan
+      & Co: London)
+   6. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
+   7. HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+   8. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
+   9. C. D. M. Drawn for "Pen Drawing"
+  10. C. D. M. Drawn for "Pen Drawing"
+  11. MARTIN RICO. From _La Ilustracion Espanola y Americana_
+  12. C. D. M. Drawn for "Pen Drawing"
+  13. DANIEL VIERGE. From "Pablo de Segovie," by Francisco de Quevedo
+      (Leon Bonhoure: Paris)
+  14. MARTIN RICO. From _La Ilustracion Espanola y Americana_
+  15. ALFRED BRENNAN. From _St. Nicholas_ (The Century Co: New York)
+  16. LESLIE WILLSON. From _Pick-Me-Up_ (London)
+  17. DRAWING FROM PHOTOGRAPH. From _Harper's Magazine_ (Harper &
+      Brothers: New York)
+  18. JOSEPH PENNELL. From "The Saone: A Summer  Voyage," by Philip
+      Gilbert Hamerton (Seeley & Co: London)
+  19. JOSEPH PENNELL. From "The Saone: A Summer Voyage," by Philip
+      Gilbert Hamerton (Seeley & Co: London)
+  20. JOSEPH PENNELL. From _Harper's Magazine_ (Harper & Brothers:
+      New York)
+  21. E. DANTAN. From _L'Art_ (Paris)
+  22. J. F. RAFFAELLI. From _Gazette des Beaux-Arts_ (Paris)
+  23. C. D. M. Drawn for "Pen Drawing"
+  24. D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+      D. A. Gregg (Ticknor & Co: Boston)
+  25. DANIEL VIERGE. From "Pablo de Segovie," by Francisco de Quevedo
+      (Leon Bonhoure: Paris)
+  26. DANIEL VIERGE. From "Pablo de Segovie," by Francisco de Quevedo
+      (Leon Bonhoure: Paris)
+  27. HARRY FENN. From _The Century Magazine_ (The Century Co:
+      New York)
+  28. REGINALD BIRCH. From _The Century Magazine_ (The Century Co:
+      New York)
+  29. JOSEPH PENNELL. From _The Century Magazine_ (The Century Co:
+      New York)
+  30. BERTRAM G. GOODHUE. From _The Architectural Review_ (Bates
+      & Guild Co: Boston)
+  31. JOSEPH PENNELL. From "Charing Cross to St.  Paul's," by Justin
+      McCarthy (Seeley & Co: London)
+  32. LEONARD RAVEN HILL. From _Pick-Me-Up_ (London)
+  33. DANIEL VIERGE. From "Pablo de Segovie," by Francisco de Quevedo
+      (Leon Bonhoure: Paris)
+  34. P. G. JEANNIOT. From _La Vie Moderne_ (Paris)
+  35. PORCH OF AN ENGLISH CHURCH. From a Photograph
+  36. D. A. GREGG. Drawn for "Pen Drawing"
+  37. NORMANDY MOAT-HOUSE. From a Photograph
+  38. C. D. M. Drawn for "Pen Drawing"
+  39. STREET IN HOLLAND. From a Photograph
+  40. C. D. M. Drawn for "Pen Drawing"
+  41. C. D. M. Drawn for "Pen Drawing"
+  42. GEORGE F. NEWTON. From "Catalogue of the  Philadelphia & Boston
+      Face Brick Co." (Boston)
+  43. C. D. M. Drawn for "Pen Drawing"
+  44. C. D. M. Drawn for "Pen Drawing"
+  45. FRANK E. WALLIS. From _The Engineering Record_
+  46. HARRY ALLAN JACOBS. From _The Architectural Review_ (Bates
+      & Guild Co: Boston)
+  47. D. A. GREGG. From "Architectural Rendering in Pen and Ink," by
+      D. A. Gregg (Ticknor & Co: Boston)
+  48. D. A. GREGG. From _The Brickbuilder_ (Rogers & Manson: Boston)
+  49. HERBERT RAILTON. From "Coaching Days and  Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+  50. D. A. GREGG. From _The American Architect_ (The American
+      Architect and Building News Co: Boston)
+  51. WALTER M.CAMPBELL. From _The American Architect_ (The American
+      Architect and Building News Co: Boston)
+  52. HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
+      W. Outram Tristram (Macmillan & Co: London)
+  53. A. F. JACCACI. From _The Century Magazine_ (The Century Co:
+      New York)
+  54. CLAUDE FAYETTE BRAGDON. From _The Brickbuilder_ (Rogers &
+      Manson: Boston)
+  55. HARVEY ELLIS. From _The Inland Architect_ (The Inland Publishing
+      Co: Chicago)
+  56. C. E. MALLOWS. From _The British Architect_ (London)
+  57. C. D. M. Drawn for "Pen Drawing"
+  58. C. D. M. Drawn for "Pen Drawing"
+  59. C. D. M. Drawn for "Pen Drawing"
+  60. C. D. M. Drawn for "Pen Drawing"
+  61. A. B. FROST. From _Scribner's Magazine_ (Charles  Scribner's
+      Sons: New York)
+  62. ALFRED G. JONES. From a Book Plate
+  63. WALTER APPLETON CLARK. From _Scribner's Magazine_ (Charles
+      Scribner's Sons: New York).
+  64. A. CAMPBELL CROSS. From _Quartier Latin_ (Paris)
+  65. MUCHA. From a Poster Design
+  66. HOWARD PYLE. From "Otto of the Silver Hand," by Howard Pyle
+      (Charles Scribner's Sons: New York)
+  67. WILL H. BRADLEY. From a Poster Design for _The Chap-Book_
+      (Herbert S. Stone & Co: Chicago)
+  68. P. J. BILLINGHURST. From a Book Plate
+  69. "BEGGARSTAFF BROTHERS." From a Poster Design
+  70. EDWARD PENFIELD. From a Design for the "Poster Calendar"
+      (R. H. Russell & Son: New York)
+  71. LOUIS J. RHEAD. From a Poster Design for "Lundborg's Perfumes"
+  72. J. W. SIMPSON. From a Book Plate
+
+
+
+
+CONTENTS
+
+  CHAPTER I.--Style in Pen Drawing
+  CHAPTER II.--Materials
+  CHAPTER III.--Technique
+  CHAPTER IV.--Values
+  CHAPTER V.--Practical Problems
+  CHAPTER VI.--Architectural Drawing
+  CHAPTER VII.--Decorative Drawing
+
+
+
+
+CHAPTER I
+
+STYLE IN PEN DRAWING
+
+Art, with its finite means, cannot hope to record the infinite
+variety and complexity of Nature, and so contents itself with a
+partial statement, addressing this to the imagination for the full
+and perfect meaning. This inadequation, and the artificial adjustments
+which it involves, are tolerated by right of what is known as artistic
+convention; and as each art has its own particular limitations, so
+each has its own particular conventions. Sculpture reproduces the
+forms of Nature, but discards the color without any shock to our
+ideas of verity; Painting gives us the color, but not the third
+dimension, and we are satisfied; and Architecture is _purely_
+conventional, since it does not even aim at the imitation of natural
+form.
+
+[Sidenote: _The Conventions of Line Drawing_]
+
+Of the kindred arts which group themselves under the head of Painting,
+none is based on such broad conventions as that with which we are
+immediately concerned--the art of Pen Drawing. In this medium,
+Nature's variety of color, when not positively ignored, is suggested
+by means of sharp black lines, of varying thickness, placed more or
+less closely together upon white paper; while natural form depends
+primarily for its representation upon arbitrary boundary lines.
+There is, of course, no authority in Nature for a positive outline:
+we see objects only by the difference in color of the other objects
+behind and around them. The technical capacity of the pen and ink
+medium, however, does not provide a value corresponding to every
+natural one, so that a broad interpretation has to be adopted which
+eliminates the less positive values; and, that form may not likewise
+be sacrificed, the outline becomes necessary, that light objects may
+stand relieved against light. This outline is the most characteristic,
+as it is the most indispensable, of the conventions of line drawing.
+To seek to abolish it only involves a resort to expedients no less
+artificial, and the results of all such attempts, dependent as
+they necessarily are upon elaboration of color, and a general
+indirectness of method, lack some of the best characteristics of
+pen drawing. More frequently, however, an elaborate color-scheme
+is merely a straining at the technical limitations of the pen in
+an effort to render the greatest possible number of values.
+
+It may be worth while to inquire whether excellence in pen drawing
+consists in thus dispensing with its recognized conventions, or
+in otherwise taxing the technical resources of the instrument.
+This involves the question of Style,--of what characteristic pen
+methods are,--a question which we will briefly consider.
+
+[Side note: _What Constituted "Style"_]
+
+It is a recognized principle that every medium of art expression
+should be treated with due regard to its nature and properties.
+The sculptor varies his technique according as he works in wood,
+granite, or marble; the painter handles his water-color in quite
+another manner than that he would employ on an oil-painting of
+the same subject; and the architect, with the subtle sense of the
+craftsman, carries this principle to such a fine issue as to impart
+an individual expression even to particular woods. He knows that
+what may be an admirable design when executed in brass may be a
+very bad one in wrought-iron and is sure to be an absurdity in
+wood. An artistic motive for a silver flagon, too, is likely to
+prove ugly for pottery or cut-glass, and so on. There is a genius,
+born of its particular properties, in every medium, which demands
+individual expression. Observe, therefore, that Art is not satisfied
+with mere unrelated beauty of form or color. It requires that the
+result confess some sensible relation to the means by which it has
+been obtained; and in proportion as it does this, it may claim
+to possess that individual and distinctive charm which we call
+"Style." It may be said, therefore, that the technical limitations
+of particular mediums impose what might properly be called natural
+conventions; and while misguided ambition may set these conventions
+aside to hammer out effects from an unwilling medium, the triumph
+is only mechanical; Art does not lie that way.
+
+[Side note: _The Province of the Pen_]
+
+Ought the pen, then, to be persuaded into the province of the brush?
+Since the natures of the two means differ, it does not stultify
+the water-color that it cannot run the deep gamut of oil. Even if
+the church-organ be the grandest and most comprehensive of musical
+instruments we may still be permitted to cherish our piano. Each
+has its own sphere, its own reason for being. So of the pen,--the
+piccolo flute of the artistic orchestra. Let it pipe its high treble
+as merrily as it may, but do not coerce it into mimicking the bassoon.
+
+[Illustration: FIG. 1 JOSEPH PENNELL]
+
+Pen drawing is most apt to lose its individuality when it begins
+to assume the characteristics of wash-drawing, such as an elaborate
+massing of grays, small light areas, and a general indirectness
+of method. A painter once told me that he was almost afraid to
+handle the pen,--"It is so fearfully direct," he said. He understood
+the instrument, certainly, for if there is one characteristic more
+than another which should distinguish pen methods it is Directness.
+The nature of the pen seems to mark as its peculiar function that
+of picking out the really vital features of a subject. Pen drawing
+has been aptly termed the "shorthand of Art;" the genius of the
+pen-point is essentially epitome.
+
+If we turn to the brush, we find its capacity such that a high
+light may be brought down to a minute fraction of an inch with a
+few swift strokes of it; whereas the tedious labor, not to speak
+of the actual technical difficulties, encountered in attempting such
+an effect of color with pen and ink, indicates that we are forcing
+the medium. Moreover, it is technically impossible to reproduce
+with the pen the low values which may be obtained with the brush;
+and it is unwise to attempt it. The way, for example, in which
+Mr. Joseph Pennell handles his pen as compared with that in which
+he handles his brush is most instructive as illustrating what I
+have been maintaining. His pen drawings are pitched in a high
+key,--brilliant blacks and large light areas, with often just enough
+half-tone to soften the effect. His wash-drawings, on the contrary,
+are so utterly different in manner as to have nothing in common
+with the others, distinguished as they are by masses of low tone
+and small light areas. Compare Figs. 1 and 5. Observe that there
+is no straining at the technical capacity of the pen or of the
+brush; no attempt to obtain an effect in one medium which seems to
+be more naturally adapted to the other. Individuality is imparted
+to each by a frank concession to its peculiar genius.
+
+[Illustration: FIG. 2 MAXIME LALANNE]
+
+[Side note: _Examples of Good Style_]
+
+I have said that the chief characteristic of pen methods is Directness.
+I think I may now say that the chief element of style is Economy
+of Means. The drawing by M. Maxime Lalanne shown in Fig. 2 is an
+excellent example of this economy carried to its extreme. Not a
+stroke could be spared, so direct and simple is it, and yet it
+is so complete and homogenous that nothing could be added to make
+it more so. The architecture is left without color, and yet we are
+made to feel that it is not white--this subtle suggestion of low
+color being obtained by a careful avoidance of any strong black
+notes in the rendering, which would have intensified the whites
+and lighted up the picture. Fig. 3, by the same artist, is even
+more notable by reason of the masterly breadth which characterizes
+the treatment of a most complicated subject. A comparison of these
+with a drawing of the Restoration House, at Rochester, England, Fig.
+4, is instructive. In the latter the method is almost painfully
+elaborate; nothing of the effect is obtained by suggestion. The
+technique is varied and interesting, but the whole drawing lacks that
+individual something which we call Style. In the Lalanne drawings we
+see foliage convincingly represented by means of the mere outlines
+and a few subtle strokes of the pen. There is no attempt at the
+literal rendering of natural objects in detail, all is accomplished
+by suggestion: and while I do not wish to be understood as insisting
+upon such a severely simple style, much less upon the purist theory
+that the function of the pen is concerned with form alone, I would
+impress upon the student that Lalanne's is incomparably the finer
+manner of the two.
+
+[Illustration: FIG. 3 MAXIME LALANNE]
+
+[Illustration: FIG. 4 FROM A PHOTOGRAPH]
+
+[Illustration: FIG. 5 JOSEPH PENNELL]
+
+[Side note: _A Word of Advice_]
+
+Between these two extremes of method there is a wide latitude for
+individual choice. Contrast with the foregoing the accompanying
+pen drawing by Mr. Pennell, Fig. 5, which gives a fair idea of the
+manner of this admirable stylist. Compared with the sketches by
+Lalanne it has more richness of color, but there is the same fine
+restraint, the same nice regard for the instrument. The student
+will find it most profitable to study the work of this masterly
+penman. By way of warning, however, let me remind him here, that in
+studying the work of any accomplished draughtsman he is selecting
+a style for the study of principles, not that he may learn to mimic
+somebody, however excellent the somebody may be; that he must,
+therefore, do a little thinking himself; that he has an individuality
+of his own which he does not confess if his work looks like some
+one's else; and, finally, that he has no more right to consciously
+appropriate the peculiarities of another's style than he has to
+appropriate his more tangible property, and no more reason to do
+so than he has to walk or talk like him.
+
+
+
+
+CHAPTER II
+
+MATERIALS
+
+Every illustrator has his special predilections in the matter of
+materials, just as he has in the matter of methods. The purpose
+of this chapter is, therefore, rather to assist the choice of the
+student by limiting it than to choose for him. It would be advisable
+for him to become acquainted with the various materials that I may
+have occasion to mention (all of them are more or less employed
+by the prominent penmen), and a partiality for particular ones will
+soon develop itself. He is reminded, however, that it is easily
+possible to exaggerate the intrinsic values of pens and papers;
+in fact the beginner invariably expects too much from them. Of
+course, he should not use any but the best,--even Vierge could
+not make a good drawing with a bad pen,--but the artistic virtues
+of a particular instrument are not likely to disclose themselves
+in the rude scratchings of the beginner. He has to master it, to
+"break it in," ere he can discover of what excellent service it
+is capable.
+
+[Side note: _Pens_]
+
+The student will find that most of the steel pens made for artists
+have but a short period of usefulness. When new they are even more
+unresponsive than when they are old. At first they are disposed to
+give a hard, wiry line, then they grow sympathetic, and, finally,
+lose their temper, when they must be immediately thrown away. As
+a general rule, the more delicate points are better suited to the
+smooth surfaces, where they are not likely to get tripped up and
+"shaken" by the roughness in the paper.
+
+To begin with the smaller points, the "Gillott Crow-quill" is an
+excellent instrument. The normal thickness of its line is extremely
+small, but so beautifully is the nib made that it will respond
+vigorously to a big sweeping stroke. I say a "sweeping stroke,"
+as its capacity is not to be taxed for uniformly big lines. An
+equally delicate point, which surpasses the crow-quill in range,
+is "Gillott's Mapping-pen." It is astonishing how large a line
+may be made with this instrument. It responds most nimbly to the
+demands made upon it, and in some respects reminds one of a brush.
+It has a short life, but it may be a merry one. Mr. Pennell makes
+mention of a pen, "Perry's Auto-Stylo," which seems to possess
+an even more wonderful capacity, but of this I cannot speak from
+experience. A coarser, but still a small point, is the "Gillott
+192"--a good pen with a fairly large range; and, for any others
+than the smooth papers, a pen smaller than this will probably be
+found undesirable for general use. A shade bigger than this is
+the "Gillott 303," a very good average size. Neither of these two
+possesses the sensitiveness of those previously mentioned, but
+for work demanding more or less uniformity of line they will be
+found more satisfactory. The smaller points are liable to lead one
+into the quagmire of finicalness. When we get beyond the next in
+size, the "Gillott 404," there is nothing about the coarse steel
+points to especially commend them for artistic use. They are usually
+stupid, unreliable affairs, whose really valuable existence is
+about fifteen working minutes. For decorative drawing the ordinary
+commercial "stub" will be found a very satisfactory instrument.
+Of course one may use several sizes of pens in the same drawing,
+and it is often necessary to do so.
+
+Before leaving the steel pens, the "double-line pen" may be mentioned,
+though it has only a limited sphere. It is a two-pointed arrangement,
+practically two pens in one, by means of which parallel lines may
+be made with one stroke. Rather interesting effects can be obtained
+with it, but on the whole it is most valuable as a curiosity. Though
+somewhat out of fashion for general use, the quill of our fathers is
+favored by many illustrators. It is splendidly adapted for broad,
+vigorous rendering of foreground effects, and is almost dangerously
+easy to handle. Reed pens, which have somewhat similar virtues,
+are now little employed, and cannot be bought. They have to be
+cut from the natural reed, and used while fresh. For many uses
+in decorative drawing one of the most satisfactory instruments is
+the glass pen, which gives an absolutely uniform line. The point
+being really the end of a thin tube, the stroke may be made in any
+direction, a most unique characteristic in a pen. It has, however,
+the disadvantages of being friable and expensive; and, as it needs
+to be kept clean, the patent water-proof ink should not be used with
+it unless absolutely necessary. A flat piece of cork or rubber should
+be placed inside the ink-bottle when this pen is used, otherwise it
+is liable to be smashed by striking the bottom of the bottle. The
+faculty possessed by the Japanese brush of retaining its point
+renders it also available for use as a pen, and it is often so
+employed.
+
+[Side note: _Inks_]
+
+In drawing for reproduction, the best ink is that which is blackest
+and least shiny. Until a few years ago it was the custom of penmen
+to grind their India ink themselves; but, besides the difficulty of
+always ensuring the proper consistency, it was a cumbersome method,
+and is now little resorted to, especially as numerous excellent
+prepared inks are ready to hand. The better known of these prepared
+inks are, "Higgins' American" (general and waterproof), Bourgeois'
+"Encre de Chine Liquide," "Carter's," "Winsor & Newton's," and
+"Rowney's." Higgins' and Carter's have the extrinsic advantages
+of being put up in bottles which do not tip over on the slightest
+provocation, and of being furnished with stoppers which can be
+handled without smearing the fingers. Otherwise, they cannot be
+said to possess superiority over the others, certainly not over
+the "Encre de Chine Liquide." Should the student have occasion
+to draw over salt-prints he will find it wise to use waterproof
+ink, as the bleaching acid which is used to fade the photographic
+image may otherwise cause the ink to run.
+
+[Side note: _Papers_]
+
+Bristol-board is probably the most popular of all surfaces for
+pen drawing. It is certainly that most approved by the process
+engraver, whose point of view in such a matter, though a purely
+mechanical one, is worthy of consideration. It has a perfectly
+smooth surface, somewhat difficult to erase from with rubber, and
+which had better be scratched with a knife when any considerable
+erasure is necessary. As the cheap boards are merely a padding
+veneered on either side with a thin coating of smooth paper, little
+scraping is required to develop a fuzzy surface upon which it is
+impossible to work. Only the best board, such as Reynolds', therefore,
+should be used. Bristol-board can be procured in sheets of various
+thicknesses as well as in blocks.
+
+Whatman's "hot-pressed" paper affords another excellent surface
+and possesses some advantages over the Bristol-board. It comes
+in sheets of various sizes, which may be either tacked down on
+a board or else "stretched." Tacking will be satisfactory enough
+if the drawing is small and is to be completed in a few hours;
+otherwise the paper is sure to "hump up," especially if the weather
+be damp. The process of stretching is as follows: Fold up the edges
+of the sheet all around, forming a margin about an inch wide. After
+moistening the paper thoroughly with a damp sponge, cover the under
+side of this turned-up margin with photographic paste or strong
+mucilage. During this operation the sheet will have softened and
+"humped up," and will admit of stretching. Now turn down the adhesive
+margin and press it firmly with the fingers, stretching the paper
+gently at the same time. As this essential part of the process must
+be performed quickly, an assistant is requisite when the sheet
+is large. Care should be taken that the paper is not strained too
+much, as it is then likely to burst when it again contracts.
+
+Although generally employed for watercolor drawing, Whatman's
+"cold-pressed" paper has some advantages as a pen surface. Slightly
+roughish in texture, it gives an interesting broken line, which
+is at times desirable.
+
+A peculiar paper which has considerable vogue, especially in France
+and England, is what is known as "clay-board." Its surface is composed
+of China clay, grained in various ways, the top of the grain being
+marked with fine black lines which give a gray tone to the paper,
+darker or lighter according to the character of the pattern. This
+tone provides the middle-tint for the drawing. By lightly scraping
+with a sharp penknife or scratcher, before or after the pen work
+is done, a more delicate gray tone may be obtained, while vigorous
+scraping will produce an absolute white. With the pen work added,
+it will be seen that a good many values are possible; and, if the
+drawing be not reduced more than one-third, it will print excellently.
+The grain, running as it does in straight lines, offers a good deal
+of obstruction to the pen, however, so that a really good line is
+impossible.
+
+Thin letter-paper is sometimes recommended for pen and ink work,
+chiefly on account of its transparency, which obviates the necessity
+of re-drawing after a preliminary sketch has been worked up in
+pencil. Over the pencil study a sheet of the letter-paper is placed
+on which the final drawing may be made with much deliberation. Bond
+paper, however, possesses the similar advantage of transparency
+besides affording a better texture for the pen.
+
+
+
+
+CHAPTER III
+
+TECHNIQUE
+
+[Side note: _The Individual Line_]
+
+The first requirement of a good pen technique is a good Individual
+Line, a line of feeling and quality. It is usually a surprise to
+the beginner to be made aware that the individual line is a thing
+of consequence,--a surprise due, without doubt, to the apparently
+careless methods of some successful illustrators. It is to be borne
+in mind, however, that some illustrators are successful in spite
+of their technique rather than because of it; and also that the
+apparently free and easy manner of some admirable technicians is
+in reality very much studied, very deliberate, and not at all to
+be confounded with the unsophisticated scribbling of the beginner.
+The student is apt to find it just about as easy to draw like Mr.
+Pennell as to write like Mr. Kipling. The best way to acquire such
+a superb freedom is to be very, very careful and painstaking. To
+appreciate how beautiful the individual line may be one has but
+to observe the rich, decorative stroke of Howard Pyle, Fig. 66,
+or that of Mucha, Fig. 65, the tender outline of Boutet de Monvel,
+the telling, masterly sweep of Gibson, or the short, crisp line of
+Vierge or Rico. Compared with any of these the line of the beginner
+will be either feeble and tentative, or harsh, wiry, and coarse.
+
+[Illustration: FIG. 6 B. G. GOODHUE]
+
+[Illustration: FIG. 7 HERBERT RAILTON]
+
+[Side note: _Variety of Line_]
+
+The second requisite is Variety of Line,--not merely variety of
+size and direction, but, since each line ought to exhibit a feeling
+for the particular texture which it is contributing to express,
+variety of character. Mr. Gibson's manner of placing very delicate
+gray lines against a series of heavy black strokes exemplifies
+some of the possibilities of such variety. Observe, in Fig. 6,
+what significance is imparted to the heavy lines on the roof of
+the little foreground building by the foil of delicate gray lines
+in the sky and surrounding roofs. This conjunction was employed
+early by Mr. Herbert Railton, who has made a beautiful use of it
+in his quaint architectural subjects. Mr. Railton's technique is
+remarkable also for the varied direction of line and its expression
+of texture. Note this characteristic in his drawing of buttresses,
+Fig. 7.
+
+[Illustration: FIG. 8 B. G. GOODHUE]
+
+[Illustration: FIG. 9 C. D. M.]
+
+[Illustration: FIG. 10 C. D. M.]
+
+[Side note: _Economy of Method_]
+
+The third element of good technique is Economy and Directness of
+Method. A tone should not be built up of a lot of meaningless strokes.
+Each line ought, sensibly and directly, to contribute to the ultimate
+result. The old mechanical process of constructing tones by
+cross-hatching is now almost obsolete. It is still employed by
+modern pen draughtsmen, but it is only one of many resources, and
+is used with nice discrimination. At times a cross-hatch is very
+desirable and very effective,--as, for example, in affording a
+subdued background for figures having small, high lights. A very
+pretty use of it is seen in the tower of Mr. Goodhue's drawing,
+Fig. 8. Observe here how the intimate treatment of the roofs is
+enhanced and relieved by the foil of closely-knit hatch on the
+tower-wall, and how effective is the little area of it at the base
+of the spire. The cross-hatch also affords a satisfactory method
+of obtaining deep, quiet shadows. See the archway "B" in Fig. 9.
+On the whole, however, the student is advised to accustom himself
+to a very sparing use of this expedient. Compare the two effects in
+Fig. 9, Some examples of good and bad cross-hatching are illustrated
+in Fig. 10. Those marked "I" and "J" may be set down as bad, being
+too coarse. The only satisfactory cross-hatch at a large scale would
+seem to be that shown in "N," where lines cross at a sharp angle;
+and this variety is effectively employed by figure illustrators.
+Perhaps no better argument against the necessity for thus building
+up tones could be adduced than the little drawing by Martin Rico,
+shown in Fig. 11. Notice what a beautiful texture he gives to the
+shadow where it falls on the street, how it differs from that on
+the walls, how deep and closely knit it all is, and yet that there
+is absolutely no cross-hatching. Remark, also, how the textures
+of the walls and roof and sky are obtained. The student would do
+well to copy such a drawing as this, or a portion of it, at least,
+on a larger scale, as much can be learned from it.
+
+[Illustration: FIG. 11 MARTIN RICO]
+
+[Size note: _Methods of Tone-Making_]
+
+I have shown various methods of making a tone in Fig. 12. It will be
+observed that Rico's shadow, in Fig. 11, is made up of a combination
+of "B" and "C," except that he uses "B" horizontally, and makes
+the line heavy and dragging. The clear, crisp shadows of Vierge
+are also worthy of study for the simplicity of method. This is
+beautifully illustrated in the detail, Fig. 13. It would be impossible
+to suggest atmosphere more vibrating with sunlight; a result due
+to the transparency of the shadows, the lines of which are sharp
+and clean, with never a suggestion of cross-hatch. Notice how the
+lines of the architectural shadows are stopped abruptly at times,
+giving an emphasis which adds to the brilliancy of the effect. The
+drawing of the buildings on the canal, by Martin Rico, Fig. 14,
+ought also to be carefully studied in this connection. Observe how
+the shadow-lines in this drawing, as in that previously mentioned,
+are made to suggest the direction of the sunlight, which is high in
+the heavens. An example of all that is refined and excellent in
+pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The
+student would do well to study this carefully for its marvellous
+beauty of line. There is little hatching, and yet the tones are deep
+and rich. The wall tone will be found to be made up similarly to "A"
+and "H" in Fig. 12. The tone "B" in the same Figure is made up of
+lines which are thin at the ends and big in the middle, fitting into
+each other irregularly, and imparting a texture somewhat different
+from that obtained by the abrupt ending of the strokes of "A." This
+method is also employed by Brennan, and is a very effective one.
+A good example of the use of this character of line (unknitted,
+however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular
+line "C" has good possibilities for texture, and the wavy character
+of "D" is most effective in the rendering of shadows, giving a
+certain vibration to the atmosphere. "E" and "F" suggest a freer
+method of rendering a tone; while "G" shows a scribbling line that
+is sometimes employed to advantage. The very interesting texture of
+the coat, Fig. 17, is made with a horizontal line having a similar
+return stroke, as may be noticed where the rendering ends. There are
+times when an irresponsible sort of line is positively desirable,--say
+for rough foreground suggestion or for freeing the picture at the
+edges.
+
+[Illustration: FIG. 12 C. D. M.]
+
+[Illustration: FIG. 13 DANIEL VIERGE]
+
+[Illustration: FIG. 14 MARTIN RICO]
+
+[Illustration: FIG. 15 ALFRED BRENNAN]
+
+[Illustration: FIG. 16 LESLIE WILLSON]
+
+[Size note: _Outline_]
+
+I have invariably found that what presents the chief difficulty
+to the student of pen and ink is the management of the Outline.
+When it is realized that, by mere outline, one may express the
+texture of a coat or a tree or a wall without any rendering whatever,
+it will be seen that nothing in pen drawing is really of so much
+importance. Notice, for example, the wonderful drawing of the dog
+in Fig. 34. Again, if a connected line had been used to define
+the corners of Railton's buttresses in Fig. 7 all the texture,
+would have been destroyed. Instead of this he has used a broken
+outline, sometimes omitting it altogether for a considerable space.
+On the ledges, too, the lines are broken. In Rico's drawing, Fig.
+11, all the outlines may be observed to have a break here and there.
+This broken line is particularly effective in out-door subjects,
+as it helps to suggest sunlit atmosphere as well as texture.
+
+[Illustration: FIG. 17 DRAWING FROM A PHOTOGRAPH]
+
+Architectural outlines, however, are not particularly subtle; it
+is when we come to render anything with vague boundaries, such as
+foliage or clouds for example, that the chief difficulties are
+encountered. Foliage is an important element of landscape drawing
+and deserves more than passing consideration. To make a successful
+rendering of a tree in pen and ink the tree must be first well drawn
+in pencil. It is absolutely impossible to obtain such a charming
+effect of foliage as that shown in Mr. Pennell's sketch, Fig. 18,
+without the most painstaking preparation in pencil. The success
+of this result is not attributable merely to the difference in
+textures, nor to the direction or character of the line; it is
+first of all a matter of good drawing. The outline should be free
+and subtle so as to suggest the edges of leafage, and the holes
+near the edges should be accented, otherwise they will be lost
+and the tree will look solid and characterless. Observe, in the
+same drawing, how Mr. Pennell suggests the structure of the leafage
+by the irregular outlines which he gives to the different series of
+lines, and which he emphasizes by bringing the lines to an abrupt
+stop. Observe also how the stronger texture of the tree in Fig. 19
+is obtained by making the lines with greater abruptness. Compare
+both of these Figures with the foreground trees by the same artist
+in Fig. 20. The last is a brilliant example of foliage drawing
+in pen and ink.
+
+[Illustration: FIG. 18 JOSEPH PENNELL]
+
+[Illustration: FIG. 19 JOSEPH PENNELL]
+
+[Illustration: FIG. 20 JOSEPH PENNELL]
+
+[Illustration: FIG. 21 E. DANTAN]
+
+[Side note: _Textures_]
+
+The matter of Textures is very important, and the student should
+learn to differentiate them as much as possible. This is done,
+as I have already said, by differences in the size and character
+of the line, and in the closeness or openness of the rendering.
+Observe the variety of textures in the drawing of the sculptor
+by Dantan, Fig. 21. The coat is rendered by such a cross-hatch
+as "N" in Fig. 10, made horizontally and with heavy lines. In the
+trousers the lines do not cross but fit in together. This is an
+excellent example for study, as is also the portrait by Raffaelli,
+Fig. 22. The textures in the latter drawing are wonderfully well
+conveved,--the hard, bony face, the stubby beard, and the woolen
+cap with its tassel in silhouette. For the expression of texture
+with the least effort the drawings of Vierge are incomparable.
+The architectural drawing by Mr. Gregg in Fig. 50 is well worth
+careful study in this connection, as are all of Herbert Railton's
+admirable drawings of old English houses. (I recommend the study
+of Mr. Railton's work with a good deal of reservation, however.
+While it is admirable in respect of textures and fascinating in its
+color, the values are likely to be most unreal, and the mannerisms
+are so pronounced and so tiresome that I regard it as much inferior
+to that of Mr. Pennell, whose architecture always _appears_, at
+least, to have been honestly drawn on the spot.)
+
+[Illustration: FIG. 22 J. F. RAFFAELLI]
+
+The hats in Fig. 10 are merely suggestions to the student in the
+study of elementary combinations of line in expressing textures.
+
+[Side note: _Drawing for Reproduction_]
+
+As the mechanical processes of Reproduction have much to do with
+determining pen methods they become important factors for consideration.
+While their waywardness and inflexibility are the cause of no little
+distress to the illustrator, the limitations of processes cannot
+be said, on the whole, to make for inferior standards in drawing,
+as will be seen by the following rules which they impose, and for
+which a strict regard will be found most advisable.
+
+First: Make each line clear and distinct. Do not patch up a weak
+line or leave one which has been broken or blurred by rubbing, for
+however harmless or even interesting it may seem in your original
+it will almost certainly be neither in the reproduction. When you
+make mistakes, erase the offensive part completely, or, if you
+are working on Bristol-board and the area of unsatisfactoriness
+be considerable, paste a fresh piece of paper over it and redraw.
+
+Second: Keep your work open. Aim for economy of line. If a shadow
+can be rendered with twenty strokes do not crowd in forty, as you
+will endanger its transparency. Remember that in reproduction the
+lines tend to thicken and so to crowd out the light between them.
+This is so distressingly true of newspaper reproduction that in
+drawings for this purpose the lines have to be generally very thin,
+sharp, and well apart. The above rule should be particularly regarded
+in all cases where the drawing is to be subject to much reduction.
+The degree of reduction of which pen drawings are susceptible is
+not, as is commonly supposed, subject to rule. It all depends on
+the scale of the technique.
+
+Third: Have the values few and positive. It is necessary to keep
+the gray tones pretty distinct to prevent the relation of values
+being injured, for while the gray tones darken in proportion to the
+degree of reduction, the blacks cannot, of course, grow blacker.
+A gray tone which may be light and delicate in the original, will,
+especially if it be closely knit, darken and thicken in the printing.
+These rules are most strictly to be observed when drawing for the
+cheaper classes of publications. For book and magazine work, however,
+where the plates are touched up by the engraver, and the values in a
+measure restored, the third rule is not so arbitrary. Nevertheless,
+the beginner who has ambitions in this direction will do well not
+to put difficulties in his own way by submitting work not directly
+printable.
+
+[Side note: _Some Fanciful Expedients_]
+
+There are a number of more or less fanciful expedients employed in
+modern pen work which may be noted here, and which are illustrated
+in Fig. 10. The student is advised, however, to resort to them as
+little as possible, not only because he is liable to make injudicious
+use of them, but because it is wiser for him to cultivate the less
+meretricious possibilities of the instrument.
+
+"Spatter work" is a means of obtaining a delicate printable tone,
+consisting of innumerable little dots of ink spattered on the paper.
+The process is as follows: Carefully cover with a sheet of paper
+all the drawing except the portion which is to be spattered, then
+take a tooth-brush, moisten the ends of the bristles consistently
+with ink, hold the brush, back downwards, in the left hand, and
+with a wooden match or tooth-pick rub the bristles _toward you_
+so that the ink will spray over the paper. Particular, care must
+be taken that the brush is not so loaded with ink that it will
+spatter in blots. It is well, therefore, to try it first on a rough
+sheet of paper, to remove any superfluous ink. If the spattering is
+well done, it gives a very delicate tone of interesting texture,
+but if not cleverly employed, and especially if there be a large
+area of it, it is very likely to look out of character with the
+line portions of the drawing.
+
+A method sometimes employed to give a soft black effect is to moisten
+the lobe of the thumb lightly with ink and press it upon the paper. The
+series of lines of the skin make an impression that can be reproduced
+by the ordinary line processes. As in the case of spatter work,
+superfluous ink must be looked after before making the impression
+so as to avoid leaving hard edges. Thumb markings lend themselves to
+the rendering of dark smoke, and the like, where the edges require
+to be soft and vague, and the free direction of the lines impart
+a feeling of movement.
+
+Interesting effects of texture are sometimes introduced into pen
+drawings by obtaining the impression of a canvas grain. To produce
+this, it is necessary that the drawing be made on fairly thin paper.
+The _modus operandi_ is as follows: Place the drawing over a piece
+of mounted canvas of the desired coarseness of grain, and, holding
+it firmly, rub a lithographic crayon vigorously over the surface
+of the paper. The grain of the canvas will be found to be clearly
+reproduced, and, as the crayon is absolutely black, the effect is
+capable of reproduction by the ordinary photographic processes.
+
+
+
+
+CHAPTER IV
+
+VALUES
+
+[Side note: _The Color Scheme_]
+
+After the subject has been mapped out in pencil, and before beginning
+the pen work, we have to consider and determine the proper disposition
+of the Color. By "color" is meant, in this connection, the gamut of
+values from black to white, as indicated in Fig. 23. The success
+or failure of the drawing will largely depend upon the disposition
+of these elements, the quality of the technique being a matter
+of secondary concern. Beauty of line and texture will not redeem
+a drawing in which the values are badly disposed, for upon them
+we depend for the effect of unity, or the pictorial quality. If
+the values are scattered or patchy the drawing will not focus to
+any central point of interest, and there will be no unity in the
+result.
+
+[Illustration: FIG. 23 C. D. M.]
+
+There are certain general laws by which color may be pleasingly
+disposed, but it must be borne in mind that it ought to be disposed
+naturally as well. By a "natural" scheme of color, I mean one which
+is consistent with a natural effect of light and shade. Now the
+gradation from black to white, for example, is a pleasing scheme,
+as may be observed in Fig. 24, yet the effect is unnatural, since
+the sky is black. In a purely decorative illustration like this,
+however, such logic need not be considered.
+
+[Illustration: FIG. 24 D. A. GREGG]
+
+[Side note: _Principality in the Color-Scheme_]
+
+Since, as I said before, color is the factor which makes for the
+unity of the result, the first principle to be regarded in its
+arrangement is that of Principality,--there must be some dominant
+note in the rendering. There should not, for instance, be two principal
+dark spots of equal value in the same drawing, nor two equally
+prominent areas of white. The Vierge drawing, Fig. 25, and that
+by Mr. Pennell, Fig. 5, are no exceptions to this rule; the black
+figure of the old man counting as one note in the former, as do
+the dark arches of the bridge in the latter. The work of both these
+artists is eminently worthy of study for the knowing manner in
+which they dispose their values.
+
+[Illustration: FIG. 25 DANIEL VIERGE]
+
+[Side note: _Variety_]
+
+The next thing to be sought is Variety. Too obvious or positive a
+scheme, while possibly not unsuitable for a conventional decorative
+drawing, may not be well adapted to a perspective subject. The
+large color areas should be echoed by smaller ones throughout the
+picture. Take, for example, the Vierge drawing shown in Fig. 26.
+Observe how the mass of shadow is relieved by the two light holes
+seen through the inn door. Without this repetition of the white the
+drawing would lose much of its character. In Rico's drawing, Fig.
+11, a tiny white spot in the shadow cast over the street would, I
+venture to think, be helpful, beautifully clear as it is; and the
+black area at the end of the wall seems a defect as it competes
+in value with the dark figure.
+
+[Illustration: FIG. 26 DANIEL VIERGE]
+
+[Side note: _Breadth of Effect_]
+
+Lastly, Breadth of Effect has to be considered. It is requisite
+that, however numerous the tones are (and they should not be too
+numerous), the general effect should be simple and homogeneous. The
+color must count together broadly, and not be cut up into patches.
+
+[Illustration: FIG. 27 HARRY FENN]
+
+It is important to remember that the gamut from black to white is
+a short one for the pen. One need only try to faithfully render
+the high lights of an ordinary table glass set against a gray
+background, to be assured of its limitations in this respect. To
+represent even approximately the subtle values would require so
+much ink that nothing short of a positively black background would
+suffice to give a semblance of the delicate transparent effect of
+the glass as a whole. The gray background would, therefore, be
+lost, and if a really black object were also part of the picture
+it could not be represented at all. Observe, in Fig. 27, how just
+such a problem has been worked out by Mr. Harry Fenn.
+
+It will be manifest that the student must learn to think of things
+in their broad relation. To be specific,--in the example just
+considered, in order to introduce a black object the scheme of
+color would have needed broadening so that the gray background
+could be given its proper value, thus demanding that the elaborate
+values of the glass be ignored, and just enough suggested to give
+the general effect. This reasoning would equally apply were the
+light object, instead of a glass, something of intricate design,
+presenting positive shadows. Just so much of such a design should
+be rendered as not to darken the object below its proper relative
+value as a whole. In this faculty of suggesting things without
+literally rendering them consists the subtlety of pen drawing.
+
+It may be said, therefore, that large light areas resulting from the
+necessary elimination of values are characteristic of pen drawing.
+The degree of such elimination depends, of course, upon the character
+of the subject, this being entirely a matter of relation. The more
+black there is in a drawing the greater the number of values that can
+be represented. Generally speaking, three or four are all that can be
+managed, and the beginner had better get along with three,--black,
+half-tone, and white.
+
+[Illustration: FIG. 28 REGINALD BIRCH]
+
+[Side note: _Various Color-Schemes_]
+
+While it is true that every subject is likely to contain some motive
+or suggestion for its appropriate color-scheme, it still holds that,
+many times, and especially in those cases where the introduction
+of foreground features at considerable scale is necessary for the
+interest of the picture, an artificial arrangement has to be devised.
+It is well, therefore, to be acquainted with the possibilities of
+certain color combinations. The most brilliant effect in black
+and white drawing is that obtained by placing the prominent black
+against a white area surrounded by gray. The white shows whiter
+because of the gray around it, so that the contrast of the black
+against it is extremely vigorous and telling. This may be said to
+be the illustrator's _tour de force_. We have it illustrated by
+Mr. Reginald Birch's drawing, Fig. 28. Observe how the contrast
+of black and white is framed in by the gray made up of the sky,
+the left side of the building, the horse, and the knight. In the
+drawing by Mr. Pennell, Fig. 29, we have the same scheme of color.
+Notice how the trees are darkest just where they are required to
+tell most strongly against the white in the centre of the picture.
+An admirable illustration of the effectiveness of this color-scheme
+is shown in the "Becket" poster by the "Beggarstaff Brothers,"
+Fig. 69. Another scheme is to have the principal black in the gray
+area, as in the Vierge drawing, Fig. 26 and in Rico's sketch, Fig.
+11.
+
+[Illustration: FIG. 29 JOSEPH PENNELL]
+
+[Illustration: FIG. 30 B. G. GOODHUE]
+
+[Illustration: FIG. 31 JOSEPH PENNELL]
+
+Still another and a more restful scheme is the actual gradation
+of color. This gradation, from black to white, wherein the white
+occupies the centre of the picture, is to be noted in Fig. 20.
+Observe how the dark side of the foreground tree tells against the
+light side of the one beyond, which, in its turn, is yet so strongly
+shaded as to count brilliantly against the white building. Still
+again, in Mr. Goodhue's drawing, Fig. 30, note how the transition
+from the black tree on the left to the white building is pleasingly
+softened by the gray shadow. Notice, too, how the brilliancy of
+the drawing is heightened by the gradual emphasis on the shadows
+and the openings as they approach the centre of the picture. Yet
+another example of this color-scheme is the drawing by Mr. Gregg,
+Fig. 50. The gradation here is from the top of the picture downwards.
+The sketch of the coster women by Mr. Pennell, Fig. 31, shows this
+gradation reversed.
+
+The drawing of the hansom cab, Fig. 32, by Mr. Raven Hill, illustrates
+a very strong color-scheme,--gray and white separated by black,
+the gray moderating the black on the upper side, leaving it to
+tell strongly against the white below. Notice how luminous is this
+same relation of color where it occurs in the Venetian subject by
+Rico, Fig. 14. The shadow on the water qualifies the blackness
+of the gondola below, permitting a brilliant contrast with the
+white walls of the building above.
+
+It is interesting to observe how Vierge and Pennell, but chiefly the
+former, very often depend for their grays merely upon the delicate
+tone resulting from the rendering of form and of direct shadow,
+without any local color. This may be seen in the Vierge drawing,
+Fig. 33. Observe in this, as a consequence, how brilliantly the
+tiny black counts in the little figure in the centre. Notice, too,
+in the drawing of the soldiers by Jeanniot, Fig. 34, that there
+is very little black; and yet see how brilliant is the effect,
+owing largely to the figures being permitted to stand out against
+a white ground in which nothing is indicated but the sky-line of
+the large building in the distance.
+
+[Illustration: FIG. 32 L. RAVEN HILL]
+
+[Illustration: FIG. 33 DANIEL VIERGE]
+
+[Illustration: FIG. 34 P. G. JEANNIOT]
+
+
+
+
+CHAPTER V
+
+PRACTICAL PROBLEMS
+
+I have thought it advisable in this chapter to select, and to work
+out in some detail, a few actual problems in illustration, so as
+to familiarize the student with the practical application of some
+of the principles previously laid down.
+
+[Illustration: FIG. 35 FROM A PHOTOGRAPH]
+
+[Illustration: FIG. 36 D. A. GREGG]
+
+[Side note: _First Problem_]
+
+In the first example the photograph, Fig. 35, shows the porch of
+an old English country church. Let us see how this subject has
+been interpreted in pen and ink by Mr. D. A. Gregg, Fig. 36. In
+respect to the lines, the original composition presents nothing
+essentially unpleasant. Where the strong accent of a picture occurs
+in the centre, however, it is generally desirable to avoid much
+emphasis at the edges. For this reason the pen drawing has been
+"vignetted,"--that is to say, permitted to fade away irregularly
+at the edges. Regarding the values, it will be seen that there is
+no absolute white in the photograph. A literal rendering of such
+low color would, as we saw in the preceding chapter, be out of
+the question; and so the essential values which directly contribute
+to the expression of the subject and which are independent of local
+color or accidental effect have to be sought out. We observe, then,
+that the principal note of the photograph is made by the dark part
+of the roof under the porch relieved against the light wall beyond.
+This is the direct result of light and shade, and is therefore
+logically adopted as the principal note of Mr. Gregg's sketch also.
+The wall at this point is made perfectly white to heighten the
+contrast. To still further increase the light area, the upper part
+of the porch has been left almost white, the markings suggesting
+the construction of the weather-beaten timber serving to give it
+a faint gray tone sufficient to relieve it from the white wall.
+The low color of the grass, were it rendered literally, would make
+the drawing too heavy and uninteresting, and this is therefore only
+suggested in the sketch. The roof of the main building, being equally
+objectionable on account of its mass of low tone, is similarly
+treated. Mr. Gregg's excellent handling of the old woodwork of the
+porch is well worthy of study.
+
+[Side note: _Second Problem_]
+
+Let us take another example. The photograph in Fig. 37 shows a
+moat-house in Normandy; and, except that the low tones of the foliage
+are exaggerated by the camera, the conditions are practically those
+which we would have to consider were we making a sketch on the spot.
+First of all, then, does the subject, from the point of view at
+which the photograph is taken, compose well?* It cannot be said that
+it does. The vertical lines made by the two towers are unpleasantly
+emphasized by the trees behind them. The tree on the left were
+much better reduced in height and placed somewhat to the right,
+so that the top should fill out the awkward angles of the roof
+formed by the junction of the tower and the main building. The
+trees on the right might be lowered also, but otherwise permitted
+to retain their present relation. The growth of ivy on the tower
+takes an ugly outline, and might be made more interestingly irregular
+in form.
+
+[Footnote *: The student is advised to consult "Composition," by
+Arthur W. Dow. [New York, 1898]]
+
+[Illustration: FIG. 37 FROM A PHOTOGRAPH]
+
+The next consideration is the disposition of the values. In the
+photograph the whites are confined to the roadway of the bridge
+and the bottom of the tower. This is evidently due, however, to
+local color rather than to the direction of the light, which strikes
+the nearer tower from the right, the rest of the walls being in
+shadow. While the black areas of the picture are large enough to
+carry a mass of gray without sacrificing the sunny look, such a
+scheme would be likely to produce a labored effect. Two alternative
+schemes readily suggest themselves: First, to make the archway the
+principal dark, the walls light, with a light half-tone for the
+roof, and a darker effect for the trees on the right. Or, second,
+to make these trees themselves the principal dark, as suggested by
+the photograph, allowing them to count against the gray of the
+roof and the ivy of the tower. This latter scheme is that which
+has been adopted in the sketch, Fig. 38.
+
+[Illustration: FIG. 38 C. D. M.]
+
+It will be noticed that the trees are not nearly so dark as in
+the photograph. If they were, they would be overpowering in so
+large an area of white. It was thought better, also, to change the
+direction of the light, so that the dark ivy, instead of acting
+contradictorily to the effect, might lend character to the shaded
+side. The lower portion of the nearer tower was toned in, partly
+to qualify the vertical line of the tower, which would have been
+unpleasant if the shading were uniform, and partly to carry the
+gray around to the entrance. It was thought advisable, also, to
+cut from the foreground, raising the upper limit of the picture
+correspondingly. (It is far from my intention, however, to convey
+the impression that any liberties may be taken with a subject in
+order to persuade it into a particular scheme of composition; and
+in this very instance an artistic photographer could probably have
+discovered a position for his camera which would have obviated the
+necessity for any change whatever;--a nearer view of the building,
+for one thing, would have considerably lowered the trees.)
+
+[Illustration: FIG. 39 FROM A PHOTOGRAPH]
+
+[Side note: _Third Problem_]
+
+We will consider still another subject. The photograph, Fig. 39,
+shows a street in Holland. In this case, the first thing we have
+to determine is where the interest of the subject centres. In such
+a perspective the salient point of the picture often lies in a
+foreground building; or, if the street be merely a setting for the
+representation of some incident, in a group of foreground figures.
+In either case the emphasis should be placed in the foreground,
+the distant vanishing lines of the street being rendered more or
+less vaguely. In the present subject, however, the converging sky
+and street lines are broken by the quaint clock-tower. This and the
+buildings underneath it appeal to us at once as the most important
+elements of the picture. The nearer buildings present nothing
+intrinsically interesting, and therefore serve no better purpose
+than to lead the eye to the centre of interest. Whatever actual
+values these intermediate buildings have that will hinder their
+usefulness in this regard can, therefore, be changed or actually
+ignored without affecting the integrity of the sketch or causing
+any pangs of conscience.
+
+The building on the extreme left shows very strong contrasts of
+color in the black shadow of the eaves and of the shop-front below.
+These contrasts, coming as they do at the edge of the picture,
+are bad. They would act like a showy frame on a delicate drawing,
+keeping the eye from the real subject. It may be objected, however,
+that it is natural that the contrasts should be stronger in the
+foreground. Yes; but in looking straight at the clock-tower one does
+not see any such dark shadow at the top of the very uninteresting
+building in the left foreground. The camera saw it, because the
+camera with its hundred eyes sees everything, and does not interest
+itself about any one thing in particular. Besides, if the keeper
+of the shop had the bad taste to paint it dark we are not bound
+to make a record of the fact; nor need we assume that it was done
+out of regard to the pictorial possibilities of the street. We
+decide, therefore, to render, as faithfully as we may, the values
+of the clock-tower and its immediate surroundings, and to disregard
+the discordant elements; and we have no hesitation in selecting
+for principal emphasis in our drawing, Fig. 40, the shadow under
+the projecting building. This dark accent will count brilliantly
+against the foreground and the walls of the buildings, which we
+will treat broadly as if white, ignoring the slight differences
+in value shown in the photograph. We retain, however, the literal
+values of the clock-tower and the buildings underneath it, and
+express as nearly as we can their interesting variations of texture.
+The buildings on the right are too black in the photograph, and
+these, as well as the shadow thrown across the street, we will
+considerably lighten. After some experiment, we find that the building
+on the extreme left is a nuisance, and we omit it. Even then, the
+one with the balcony next to it requires to be toned down in its
+strong values, and so the shadows here are made much lighter, the
+walls being kept white. It will be found that anything like a strong
+emphasis of the projecting eaves of the building would detract
+from the effect of the tower, so that the shadow under the eaves
+is, therefore, made grayer than in the photograph, while that of
+the balcony below is made stronger than the shadow of the eaves,
+but is lightened at the edge of the drawing to throw the emphasis
+toward the centre.
+
+[Illustration: FIG. 40 C. D. M.]
+
+To add interest to the picture, and more especially to give life
+to the shadows, several figures are introduced. It will be noticed
+that the cart is inserted at the focal point of the drawing to
+better assist the perspective.
+
+
+
+
+CHAPTER VI
+
+ARCHITECTURAL DRAWING
+
+It is but a few years since architects' perspectives were "built
+up" (it would be a mistake to say "drawn") by means of a T-square
+and the ruling pen; and if architectural drawing has not quite
+kept pace with that for general illustration since, a backward
+glance over the professional magazines encourages a feeling of
+comparative complacency. That so high a standard or so artistic
+a character is not observable in architectural as in general
+illustration is, I think, not difficult to explain. Very few of the
+clever architectural draughtsmen are illustrators by profession.
+Few, even of those who are generally known as illustrators, are
+anything more--I should perhaps say anything _less_--than versatile
+architects; and yet Mr. Pennell, who would appear to assume, in
+his book on drawing, that the point of view of the architect is
+normally pictorial, seems at a loss to explain why Mr. Robert Blum,
+for instance, can illustrate an architectural subject more artistically
+than any of the draughtsmen in the profession. Without accepting
+his premises, it is remarkably creditable to architecture that
+it counts among its members in this country such men as Mr. B.
+G. Goodhue and Mr. Wilson Eyre, Jr., and in England such thorough
+artists as Mr. Prentice and Mr. Ernest George--men known even to
+distinction for their skill along lines of purely architectural
+practice, yet any one of whom would, I venture to say, cause
+considerable displacement did he invade the ranks of magazine
+illustrators. Moreover (and the suggestion is not unkindly offered),
+were the architects and the illustrators to change places architecture
+would suffer most by the process.
+
+[Side note: _The Architects' Case_]
+
+That the average architect should be incapable of artistically
+illustrating his own design, ought, I think, to be less an occasion
+for surprise than that few painters, whose point of view is essentially
+pictorial, can make even a tolerable interpretation in line of their
+own paintings. Be it remembered that the pictures made by the architect
+are seldom the records of actualities. The buildings themselves
+are merely contemplated, and the illustrations are worked up from
+geometrical elevations in the office, very, very far from Nature.
+Moreover, the subjects are not infrequently such as lend themselves
+with an ill grace to picturesque illustration. The structure to be
+depicted may, for instance, be a heavy cubical mass with a bald
+uninteresting sky-line; or it may be a tall office building, impossible
+to reconcile with natural accessories either in pictorial scale or
+in composition. These natural accessories, too, the draughtsman
+must, with an occasional recourse to his photograph album, evolve
+out of his inner consciousness. When it is further considered that
+such structures, even when actualities, are uncompromisingly stiff
+and immaculate in their newness, presenting absolutely none of
+those interesting accidents so dear to the artist, and perhaps with
+nothing whatever about them of picturesque suggestion, we have a
+problem presented which is somewhat analogous to that presented by
+the sculpturesque possibilities of "fashionable trousering." That,
+with such uninspiring conditions, architectural illustration does not
+develop so interesting a character nor attain to so high a standard
+as distinguishes general illustration is not to be wondered at. It
+is rather an occasion for surprise that it exhibits so little of
+the artificiality of the fashion-plate after all, and that the better
+part of it, at least, is not more unworthy than figure illustration
+would be were it denied the invaluable aid of the living model.
+So much by way of apology.
+
+[Side note: _The Architects' Point of View_]
+
+The architectural perspective, however, is not to be regarded purely
+from the pictorial point of view. It is an illustration first, a
+picture afterwards, and almost invariably deals with an individual
+building, which is the essential subject. This building cannot,
+therefore, be made a mere foil for interesting "picturesqueries,"
+nor subordinated to any scenic effect of landscape or chiaroscuro.
+Natural accessories or interesting bits of street life may be added
+to give it an appropriate setting; but the result must clearly
+read "Building, with landscape," not "Landscape, with building."
+
+Much suggestion for the sympathetic handling of particular subjects
+may be found in the character of the architecture itself. The
+illustrator ought to enter into the spirit of the designer, ought to
+feel just what natural accessories lend themselves most harmoniously
+to this or that particular type. If the architecture be quaint
+and picturesque it must not have prosaic surroundings. If, on the
+other hand, it be formal or monumental, the character and scale of
+the accessories should be accordingly serious and dignified. The
+rendering ought also to vary with the subject,--a free picturesque
+manner for the one, a more studied and responsible handling for
+the other. Technique is the language of art, and a stiff pompous
+phraseology will accord ill with a story of quaint humor or pathos,
+while the homely diction that might answer very well would be sure to
+struggle at a disadvantage with the stately meanings and diplomatic
+subtleties of a state document.
+
+[Side note: _Rendering of Detail_]
+
+It would be well for the student, before venturing upon whole subjects,
+to learn to render details, such as windows, cornices, etc. Windows
+are a most important feature of the architectural drawing, and the
+beginner must study them carefully, experimenting for the method
+which will best represent their glassy surfaces. No material gives
+such play of light and shade as glass does. One window is never
+absolutely like another; so that while a certain uniformity in
+their value may be required for breadth of effect in the drawing of
+a building, there is plenty of opportunity for incidental variety
+in their treatment.
+
+A few practical hints on the rendering of windows may prove serviceable.
+Always emphasize the sash. Where there is no recess, as in wooden
+buildings, strengthen the inner line of sash, as in Fig. 41. In
+masonry buildings the frame and sash can be given their proper
+values, the area of wood being treated broadly, without regard
+to the individual members. The wood may, however, be left white
+if required, as would be the case in Colonial designs. In either
+case the dark shadow which the sash casts on the glass should be
+suggested, if the scale of the drawing be such as to permit of it.
+Do not try to show too much. One is apt to make a fussy effect,
+if, for instance, one insists on always shading the soffit of the
+masonry opening, especially if the scale of the drawing be small.
+Besides, a white soffit is not a false but merely a forced value,
+as in strong sunlight the reflected light is considerable. If the
+frame be left white, however, the soffit ought to be shaded, otherwise
+it will be difficult to keep the values distinct. In respect of
+wooden buildings there is no need to always complete the mouldings
+of the architrave. Notice in Fig. 41 that, in the window without
+the muntins, the mouldings have been carried round the top to give
+color, but that in the other they are merely suggested at the corners
+so as to avoid confusion. Care should be taken to avoid mechanical
+rendering of the muntins. For the glass itself, a uniformly flat
+tone is to be avoided. The tones should soften vaguely. It will be
+found, too, that it is not advisable to have a strong dark effect
+at the top of the window and another at the bottom; one should
+predominate.
+
+[Illustration: FIG. 41 C. D. M.]
+
+The student after careful study of Fig. 41 should make from it
+enlarged drawings, and afterwards, laying the book aside, proceed
+to render them in his own way. When he has done so, let him compare
+his work with the originals. This process ought to be repeated
+several times, the aim being always for _similarity_, not for
+_literalness_ of effect. If he can get equally good results with
+another method he need not be disconcerted at the lack of any further
+resemblance.
+
+The cornice with its shadow is another salient feature. In short
+shadows, such as those cast by cornices, it is well, if a sunny
+effect be desired, to accent the bottom edge of the shadow. The shadow
+lines ought to be generally parallel, but with enough variation to
+obviate a mechanical effect. They need not be vertical lines,--in
+fact it is better that they should take the same slant as the light.
+If they are not absolutely perpendicular, however, it is well to make
+them distinctly oblique, otherwise the effect will be unpleasant.
+A clever sketch of a cornice by Mr. George F. Newton is shown in
+Fig. 42. Notice how well the texture of the brick is expressed
+by the looseness of the pen work. Some of the detail, too, is
+dexterously handled, notably the bead and button moulding.
+
+The strength of the cornice shadow should be determined by the tone
+of the roof above it. To obtain for this shadow the very distinct
+value which it ought to have, however, does not require that the
+roof be kept always much lighter than it. In the gable roof in
+Fig. 57, the tone of the roof is shaded lighter as it approaches
+the eaves, so that the shadow may count more emphatically. This
+order may be reversed, as in the case of a building with dark roof
+and light walls, in which case the shadow may be grayer than the
+lower portion of the roof, as in "B" in Fig. 44.
+
+[Illustration: FIG. 42 GEORGE F. NEWTON]
+
+But the beginner should not yet hurry on to whole subjects. A church
+porch, as in Fig. 35, or a dormer with its shadow cast on a roof,
+as in Fig. 43, will be just as beneficial a study for him as an
+entire building, and will afford quite as good an opportunity for
+testing his knowledge of the principles of pen drawing, with the
+added advantage that either of the subjects mentioned can be mapped
+out in a few minutes, and that a failure or two, therefore, will
+not prove so discouraging as if a more intricate subject had to
+be re-drawn. I have known promising beginners to give up pen and
+ink drawing in despair because they found themselves unequal to
+subjects which would have presented not a few difficulties to the
+experienced illustrator. When the beginner grows faint-hearted,
+let him seek consolation and encouragement in the thought that were
+pen drawing something to be mastered in a week or a month there
+would be small merit in the accomplishment.
+
+[Illustration: FIG. 43 C. D. M.]
+
+[Side note: _A General System_]
+
+It is a common fault of students to dive into the picture unthinkingly,
+beginning anywhere, without the vaguest plan of a general effect,
+whereas it is of the utmost importance that every stroke of the
+pen be made with intelligent regard to the ultimate result. The
+following general method will be found valuable.
+
+Pencil the outline of the entire subject before beginning the pen
+work. It will not do to start on the rendering as soon as the building
+alone is pencilled out, leaving the accessories to be put in as
+one goes along. The adjacent buildings, the foliage, and even the
+figures must be drawn--carefully drawn--before the pen is taken up.
+The whole subject from the very beginning should be under control,
+and to that end it becomes necessary to have all the elements of
+it pre-arranged.
+
+[Side note: _Arrangement of the Values_]
+
+Next scheme out the values. This is the time to do the thinking. Do
+not start out rashly as soon as everything is outlined in pencil,
+confident in the belief that all windows, for instance, are dark,
+and that you may as well make them so at once and be done with
+them. This will be only to court disaster. Besides, all windows
+are not dark; they may be very light indeed. The color value of
+nothing is absolute. A shadow may seem almost black till a figure
+passes into it, when it may become quite gray by comparison. So a
+window with the sun shining full upon it, or even one in shade, on
+which a reflected light is cast, may be brilliantly light until the
+next instant a cloud shadow is reflected in it, making it densely
+black. Arrange the values, therefore, with reference to one general
+effect, deciding first of all on the direction of the light. Should
+this be such as to throw large areas of shadow, these masses of
+gray will be important elements in the color-scheme. An excellent
+way to study values is to make a tracing-paper copy of the line
+drawing and to experiment on this for the color with charcoal,
+making several sketches if necessary. After having determined on
+a satisfactory scheme, put fixatif on the rough sketch and keep
+it in sight. Otherwise, one is liable, especially if the subject
+is an intricate one, to be led astray by little opportunities for
+interesting effects here and there, only to discover, when too
+late, that these effects do not hang together and that the drawing
+has lost its breadth. The rough sketch is to the draughts man what
+manuscript notes are to the lecturer.
+
+[Side note: _Treatment of Detail_]
+
+Do not be over-conscious of detail. It is a common weakness of the
+architectural draughts man to be too sophisticated in his pictorial
+illustration. He knows so much about the building that no matter how
+many thousand yards away from it he may stand he will see things
+that would not reveal themselves to another with the assistance
+of a field-glass. He is conscious of the fact that there are just
+so many brick courses to the foot, that the clapboards are laid
+just so many inches to the weather, that there are just so many
+mouldings in the belt course,--that everything in general is very,
+very mathematical. This is not because his point of view is too
+big, but because it is too small. He who sees so much never by any
+chance sees the _whole building_. Let him try to think broadly of
+things. Even should he succeed in forgetting some of these factitious
+details, the result will still be stiff enough, so hard is it to
+re-adjust one's attitude after manipulating the T-square. I strongly
+recommend, as an invaluable aid toward such a re-adjustment, the
+habit of sketching from Nature,--from the figure during the winter
+evenings, and out of doors in summer.
+
+[Illustration: FIG. 44 C. D. M.]
+
+The beginner is apt to find his effects at first rather hard and
+mechanical at the best, because he has not yet attained that freedom
+of handling which ignores unimportant details, suggests rather
+than states, gives interesting variations of line and tone, and
+differentiates textures. A good part of the unpleasantness of effect
+will undoubtedly be found to be due to a mistaken regard for accuracy
+of statement, individual mouldings being lined in as deliberately
+as in the geometrical office drawings, and not an egg nor a dart
+slighted. Take, for example, the case of an old Colonial building
+with its white cornice, or any building with white trimmings. See
+the effect of such a one in an "elevation" where all the detail is
+drawn, as in "A," Fig. 44. Observe that the amount of ink necessary
+to express this detail has made the cornice darker than the rest
+of the drawing, and yet this is quite the reverse of the value
+which it would have in the actual building, see "B." To obtain
+the true value the different mouldings which make up the cornice
+should be merely suggested. Where it is not a question of local
+color, however, this matter of elimination is largely subject to
+the exigencies of reproduction; the more precisely and intimately
+one attempts to render detail, the smaller the scale of the technique
+requires to be, and the greater the difficulty. Consequently, the more
+the reduction which the drawing is likely to undergo in printing,
+the more one will be obliged to disregard the finer details. These
+finer details need not, however, be absolutely ignored. Notice, for
+instance, the clever suggestion of the sculpture in the admirable
+drawing by Mr. F. E. Wallis, Fig. 45. The conventional drawing
+of the facade, Fig. 46, is a fine illustration of the decorative
+effect of color obtainable by emphasizing the organic lines of
+the design.
+
+[Illustration: FIG. 45 FRANK E. WALLIS]
+
+[Side note: _Foliage and Figures_]
+
+The elements in a perspective drawing which present most difficulties
+to the architectural draughtsman are foliage and figures. These
+are, however, most important accessories, and must be cleverly
+handled. It is difficult to say which is the harder to draw, a tree
+or a human figure; and if the student has not sketched much from
+Nature either will prove a stumbling-block. Presuming, therefore,
+that he has already filled a few sketch-books, he had better resort
+to these, or to his photograph album, when he needs figures for
+his perspective. Designing figures and trees out of one's inner
+consciousness is slow work and not very profitable; and if the
+figure draughtsman may employ models, the architect may be permitted
+to use photographs.
+
+[Illustration: FIG. 46 HARRY ALLAN JACOBS]
+
+Unhappily for the beginner, no two illustrators consent to render
+foliage, or anything else for that matter, in quite the same way,
+and so I cannot present any authoritative formula for doing so.
+This subject has been treated, however, in a previous chapter, and
+nothing need be added here except to call attention to an employment
+of foliage peculiar to architectural drawings. This is the broad
+suggestive rendering of dark leafage at the sides of a building,
+to give it relief. The example shown in Fig. 47 is from one of
+Mr. Gregg's drawings.
+
+[Illustration: FIG. 47 D. A. GREGG]
+
+The rendering of the human figure need not be dealt with under
+this head, as figures in an architectural subject are of necessity
+relatively small, and therefore have to be rendered very broadly.
+Careful drawing is none the less essential, however, if their presence
+is to be justified; and badly drawn figures furnish a tempting
+target for the critic of architectural pictures. Certainly, it
+is only too evident that the people usually seen in such pictures
+are utterly incapable of taking the slightest interest whatever in
+architecture, or in anything else; and not infrequently they seem
+to be even more immovable objects than the buildings themselves,
+so fixed and inflexible are they. Such figures as these only detract
+from the interest of the drawing, instead of adding to it, and the
+draughtsman who has no special aptitude is wise in either omitting
+them altogether, or in using very few, and is perhaps still wiser
+if he entrusts the drawing of these to one of his associates more
+accomplished in this special direction.
+
+The first thing to decide in the matter of figures is their arrangement
+and grouping, and when this has been determined they should be
+sketched in lightly in pencil. In this connection a few words by
+way of suggestion may be found useful. Be careful to avoid anything
+like an equal spacing of the figures. Group the people interestingly.
+I have seen as many as thirty individuals in a drawing, no two of
+whom seemed to be acquainted,--a very unhappy condition of affairs
+even from a purely pictorial point of view. Do not over-emphasize the
+base of a building by stringing all the figures along the sidewalks.
+The lines of the curbs would thus confine and frame them in
+unpleasantly. Break the continuity of the street lines with figures
+or carriages in the roadway, as in Fig. 55. After the figures have
+been satisfactorily arranged, they ought to be carefully drawn as
+to outline. In doing so, take pains to vary the postures, giving
+them action, and avoiding the stiff wooden, fashion-plate type of
+person so common to architectural drawings. When the time comes
+to render these accessories with the pen (and this ought, by the
+way, to be the last thing done) do not lose the freedom and breadth
+of the drawing by dwelling too long on them. Rise superior to such
+details as the patterns of neckties.
+
+We will now consider the application to architectural subjects
+of the remarks on technique and color contained in the previous
+chapters.
+
+[Side note: _Architectural Textures_]
+
+To learn to render the different textures of the materials used in
+architecture, the student would do well to examine and study the
+methods of prominent illustrators, and then proceed to forget them,
+developing meanwhile a method of his own. It will be instructive for
+him, however, as showing the opportunity for play of individuality,
+to notice how very different, for instance, is Mr. Gregg's manner
+of rendering brick work to that of Mr. Railton. Compare Figs. 48
+and 49. One is splendidly broad,--almost decorative,--the other
+intimate and picturesque. The work of both these men is eminently
+worthy of study. For the sophisticated simplicity and directness of
+his method and the almost severe conscientiousness of his drawing,
+no less than for his masterly knowledge of black and white, no safer
+guide could be commended to the young architectural pen-man for the
+study of principles than Mr. Gregg. Architectural illustration in
+America owes much to his influence and, indeed, he may be said to
+have furnished it with a grammar. Take his drawing of the English
+cottages, Fig. 50. It is a masterly piece of pen work. There is
+not a feeble or tentative stroke in the whole of it. The color
+is brilliant and the textures are expressed with wonderful skill.
+The student ought to carefully observe the rendering of the various
+roofs. Notice how the character of the thatch on the second cottage
+differs from that on the first, and how radically the method of
+rendering of either varies from that used on the shingle roof at
+the end of the picture. Compare also the two gable chimneys with
+each other as well as with the old ruin seen over the tree-tops.
+Here is a drawing by an architectural draughtsman of an architectural
+_actuality_ and not of an artificial abstraction. This is a fairer
+ground on which to meet the illustrators of the picturesque.
+
+[Illustration: FIG. 48 D. A. GREGG]
+
+[Illustration: FIG. 49 HERBERT RAILTON]
+
+[Illustration: FIG. 50 D. A. GREGG]
+
+[Illustration: FIG. 51 WALTER M. CAMPBELL]
+
+[Illustration: FIG. 52 HERBERT RAILTON]
+
+[Illustration: FIG. 53 A. F. JACCACI]
+
+[Illustration: FIG. 54 C. F. BRAGDON]
+
+[Illustration: FIG. 55 HARVEY ELLIS]
+
+[Side note: _Examples_]
+
+Mr. Campbell's drawing, Fig. 51, is a very good example of the
+rendering of stone textures. The old masonry is capitally expressed
+by the short irregular line. The student is advised to select some
+portion of this, as well as of the preceding example to copy, using,
+no matter how small the drawings he may make, a pen not smaller
+than number 303. I know of no architectural illustrator who hits
+stonework off quite so cleverly as Mr. Goodhue. Notice, in his
+drawing of the masonry, in Fig. 8, how the stones are picked out
+and rendered individually in places and how this intimate treatment
+is confined to the top of the tower where it tells against the
+textures of the various roofs and how it is then merged in a broad
+gray tone which is carried to the street. Mr. Railton's sketches are
+full of clever suggestion for the architectural illustrator in the
+way of texture. Figs. 7 and 52 show his free rendering of masonry.
+The latter is an especially very good subject for study. Observe
+how well the texture tells in the high portion of the abutment by
+reason of the thick, broken lines. For a distant effect of stone
+texture, the drawing by Mr. Jaccaci, Fig. 53, is a fine example.
+In this the rendering is confined merely to the organic lines of
+the architecture, and yet the texture is capitally expressed by
+the quality of the stroke, which is loose and much broken. The
+general result is extremely crisp and pleasing. For broad rendering
+of brick textures, perhaps there is no one who shows such a masterly
+method as Mr. Gregg. As may be seen in his sketch of the blacksmith
+shop, Fig. 48, he employs an irregular dragging line with a great
+deal of feeling. The brick panel by Mr. Bragdon, Fig. 54, is a neat
+piece of work. There is excellent texture, too, in the picturesque
+drawing by Mr. Harvey Ellis, Fig. 55:--observe the rendering of
+the rough brick surface at the left side of the building. A more
+intimate treatment is that illustrated in the detail by Mr. C.
+E. Mallows, the English draughts man, Fig. 56. In this drawing,
+however, the edges of the building are unpleasantly hard, and are
+somewhat out of character with the quaint rendering of the surfaces.
+Mr. Goodhue uses a similar treatment, and, I think, rather more
+successfully. On the whole, the broader method, where the texture
+is carried out more uniformly, is more to be commended, at least
+for the study of the beginner. Some examples of shingle and slate
+textures are illustrated by Fig. 57. It is advisable to employ a
+larger pen for the shingle, so as to ensure the requisite coarseness
+of effect.
+
+[Illustration: FIG. 56 C. E. MALLOWS]
+
+[Illustration: FIG. 57 C. D. M.]
+
+[Illustration: FIG. 58 C. D. M.]
+
+[Side note: _An Architectural Problem_]
+
+To favorably illustrate an architectural subject it will be found
+generally expedient to give prominence to one particular elevation
+in the perspective, the other being permitted to vanish sharply. Fig.
+58 may be said to be a fairly typical problem for the architectural
+penman. The old building on the right, it must be understood, is
+not a mere accessory, but is an essential part of the picture. The
+matter of surroundings is the first we have to decide upon, and
+these ought always to be disposed with reference to the particular
+form of composition which the subject may suggest. Were we dealing
+with the foreground building alone there would be no difficulty
+in adjusting the oval or the diamond form of composition to it.*
+As it is, the difficulty lies in the long crested roof-line which
+takes the same oblique angle as the line of the street, and the
+influence of this line must be, as far as possible, counteracted.
+Now the heavy over-hang of the principal roof will naturally cast
+a shadow which will be an important line in the composition, so we
+arrange our accessories at the right of the picture in reference
+to this. Observe that the line of the eaves, if continued, would
+intersect the top of the gable chimney. The dwelling and the tree
+then form a focus for the converging lines of sidewalk and roof,
+thus qualifying the vertical effect of the building on the right.
+As the obliquity of the composition is still objectionable, we
+decide to introduce a foreground figure which will break up the
+line of the long sidewalk, and place it so that it will increase
+the influence of some contrary line, see Fig. 59. We find that by
+putting it a little to the right of the entrance and on a line
+with that of the left sidewalk, the picture is pleasingly balanced.
+
+[Footnote *: See footnote on page 62.]
+
+[Illustration: FIG. 59 C. D. M.]
+
+We are now ready to consider the disposition of the values. As I
+have said before, these are determined by the scheme of light and
+shade. For this reason any given subject may be variously treated.
+We do not necessarily seek the scheme which will make the most
+pictorial effect, however, but the one which will serve to set
+off the building to the best advantage. It is apparent that the
+most intelligible idea of the form of the structure will be given
+by shading one side; and, as the front is the more important and
+the more interesting elevation, on which we need sunlight to give
+expression to the composition, it is natural to shade the other,
+thus affording a foil for the bright effects on the front. This
+bright effect will be further enhanced if we assume that the local
+color of the roof is darker than that of the walls, so that we
+can give it a gray tone, which will also make the main building
+stand away from the other. If, however, we were to likewise assume
+that the roof of the other building were darker than its walls, we
+should be obliged to emphasize the objectionable roof line, and
+as, in any case, we want a dark effect lower down on the walls to
+give relief to our main building, we will assume that the local color
+of the older walls is darker than that of the new. The shadow of the
+main cornice we will make quite strong, emphasis being placed on
+the nearer corner, which is made almost black. This color is repeated
+in the windows, which, coming as they do in a group, are some of
+them more filled in than others, to avoid an effect of monotony.
+The strong note of the drawing is then given by the foreground
+figure.
+
+[Illustration: FIG. 60 C. D. M.]
+
+Another scheme for the treatment of this same subject is illustrated
+by Fig. 60. Here, by the introduction of the tree at the right of
+the picture, a triangular composition is adopted. Observe that the
+sidewalk and roof lines at the left side of the building radiate
+to the bottom and top of the tree respectively. The shadow of the
+tree helps to form the bottom line of the triangle. In this case
+the foreground figure is omitted, as it would have made the
+triangularity too obvious. In the color-scheme the tree is made the
+principal dark, and this dark is repeated in the cornice shadow,
+windows and figures as before. The gray tone of the old building
+qualifies the blackness of the tree, which would otherwise have made
+too strong a contrast at the edge of the picture, and so detracted
+from the interest of the main building.
+
+
+
+
+CHAPTER VII
+
+DECORATIVE DRAWING
+
+In all modern decorative illustration, and, indeed, in all departments
+of decorative design, the influences of two very different and distinct
+points of view are noticeable; the one demanding a realistic, the
+other a purely conventional art. The logic of the first is, that
+all good pictorial art is essentially decorative; that of the second,
+that the decorative subject must be designed in organic relation to
+the space which it is to occupy, and be so treated that the design
+will primarily fulfil a purely ornamental function. That is to say,
+whatever of dramatic or literary interest the decorative design
+may possess must be, as it were, woven into it, so that the general
+effect shall please as instantly, as directly, and as independently
+of the meaning, as the pattern of an Oriental rug. The former, it
+will be seen, is an imitative, the latter an inventive art. In
+the one, the elements of the subject are rendered with all possible
+naturalism; while, in the other, effects of atmosphere and the
+accidental play of light and shade are sacrificed to a conventional
+rendering, by which the design is kept flat upon the paper or wall.
+One represents the point of view of the painter and the pictorial
+illustrator; the other that of the designer and the architect. The
+second, or conventional idea, has now come to be widely accepted
+as a true basic principle in decorative art.
+
+[Side note: _The New Decorative School_]
+
+The idea is not by any means novel; it has always been the fundamental
+principle of Japanese art; but its genesis was not in Japan. The
+immediate inspiration of the new Decorative school, as far as it
+is concerned with the decoration of books, at least, was found in
+the art of Duerer, Holbein, and the German engravers of the sixteenth
+century,--interest in which period has been lately so stimulated
+by the Arts and Crafts movement in England. This movement, which
+may fairly be regarded as one of the most powerful influences in
+latter-day art, was begun with the aim of restoring those healthy
+conditions which obtained before the artist and the craftsman came
+to be two distinct and very much extranged workers. The activities
+of the movement were at first more directly concerned with the
+art of good book-making, which fructified in the famous Kelmscott
+Press (an institution which, while necessarily undemocratic, has
+exerted a tremendous influence on modern printing), and to-day
+there is scarcely any sphere of industrial art which has not been
+influenced by the Arts and Crafts impetus.
+
+[Side note: _Criticisms of the School_]
+
+This modern decorative renaissance has a root in sound art principles,
+which promises for it a vigorous vitality; and perhaps the only
+serious criticism which has been directed against it is, that it
+encourages archaic crudities of technique which ignore the high
+development of the reproductive processes of the present day; and,
+moreover, that its sympathies tend towards mediaeval life and feeling.
+While such a criticism might reasonably be suggested by the work of
+some of its individual adherents, it does not touch in the least
+the essential principles of the school. Art cannot be said to scout
+modernity because it refuses to adjust itself to the every caprice
+of Science. The architect rather despises the mechanically perfect
+brick (very much to the surprise of the manufacturer); and though
+the camera can record more than the pencil or the brush, yet the
+artist is not trying to see more than he ever did before. There
+are, too, many decorative illustrators who, while very distinctly
+confessing their indebtedness to old examples; are yet perfectly
+eclectic and individual, both in the choice and development of
+motive. Take, for example, the very modern subject of the cyclist
+by Mr. A. B. Frost, Fig. 61. There are no archaisms in it whatever.
+The drawing is as naturalistic and just as careful as if it were
+designed for a picture. The shadows, too, are cast, giving an effect
+of strong outdoor light; but the treatment, broad and beautifully
+simple so as to be reconcilable with the lettering which accompanied
+it, is well within conventional lines. That the character of the
+technical treatment is such as to place no tax on the mechanical
+inventiveness of the processman is not inexcusable archaeology.
+
+[Illustration: FIG. 61 A. B. FROST]
+
+A valuable attribute of this conventional art is, that it puts no
+bounds to the fancy of the designer. It is a figurative language
+in which he may get away from commonplace statement. What has always
+seemed to me a very logical employment of convention appears in the
+_Punch_ cartoons of Sir John Tenniel and Mr. Lindley Sambourne.
+Even in those cartoons which are devoid of physical caricature (and
+they are generally free from this), we see at a glance that it is
+the political and not the personal relations of the personae that
+are represented; whereas in the naturalistic cartoons of _Puck_,
+for example, one cannot resist the feeling that personalities are
+being roughly handled.
+
+[Side note: _Relation_]
+
+A chief principle in all decorative design and treatment is that of
+Relation. If the space to be ornamented be a book-page the design
+and treatment must be such as to harmonize with the printing. The
+type must be considered as an element in the design, and, as the
+effect of a page of type is broad and uniformly flat, the ornament
+must be made to count as broad and flat likewise. The same principle
+holds equally in mural decoration. There the design ought to be
+subordinate to the general effect of the architecture. The wall
+is not to be considered merely as a convenient place on which to
+plaster a picture, its structural purpose must be regarded, and
+this cannot be expressed if the design or treatment be purely
+pictorial--if vague perspective distances and strong foreground
+accents be used without symmetry or order, except that order which
+governs itself alone. In other words, the decoration must be organic.
+
+[Illustration: FIG. 62 ALFRED G. JONES]
+
+[Side note: _Classes of Decorative Design_]
+
+Decorative illustrations may be broadly classified under three
+heads as follows: First, those wherein the composition and the
+treatment are both conventional, as, for example, in the ex-libris
+by Mr. A. G. Jones, Fig. 62. Second, where the composition is
+naturalistic, and the treatment only is conventional, as in Mr.
+Frost's design. Third, where the composition is decorative but
+not conventional, and the treatment is semi-natural, as in the
+drawing by Mr. Walter Appleton Clark, Fig. 63. (The latter subject
+is of such a character as to lend itself without convention to a
+decorative effect; and, although the figure is modeled as in a
+pictorial illustration, the organic lines are so emphasized throughout
+as to preserve the decorative character, and the whole keeps its
+place on the page.) Under this third head would be included those
+subjects of a pictorial nature whose composition and values are
+such as to make them reconcilable to a decorative use by means
+of borders or very defined edges, as in the illustration by Mr.
+A. Campbell Cross, Fig. 64.
+
+[Illustration: FIG. 63 W. APPLETON CLARK]
+
+[Illustration: FIG. 64 A. CAMPBELL CROSS]
+
+[Side note: _The Decorative Outline_]
+
+Another essential characteristic of decorative drawing is the emphasized
+Outline. This may be heavy or delicate, according to the nature of
+the subject or individual taste. The designs by Mr. W. Nicholson
+and Mr. Selwyn Image, for instance, are drawn with a fatness of
+outline not to be obtained with anything but a brush; while the
+outlines of M. Boutet de Monvel, marked as they are, are evidently
+the work of a more than usually fine pen. In each case, however,
+everything is in keeping with the scale of the outline adopted,
+so that this always retains its proper emphasis. The decorative
+outline should never be broken, but should be kept firm, positive,
+and uniform. It may be heavy, and yet be rich and feeling, as may
+be seen in the Mucha design, Fig.65. Generally speaking, the line
+ought not to be made with a nervous stroke, but rather with a slow,
+deliberate drag. The natural wavering of the hand need occasion no
+anxiety, and, indeed, it is often more helpful to the line than
+otherwise.
+
+[Illustration: FIG. 65 MUCHA]
+
+Perhaps there is no more difficult thing to do well than to model
+the figure while still preserving the decorative outline. Several
+examples of the skilful accomplishment of this problem are illustrated
+here. Observe, for instance, how in the quaint Duerer-like design
+by Mr. Howard Pyle, Fig. 66, the edges of the drapery-folds are
+emphasized in the shadow by keeping them white, and see how wonderfully
+effective the result is. The same device is also to be noticed in
+the book-plate design by Mr. A. G. Jones, Fig. 62, as well as in
+the more conventional treatment of the black figure in the Bradley
+poster, Fig. 67.
+
+[Illustration: FIG. 66 HOWARD PYLE]
+
+[Illustration: FIG. 67 WILL H. BRADLEY
+
+[Side note: _Color_]
+
+In the rendering of decorative subjects, the Color should be, as
+much as possible, designed. Whereas a poster, which is made with
+a view to its entire effect being grasped at once, may be rendered
+in flat masses of color, the head- or tail-piece for a decorative
+book-page should be worked out in more detail, and the design should
+be finer and more varied in color. The more the color is attained
+by means of pattern, instead of by mere irresponsible lines, the
+more decorative is the result. Observe the color-making by pattern
+in the book-plate by Mr. P. J. Billinghurst, Fig. 68. A great variety
+of textures may be obtained by means of varied patterns without
+affecting the breadth of the color-scheme. This may be noticed
+in the design last mentioned, in which the textures are extremely
+well rendered, as well as in the poster design by Mr. Bradley for
+the _Chap-Book_, just referred to.
+
+[Illustration: FIG. 68 P. J. BILLINGHURST]
+
+[Illustration: FIG. 69 "BEGGARSTAFF BROTHERS"]
+
+The color-scheme ought to be simple and broad. No set rules can
+be laid down to govern its disposition, which must always have
+reference to the whole design. The importance of employing such a
+broad and simple scheme in decorative drawing needs no better argument
+than the effective poster design by the "Beggarstaff Brothers,"
+Fig. 69, and that by Mr. Penfield, Fig.70. Of course the more
+conventional the design the less regard need be paid to anything
+like a logical disposition of color. A figure may be set against
+a black landscape with white trees without fear of criticism from
+reasonable people, provided it looks effective there.
+
+[Illustration: FIG. 70 EDWARD PENFIELD]
+
+[Side note: _Modern Decorative Draughtsmen_]
+
+A word or two, in conclusion, concerning some of the modern decorative
+draughtsmen. Of those who work in the sixteenth century manner,
+Mr. Howard Pyle is unquestionably the superior technician. His
+line, masterly in its sureness, is rich and charged with feeling.
+Mr. H. Ospovat, one of the younger group of English decorators,
+has also a charming technique, rather freer than that of Mr. Pyle,
+and yet reminding one of it. Mr. Louis Rhead is another of the same
+school, whose designs are deserving of study. The example of his
+work shown in Fig. 71--excellent both in color and in drawing--is
+one of his earlier designs. Mr. J. W. Simpson, in the book-plate,
+Fig. 72, shows the broadest possible decorative method; a method
+which, while too broad for anything but a poster or a book-label,
+is just what the student should aim at being able to attain.
+
+[Illustration: FIG. 71 LOUIS J. RHEAD]
+
+[Illustration: FIG. 72 J. W. SIMPSON]
+
+Some of those decorators whose work shows a Japanese influence have
+a most exquisite method. Of these, that remarkable draughtsman, M.
+Boutet de Monvel, easily takes the first place. Those who have had
+the good fortune to see his original drawings will not easily forget
+the delicate beauty of outline nor the wonderfully tender coloring
+which distinguishes them. Mr. Maxfield Parrish is another masterly
+decorator who is noted for his free use of Japanese precedent as
+well as for the resourcefulness of his technique. The drawings
+of Mr. Henry McCarter, too, executed as they are in pure line, are
+especially valuable to the student of the pen. In respect both of
+the design and treatment of decorative subjects, the work of the
+late Aubrey Beardsley is more individual than that of any other
+modern draughtsman. That of our own clever and eccentric Bradley,
+while very clearly confessing its obligations, has yet a distinctive
+character of its own. The work of the two latter draughts men,
+however, is not to be recommended to the unsophisticated beginner
+for imitation, for it is likely to be more harmful than otherwise.
+Nevertheless, by steering clear of the grotesque conventions with
+which they treat the human figure, by carefully avoiding the intense
+blacks in which a great deal of their work abounds, and by generally
+maintaining a healthy condition of mind, much is to be learned
+from a study of their peculiar methods.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Pen Drawing, by Charles Maginnis
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