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diff --git a/old/69012-h/69012-h.htm b/old/69012-h/69012-h.htm deleted file mode 100644 index bdb764b..0000000 --- a/old/69012-h/69012-h.htm +++ /dev/null @@ -1,3110 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Drawing in Charcoal and Crayon, by Frank Fowler. - </title> - <link rel="coverpage" href="images/i_cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1 -{ - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; -} - - h2,h3 { - text-align: center; - clear: both; - } - -.half-title { - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; - } - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -/* Paragraphs */ - -p {text-indent: 1em; - margin-top: .75em; - text-align: justify; - margin-bottom: .75em; - } - -.spaced {margin-top: 3em; margin-bottom: 3em;} - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.small {width: 25%; margin-left: 37.5%; margin-right: 37.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } - - -table { - margin-left: auto; - margin-right: auto; - } - -.standard { font-size: .9em; border-collapse: collapse; } -td {padding-left: 5px;} - -.tdc {text-align: center;} -.tdrb {text-align: right; vertical-align: bottom;} -.tdh {text-align: justify; padding-left: 1.75em; - text-indent: -1.75em;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - -.center {text-align: center;} - -.smcap {font-variant: small-caps;} - -.small {font-size: small;} - - -/* Images */ - -img {border: none; max-width: 100%} -.caption {font-size: smaller; font-weight: bold;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -/* Transcriber's notes */ - -.transnote { - background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; - } - -/* Illustration classes */ -.illowp100 {width: 100%;} - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Drawing in Charcoal and Crayon, by Frank Fowler</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Drawing in Charcoal and Crayon</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>For the use of Students and Schools</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Frank Fowler</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: September 18, 2022 [eBook #69012]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK DRAWING IN CHARCOAL AND CRAYON ***</div> - -<div class="transnote"> -<h3>Transcriber’s Notes</h3> - -<p>Obvious typographical errors have been silently corrected. Variations -in hyphenation have been standardised but all other spelling and -punctuation remains unchanged.</p> - -<p>The volume of illustrations referred to in the book is not available.</p> - -</div> -<hr class="chap" /> - - -<h1> -DRAWING IN<br /> - -CHARCOAL AND CRAYON<br /> - -<small>FOR THE USE OF</small><br /> - -STUDENTS AND SCHOOLS</h1> - - -<p class="center"><small>BY</small><br /> - -FRANK FOWLER<br /> - -<small>AUTHOR OF “OIL PAINTING,” “A HAND-BOOK,”<br /> -ETC., ETC.</small></p> - - -<p class="center">CASSELL PUBLISHING COMPANY<br /> -<span class="smcap"><small>104 & 106 Fourth Avenue, New York</small></span> -</p> - - -<p class="center spaced"> -<span class="smcap">Copyright</span><br /> -1885<br /> -<span class="smcap">By</span> O. M. DUNHAM<br /> -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CONTENTS">CONTENTS.</h2> -</div> - - -<table class="standard" summary=""> -<tr> -<td class="tdc" colspan="2">PART FIRST.</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_I">CHAPTER I.</a></td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Charcoal and Crayon Drawing.</span></td> -<td class="tdrb">1</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_II">CHAPTER II.</a></td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Outfit Necessary for Charcoal and -Crayon Drawing.</span></td> -<td class="tdrb">4</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_III">CHAPTER III.</a></td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Elementary Practice.</span></td> -<td class="tdrb">25</td> -</tr> -<tr> -<td class="tdc" colspan="2">PART SECOND.</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_IV">CHAPTER IV</a>.</td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Manner of Working.</span></td> -<td class="tdrb">36</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_V">CHAPTER V</a>.</td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Measurement, Actual and Comparative.</span></td> -<td class="tdrb">50</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_VI">CHAPTER VI</a>.</td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Crayon Portraits; Hair; Drapery; -Backgrounds.</span></td> -<td class="tdrb">58</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#CHAPTER_VII">CHAPTER VII</a>.</td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Charcoal and Crayon Drawing with the -Point; Landscapes; Proportions, etc.</span></td> -<td class="tdrb">74</td> -</tr> -<tr> -<td class="tdc" colspan="2"><a href="#APPENDIX">APPENDIX</a>.</td> -</tr> -<tr> -<td class="tdh"><span class="smcap">Explanation of the Plates.</span></td> -<td class="tdrb">82</td> -</tr> -</table> - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="PREFATORY_NOTE">PREFATORY NOTE.</h2> -</div> - - -<p>This little volume, with accompanying -plates, is designed to prepare students for -the interesting study of drawing from life. -The general demand for a work of this -kind is the occasion of its appearance.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> - -<p class="half-title">DRAWING IN CHARCOAL AND -CRAYON.</p> - - -<hr class="small" /> - - -<h2 class="nobreak" id="CHAPTER_I">CHAPTER I.<br /> - - -<small>CHARCOAL AND CRAYON DRAWING.</small></h2> -</div> - - -<p>In learning to draw, charcoal is the -most available material that can be -used, as, with it, large and striking effects -are so easily and quickly produced, while -it is also adapted to the most careful -work, and may be carried on to any degree -of finish. Another quality which -renders charcoal especially of value as a -medium for beginners in drawing is that -it is so easily erased.</p> - -<p>Charcoal is used for drawing from the -cast and from the human figure in all the -large art schools of Europe as well as in<span class="pagenum" id="Page_2">[Pg 2]</span> -our own country, and is especially adapted -to sketching from nature, as by its use -most charming landscape and marine -effects may be obtained.</p> - - -<h3>TWO DIFFERENT METHODS.</h3> - -<p>There are two methods of working in -charcoal—one, in which the charcoal -point is used alone, the shading being -put in with lines which are not blended, -no stump, or rubbing together of any -kind being allowed.</p> - -<p>This style of drawing is principally -used in illustrating, as it is more easily -reproduced than those in which the -stump is used. Full details of working -in this manner will be given later.</p> - -<p>The other method is that in which the -charcoal is blended with a stump, no -lines being visible in the modeling.</p> - -<p>This manner of drawing is that most -generally employed in art schools, and is -susceptible of higher finish than the -other.</p> - -<p>It is also in this way that charcoal and<span class="pagenum" id="Page_3">[Pg 3]</span> -crayon portraits are managed, such drawings -being generally finished with crayon, -and the two materials worked together. -This subject also will be treated at length -further on.</p> - -<p>As we are writing for the benefit of -those who have no knowledge whatever -of charcoal drawing, we will begin at the -very beginning, and shall endeavor to -omit nothing that can be of practical use -to the student.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_4">[Pg 4]</span></p> - -<h2 class="nobreak" id="CHAPTER_II">CHAPTER II.</h2> -</div> - -<h3>OUTFIT NECESSARY FOR CHARCOAL AND -CRAYON DRAWING.</h3> - - -<p>The first thing to be provided is an -easel, which is used now entirely for -drawing, it being considered much better -practice to work in an upright position -than in the old-fashioned way of leaning -over a table.</p> - -<p>This easel may be of the simplest character, -and is made of three straight bars -of pine wood jointed so as to stand upright, -with holes perforated through two -of the bars about two or three inches -apart. Through these holes pegs are -stuck upon which to hold a narrow wooden -tray. Upon this the stretcher, drawing-board, -or portfolio is placed.</p> - - -<h3>DRAWING-BOARD.</h3> - -<p>This board is made from any light wood,<span class="pagenum" id="Page_5">[Pg 5]</span> -and should measure about 20×24 inches -square, and be as thin as it can be made -without warping.</p> - -<div class="figcenter illowp100" id="i011" style="max-width: 61.4375em;"> - <img class="w100" src="images/i011.jpg" alt="" /> - <div class="caption">THE EASEL.</div> -</div> - -<p><span class="pagenum" id="Page_6">[Pg 6]</span></p> - -<p>In place of the drawing-board, many -artists prefer to use a large pasteboard -portfolio made with covers stiff enough to -serve as a foundation in drawing, while -its convenience as a receptacle for the reserve -sheets of paper and finished work -is obvious.</p> - -<p>The portfolio which is now most in -use, is generally covered with smooth -mottled paper outside, and should be large -enough to hold without folding the regular -sheets of charcoal paper; 20×24 -inches will be sufficient for this.</p> - - -<h3>THE PAPER.</h3> - -<p>There are a great many varieties of -charcoal and crayon paper, some smooth, -some rough. For ordinary purposes, such -as making studies and life drawings, the -rough French charcoal paper is the best. -That used in the French schools is of two -kinds; the roughest is called the “Michelet” -paper, and the other is known as -“Lalanne.” They are, however, very similar -in texture, and either one will serve<span class="pagenum" id="Page_7">[Pg 7]</span> -the purpose. These come in sheets of -uniform sizes, costing from three to six -cents each.</p> - -<p>For more careful drawings, such as -finely finished portraits in charcoal and -crayon, a more expensive paper is to be -preferred. This comes in much larger -sheets and should be stretched before -using.</p> - -<p>Whatman’s rough crayon paper is -among the best for this purpose. In all -cases, both for studies and finished portraits, -the white paper, generally a -yellow-white, being preferable to blue-white.</p> - - -<h3>HOW TO STRETCH PAPER.</h3> - -<p>Paper is stretched and mounted for this -work in the following manner: A simple -frame of wood is made an inch or two -wide and three-quarters of an inch or -more in thickness, according to the size -of the drawing to be made. This is -covered with cotton cloth stretched as -tight as possible and tacked all along the<span class="pagenum" id="Page_8">[Pg 8]</span> -four sides. The cloth is turned over and -tacked on the outside of the stretcher, -not on the face of it, which should present -a perfectly smooth, flat surface.</p> - -<p>The paper having been cut the proper -size, that is, large enough to turn over -nearly an inch all around, is dampened -on the wrong side. To do this take a -clean cloth dipped in cold water, lay the -paper flat upon a table and pass the cloth -rapidly all over the surface, wetting it -evenly.</p> - -<p>Have ready some good flour paste and -put this all around the edge of the paper -for about an inch. Now begin to spread -the paper while still damp upon the cloth-covered -stretcher, starting at the bottom -and working upward, carefully smoothing -out with the hands all creases or air -bubbles. Turn over and press down the -edges of the paper which have been -covered with the paste, holding them till -they stick to the cloth, and cut a V-shaped -piece from each corner of the paper, so -that it will fold over neatly.</p> - -<p><span class="pagenum" id="Page_9">[Pg 9]</span></p> - -<p>This takes time and experience to do -well, but is worth the trouble, for crayon -portraits especially.</p> - -<p>For ordinary studies and drawings, the -Michelet or Lalanne paper fastened to -the portfolio or drawing-board with thumb -tacks is quite sufficient.</p> - - -<h3>CHARCOAL.</h3> - -<p>There are many different kinds of charcoal -offered by dealers. All that is necessary, -however, is a medium quality of imported -charcoal, such as the Fusains Venitians, -costing 30 cts. a box of fifty sticks. -Finer and more expensive kinds are the -Conte and Rouget charcoal.</p> - - -<h3>CRAYON.</h3> - -<p>Among the various manufactures of -crayons that most generally preferred by -artists is the French crayon Conté. This -comes in several numbers, and is to be -had in two forms. First, the wooden -pencils, which are very convenient, and -again, the short sticks of black crayon,<span class="pagenum" id="Page_10">[Pg 10]</span> -which are sold by the dozen. These are -much cheaper than the pencils, and are -fastened in a holder while using. The -Conté crayon No. 2 is sufficient for all -purposes, therefore it is unnecessary to -have the several different numbers so often -recommended.</p> - -<p>Another kind of crayon is also used by -some artists in addition to the stick crayon. -This is a fine, black, powdered crayon, -called the “sauce crayon,” and comes put -up in little tin cases. It is very useful -when large masses of dark are necessary, -and is rubbed on with a stump, while the -stick crayons and charcoal sticks are sharpened -to a point before using.</p> - -<p>Stumps are made variously of leather, -chamois-skin and paper. The most useful -in charcoal and crayon drawing are the -paper stumps, which will be found to -answer every purpose. The paper stumps -come in two forms; first, the gray, rough -paper stumps with points on both ends; -these are made in various sizes, from the -smallest, which measures only about one<span class="pagenum" id="Page_11">[Pg 11]</span> fourth -of an inch in diameter, up to those -measuring an inch and more.</p> - -<div class="figcenter illowp100" id="i017" style="max-width: 61.4375em;"> - <img class="w100" src="images/i017.jpg" alt="" /> - <div class="caption">STUMPS.</div> -</div> - -<p><span class="pagenum" id="Page_12">[Pg 12]</span></p> - -<p>The other form of paper stump, known -as the tortillon, is made of strips of paper -rolled to a point like spills, and sold in -bundles of a dozen for a few cents. Some -artists prefer these, but for general purposes, -the double-pointed paper stump is -the best. About six of these are necessary: -two large, two medium, and two -very small ones; for it is always better to -have a clean duplicate of each size.</p> - - -<h3>BREAD.</h3> - -<p>A supply of the soft part of home-made, -if possible, or good ordinary baker’s bread, -one day old, is indispensable. This should -not have any butter, or even milk, in its -composition, otherwise it will grease the -paper, which naturally should be avoided, -as grease spots are most difficult to overcome.</p> - -<p>The bread is used for rubbing out charcoal -or crayon, erasing mistakes, and for -taking out lights from a mass of dark. -The soft crumb is rolled between the -fingers until a point is formed, and then<span class="pagenum" id="Page_13">[Pg 13]</span> -applied to the paper. It is surprising -what brilliant effects can be obtained by -means of this simple process; its full -resources can only be understood by practice.</p> - - -<h3>THE RUBBER STUMP.</h3> - -<p>This consists of a long, narrow bar of -fine artist’s rubber, ground to a point on -each end. It is used for rubbing out small -spots in places where the bread can not -be so easily managed, and where a firmer -point is needed.</p> - -<p>It is also useful in modeling fine details -of the features, and in places where, the -surface of the paper being worn by rubbing, -the bread will not act satisfactorily.</p> - -<p>These cost from five to ten cents each, -according to size.</p> - - -<h3>RAGS.</h3> - -<p>A fine, soft cotton rag is one of the -most important adjuncts to our outfit, as -it is impossible to work without one. The -rag is used sometimes to dust off charcoal<span class="pagenum" id="Page_14">[Pg 14]</span> -from the paper, and if the charcoal has -not been very heavily used, the rag is often -sufficient, neither bread nor rubber being -necessary.</p> - -<p>A rag is also useful when too much -charcoal or crayon has been rubbed on a -tone.</p> - -<p>Let us say, for instance, a shadow appears -too black. A soft rag is passed -gently over the surface, taking care not -to rub too hard, and the superfluous charcoal -or crayon will come off, leaving a -beautiful soft tone of much lighter quality -behind.</p> - -<p>This tone can of course be darkened -somewhat, or worked over in any manner -desired.</p> - -<p>The rag is often used in sketching -landscapes, to spread a smooth, even tint -for the sky. Many artists prefer it to a -stump for this purpose. A fine, soft cotton -rag is rolled in a long, smooth roll, -and applied lightly to the surface of the -paper.</p> - -<p>The charcoal may be powdered in such<span class="pagenum" id="Page_15">[Pg 15]</span> -a case if preferred, or for crayon drawing -the “sauce crayon” is used.</p> - - -<h3>TO “FIX” DRAWINGS.</h3> - -<p>Charcoal will of course rub off, and -drawings become smeared and defaced if -left unprotected. For that reason it is -customary to “fix” the drawing by the application -of some preparation to its surface.</p> - -<p>This should be done with much care, -and only the very best materials should -be used for this purpose. Amateurs and -students sometimes endeavor to manufacture -fixative for themselves out of -shellac and alcohol. This may succeed -in fixing the drawing, but will be very -liable to turn the paper yellow in time. -Artists, therefore, prefer to buy an imported -fixative, which is made by a reliable -manufacturer. That most generally -in use, and which we have found by experience -to be in every way satisfactory, -is the <i>Fixatif Rouget</i>, which comes in -good-sized glass bottles, costing at retail -fifty cents each.</p> - -<p><span class="pagenum" id="Page_16">[Pg 16]</span></p> - -<p>There are two methods of fixing drawings. -First, that in which the fixative is -applied to the back of the drawing. This -is preferred by some artists; and the -French students, who are only anxious -to preserve their drawings, without regard -to the changing of color in the paper, -use milk, with which they wash over the -back of the drawing.</p> - -<p>In cases where a large design or cartoon -is made in charcoal for temporary -use, this way will answer perfectly, -being very much less expensive than the -other. The fixative Meusnier, which is -imported by all dealers, is also applied to -the back of the paper with a large brush.</p> - -<p>The other method, and that generally -preferred, is to apply the fixative to the -front or surface of the drawing.</p> - -<p>This process should of course be managed -with care, as too much fixative will -cause the charcoal to run down in streaks, -while too little will cause it to come off -in spots.</p> - -<p>The fixative for applying to the surface<span class="pagenum" id="Page_17">[Pg 17]</span> -of the drawing is sprayed through a glass -atomizer by blowing through one tube -while the other rests in the bottle containing -the liquid.</p> - -<p>These atomizers are now sold by all art -dealers, and may be had from the simplest -and most inexpensive kind up to those -represented by quite a costly apparatus. -The cheapest consist of two small tubes -of glass, pointed at one end and straight -at the other. These are connected by -two bands of metal, which in turn are -fastened together by a small hinge or -pivot.</p> - -<p>This is so arranged that the two tubes -of glass meet at a right angle, the small -pointed ends coming in contact, but so as -to leave both orifices open.</p> - -<p>One end, as already mentioned, is now -placed in the fixative, while through the -other the breath is blown. This causes -the liquid to mount in the lower tube and -dissolve in a cloud of spray which is -so light as not to dislodge the delicate -particles of the charcoal and yet will<span class="pagenum" id="Page_18">[Pg 18]</span> -attach them firmly to the paper, so that -ordinary rubbing will not efface the drawing.</p> - -<p>Great care should be taken in blowing -through an atomizer to make the breath as -steady as possible, avoiding short, unequal -puffs. The atomizer must not be held too -near to allow the particles to vaporize -sufficiently, or else the fixative will run -down in streams and ruin the drawing. -Again, if held too far off, it will vaporize -too much, and will fail to fix the charcoal -at all.</p> - -<p>The more expensive vaporizers, while -conducted on the same principle, are supplied -with air from one or sometimes two -rubber globes or balls, which have the -advantage of transmitting the air in a -regular stream, and one is thus saved the -fatigue of blowing with the mouth, -which, in case of a large drawing, becomes -very tiresome.</p> - -<p>These atomizers are generally made -with metal tubes, which will become -clogged and useless unless washed out after<span class="pagenum" id="Page_19">[Pg 19]</span> -using each time, with warm water. The -simple glass atomizers must also be kept -clean in this way, for they are very easily -broken if a pin is used to clean the -openings, and the slightest break at the -joints renders them useless.</p> - - -<h3>OUTFIT FOR SKETCHING.</h3> - -<p>Charcoal is used by artists for sketching -out of doors in preference to any -other material, as by its means such quick -results are obtained and large effects produced -with comparative ease.</p> - -<p>As one never knows how long a tramp -will be necessary before the proper subject -or view appears, it is well to make every -thing as compact as possible.</p> - -<p>A small sketching easel which can be -reduced to a thin bundle of sticks is considered -indispensable by some, but as this -is rather awkward to carry, most artists -prefer a block.</p> - - -<h3>THE BLOCK, OR PAD.</h3> - -<p>This consists of a number of sheets of<span class="pagenum" id="Page_20">[Pg 20]</span> -charcoal paper, cut exactly the same size, -laid together and pressed so as to greatly -reduce the bulk of the paper in its ordinary -shape. These form a block or table -of sufficient substance and firmness to be -held comfortably upon the knees while -sketching.</p> - -<p>The upper leaf is used for the drawing, -and is then loosened with a penknife -passed around the edges, which are held -together with a band of paper. This leaf -is then easily detached from the block, -and being fixed is laid aside while another -drawing is commenced on the clean sheet -exposed on the top of the block.</p> - -<p>These blocks can be bought already -prepared at any good art dealers at reasonable -prices, which vary according to -the size and quality of the paper.</p> - -<p>A block made of ordinary French charcoal -paper measuring 4½×6 inches costs -at retail, 25 cents. A small block like -this is only good for pocket sketches and -notes. A more useful size is 6×9, which -may be obtained for 35 cents.</p> - -<p><span class="pagenum" id="Page_21">[Pg 21]</span></p> - -<p>A still larger one, measuring 10×14, -can be procured for 70 cents. Any thing -beyond this must be made to order, and -will in that case be more expensive in proportion.</p> - -<p>A small camp stool is necessary to the -sketching outfit, and this should be made -as light as possible. These are made -in various shapes, so as to fold up as -tightly as possible, and are provided by -all dealers at from fifty cents up.</p> - -<p>Some are even to be found combined -with the sketching easel. These are very -convenient, being made in so compact a -form as to occupy very little more space -than either an easel or camp stool separately.</p> - -<p>Such an apparatus costs $5.50 at retail. -The small, light folding easel for sketching, -which is only 4½ feet high, costs -$2.50, while a stool which stands upon -three legs when open and folds into the -shape of a thick cane can be bought for -$1.00.</p> - -<p><span class="pagenum" id="Page_22">[Pg 22]</span></p> - - -<h3>THE UMBRELLA.</h3> - -<p>A sketch can not be truthful to nature -and carefully studied, with the sun shining -in one’s eyes or upon the paper; it is -therefore well to be provided with an -umbrella.</p> - -<p>The sketching umbrella is generally -of creamy white or very light gray cotton. -It is so constructed as to be separated -from the long stick upon which it is arranged -when in use, this stick itself -being divided into two or more parts, according -to its length. These are arranged -to fit into each other firmly, the -lower end terminating in a long, sharp iron -point which is to be planted in the ground.</p> - -<p>The umbrella itself is furnished with a -rather short handle, and is attached to -the long staff by a movable screw joint -which permits of its being arranged at any -angle necessary to protect the sketcher -from the sun.</p> - -<p>The whole outfit complete with a waterproof -gingham umbrella costs $8.00.</p> - -<p><span class="pagenum" id="Page_23">[Pg 23]</span></p> - -<p>The long folding stick is sold separately. -This is 6 ft. high with an adjustable -joint to which any ordinary umbrella -can be fastened. These cost about $3.00.</p> - -<p>A long and narrow tin box with compartments -completes the outfit. This -holds the charcoal, crayon, stumps, bread, -rag and rubber. The charcoal and crayon -must always be kept shut up in their -separate compartments, or failing that, in -respective boxes, as, if allowed to knock -around loosely in the box, they will soil -the stumps, rubber and rags.</p> - -<p>The paper generally used in sketching -blocks is the ordinary grade of French charcoal -paper with a rough surface already -mentioned. This paper comes in a variety -of tints, the most popular being the cream-white -and the gray. The white paper is -generally preferred for serious studies involving -careful drawing and correctness of -value.</p> - -<p>Some artists, however, prefer to use -gray or light brown paper in sketching, -as if one is skillful a very effective result<span class="pagenum" id="Page_24">[Pg 24]</span> -may be obtained with little labor by -using the local tone of the paper for the -half tints, quickly rubbing in the shadow -with charcoal or crayon, both being sometimes -used.</p> - -<p>The high lights are then cleverly touched -in with white chalk or pastel. Chinese -white water-color paint is sometimes substituted -for the chalk in putting in such -lights. It has the advantage of being -more permanent in one way as the chalk -rubs off, but in the course of time this -white paint so used has a tendency to turn -yellow, especially if the sketch is shut -up in a book or kept from the air.</p> - -<p>On the other hand, the white chalk will -turn yellow if fixed, so that the high lights -must not be put in the sketch until it is -all finished and fixed, which is of course -a disadvantage to the artist who wishes -to study the relations of his tones as he -proceeds. This method will be explained -at length later on.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_25">[Pg 25]</span></p> - -<h2 class="nobreak" id="CHAPTER_III">CHAPTER III.<br /> - - -<small>ELEMENTARY PRACTICE.</small></h2> -</div> - -<p>To those who have never had any experience -whatever in drawing, it is best -to begin with straight lines. This is -especially necessary in the case of children, -who must first be taught to control -the hand before proceeding further.</p> - -<p>The next step is to draw curved lines -representing half of a circle.</p> - -<p>From this proceed to draw angles, -circles, squares, and other such simple -forms in outline, until the muscles of the -hand have learned to obey the will.</p> - -<p>The system we wish to teach is first to -begin in this way, then to advance gradually -by copying some simple drawings, -executed in the modern method, until -the use of charcoal and crayon is thoroughly -understood.</p> - -<p><span class="pagenum" id="Page_26">[Pg 26]</span></p> - -<p>These drawings should be progressive, -commencing with the features in different -positions, and leading gradually to the -full head, feet, hands, torso, etc., until the -full length figure is reached.</p> - -<p>By this time sufficient proficiency will -have been attained to enable the student -to put aside copying and proceed to -drawing from the cast, when the same -progressive studies should be observed -until a sufficiently thorough foundation -in drawing is acquired to warrant the -final step of drawing from life, which -is the most difficult though the most interesting -of all.</p> - -<p>In view of these necessities, a series -of studies in charcoal and crayon have -been prepared to accompany this volume. -These should be carefully copied, according -to the directions given.</p> - - -<h3>ARRANGEMENT OF LIGHT.</h3> - -<p>Before beginning to draw, whether -from copies, from the cast, or from life,<span class="pagenum" id="Page_27">[Pg 27]</span> -it is most important that the room be -properly lighted.</p> - -<p>If possible a north light should be -selected, although that is not absolutely -necessary, it is, however, most generally -preferred by artists, as the light -is more steady, and less influenced by the -direct rays of the sun. There should be -no cross light, the light coming from one -direction only; therefore, if there are -several windows on different sides of a -room, all should be darkened while working -except those on one side.</p> - -<p>This light should so be arranged as to -come from above rather than from below, -and if the window is a long one, curtain -off the lower part, so that the light begins -about six feet from the floor. If more -than one person is working in the same -room, several windows on the same side -are admissible. If, however, a studio -were being built expressly for the purpose, -the ideal light would be one large, high -side window, extending from six to ten -feet along the wall, beginning at the floor<span class="pagenum" id="Page_28">[Pg 28]</span> -and reaching to the ceiling, where it is -joined by a skylight, which is arranged -with an adjustable curtain, so that it may -only be uncovered when needed. In the -same way the lower half of the window -should be curtained off up to a height of -six feet for ordinary purposes. The whole -length of the window is sometimes useful -in simulating an out-of-door effect of -light.</p> - -<p>Some famous painters have had studios -built entirely of glass, so that they could -have all the advantages of working in the -open air without the exposure. Adjustable -curtains would turn the glass-house -into an ordinary in-door studio, with conventional -light. Few of us are so fortunate -as to command these conveniences, -and truth compels us to admit that -they are not strictly necessary to good -work.</p> - -<p>As we have already stated, the easel is -now universally adopted for drawing, as -well as painting, instead of the old methods, -which necessitated leaning over a<span class="pagenum" id="Page_29">[Pg 29]</span> -table. The plate to be copied is also placed -upright, in the same upright position that -would be occupied by a cast or live model, -so that, even in this elementary training, -the eye becomes accustomed to look naturally -from the object or study being -copied to the paper on the easel.</p> - -<p>When preparing to draw, the easel -should be placed in front of the window -and so arranged that the light will come -from behind, and fall over the left -shoulder of the worker.</p> - -<p>Two or three sheets of charcoal paper -are now firmly fastened to the portfolio -or drawing-board, which should in no case -be smaller than the paper, but even larger, -projecting at least half an inch beyond the -regular-sized “Lalanne” or “Michelet” -sheets.</p> - -<p>To fasten the paper use ordinary flat -brass-headed paper tacks, putting one in -each corner, and one on each side between, -making six in all. The two sheets of -paper underneath the one used for drawing -are so placed in order to make a firmer<span class="pagenum" id="Page_30">[Pg 30]</span> -and smoother foundation than could be -obtained by spreading a single sheet -directly upon the hard surface of the -wooden board or portfolio, where any -crack, knot, wrinkle, or other imperfection -would show through when rubbed with -the stump.</p> - -<p>This arrangement is of great importance, -and should never be neglected.</p> - -<p>For the benefit of the actual beginners, -we will commence with the drawing of -straight lines, which is not nearly so easy -as might be supposed.</p> - - -<h3>STRAIGHT LINES.</h3> - -<p>The foundation of technical skill in -drawing of many kinds, notably the charcoal -and crayon point, pen and ink, and -pencil, depends upon the power of making -lines with correctness and dexterity; and -though later on, in drawing and painting, -we learn to see only by form, almost entirely -discarding the line <i>per se</i>, yet this -early training of the hand often gives -firmness and surety of touch to the<span class="pagenum" id="Page_31">[Pg 31]</span> -painter’s brush which might otherwise be -wanting, and is in many ways felt to be -valuable.</p> - -<p>To begin the practice of drawing straight -lines, first make two dots of several inches -apart, let us say, about three inches from -one point to the other. Let these dots at -first be perpendicular, one being directly -above the other.</p> - -<p>Sharpen the charcoal to a point and -draw it slowly from the upper to the lower -point several times, at first without actually -touching the paper, to accustom the -eye to the distance; then make the actual -line between the two, bearing lightly upon -the paper and making a line of uniform -thickness.</p> - -<p>Make these lines in rows parallel to -each other and about an inch apart, continuing -the exercise until you are able to -make perfectly straight upright lines.</p> - -<p>The next exercise consists of drawing -horizontal lines in the same manner. -After this, oblique lines should be practiced, -inclining in different directions.</p> - -<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> - -<p>Remember that no ruling, measuring -or mechanical aids of any kind are to be -made use of, the object being to train eye -and hand.</p> - - -<h3>CURVED LINES.</h3> - -<p>Curved lines are of course more difficult -than straight for those who are entirely -untrained. Begin to draw these -by making the two dots at first as for the -straight line; connect these dots with a -very light line, and then through the -center draw another line at right angles, -dividing the first exactly in two. This -line, projecting from one side only, must -be exactly the same length as half the first -line thus</p> - -<div class="figcenter illowp100" id="i038" style="max-width: 62.5em;"> - <img class="w100" src="images/i038.jpg" alt="Realisation of the instructions" /> -</div> - -<p><span class="pagenum" id="Page_33">[Pg 33]</span></p> - -<p>Now connect the extremity of these lines -with a curved line extending from one -end to the middle and thence to the other -end. When practice has enabled the -student to draw these curves correctly, -the straight lines are omitted and the -curves drawn only from point to point.</p> - -<p>Let this simple exercise be repeated by -drawing the curves in every direction. -When the pupil is able to draw both -straight and curved lines thus with ease -he has already gained an important step.</p> - -<p>After this, simple forms should be -drawn in outline, using such copies as -120 studies in freehand, called “How to -Draw,” by Chas. Ryan, costing 25 cents, -published by Cassell & Company.</p> - -<p>A box of blocks should next be procured, -which are sold by art dealers for -the purpose, and the student should begin -with the simplest forms and draw them -from nature, in outline at first, progressing -gradually to more complicated forms.</p> - -<p>The next step is shading, which is done -at first in the simplest manner. The<span class="pagenum" id="Page_34">[Pg 34]</span> -outline sketched in, the proportions -are ascertained to be correct and the -shadow and light are divided into two -great masses without detail and blocked -in as broadly as possible, according to the -method given in the following pages.</p> - -<p>Learn to begin a drawing properly and -the finishing will be easy enough, being -merely a matter of practice when once -the manner of working is understood. -How often we see exposed for sale and -on exhibition drawings and paintings elaborately -finished of which the drawing is -so faulty as to render them worthless.</p> - -<p>Students, therefore, who are thoroughly -in earnest must be content to postpone -all idea of finishing at first, occupying -themselves in the preliminary studies with -correctness of outline and proportion only. -For this reason when the shadows are -blocked in broadly and the drawing appears -to be as nearly right as you can -make it, put it aside and take up something -a little more difficult and carry it on -to the same stage without endeavoring to<span class="pagenum" id="Page_35">[Pg 35]</span> -elaborate it. Thus continue your practice, -always progressing until you feel fitted to -begin the study of the human face and -form, which is, as we have said, the most -difficult thing in art.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_36">[Pg 36]</span></p> - -<p class="half-title">PART SECOND.</p> - - -<hr class="small" /> - - -<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV.<br/> - - -<small>MANNER OF WORKING.</small></h2> -</div> - -<p>Those who have already had sufficient -practice in the elementary drawing indicated -in the first part, can of course -omit the foregoing pages, and begin at -once with the preparatory studies of the -face and figure, which are necessary before -proceeding to drawing from the cast.</p> - -<p>These studies consist of eight plates, -carefully prepared by the author, according -to the modern methods of charcoal -and crayon drawing now employed in all -large art schools both in Europe and our -own country.</p> - -<p>By carefully copying these plates in<span class="pagenum" id="Page_37">[Pg 37]</span> -their regular order, the student learns the -method of using charcoal and crayon, so -as to be perfectly acquainted with these -materials and their resources before -beginning to work from Nature; the -design also being to familiarize the eye -with the constructional drawing and proportion -of the human figure beforehand, -thus materially lessening the difficulties -of drawing from life. The general manner -of working is as follows:—</p> - -<p>Arrange the light, place the easel in -position, and fasten the charcoal paper to -the drawing board or portfolio in the way -already described. We will suppose the -subject to be drawn is a head. First -make a small mark or dot on the paper -with your charcoal, to show where the top -of the head will come. A corresponding -dot will indicate the bottom of the face -or chin, while a mark on each side will -show the width of the head.</p> - -<p>Before beginning to draw a line, these -marks will suggest whether the head be -properly placed on the sheet. See that<span class="pagenum" id="Page_38">[Pg 38]</span> -there be not too much space on either side, -and that the head is not too high or too low.</p> - -<p>If these preliminary precautions be -neglected the head may be placed most -awkwardly; too much to one side or -otherwise wrong, and the mistake not be -noticed until the drawing be nearly finished. -The importance, therefore, of -properly placing the head at first can not -be overestimated.</p> - -<p>The position being decided, the outlines -are lightly sketched in with long, -sweeping lines, following the general -direction of the head without any attention -at first to details of any kind. Let -these lines next determine the oval described -by the face, sketching at the same -time the lines of the throat, and ascertaining -the action of the body in relation to -the head by one or more long, sweeping -lines across the bust from shoulder to -shoulder.</p> - -<p>Next draw a line with the charcoal -point across the oval of the face where -the hair meets the forehead, one through<span class="pagenum" id="Page_39">[Pg 39]</span> -the middle of the eyes, one at the -base of the nose, through the center of the -mouth and the lowest point of the chin.</p> - -<p>These lines determine the proportions -of the face, and are drawn very lightly -with the charcoal, sharpened to a fine -point, as they are erased when the features -are drawn in. Next proceed to place the -features on these lines, blocking them in -only in their general forms at first with -very little detail, and draw these forms as -squarely as possible, seeking for angles -and avoiding curves.</p> - -<p>It is easy to turn angles into curves in -finishing a drawing, but if we begin -with curves we have nothing to depend -upon, and the drawing loses strength, -becoming soft and weak in the end.</p> - -<p>Having ascertained that the features -are in the right place, go back to the outline -and bring that into shape, though -without trying to finish it carefully as yet.</p> - -<p>The next step is to block in the -shadows in their general forms, dividing -the whole head into two distinct<span class="pagenum" id="Page_40">[Pg 40]</span> -masses of light and shade. To do this, -make a faint outline of the exact form of -the shadows where they meet the -light; now fill in with charcoal all -the mass of shadow within the outline, -making one flat, even tone of dark without -variation of shade. To do this draw the -charcoal in straight parallel lines slightly -oblique, almost touching each other, until -the whole shadow is covered. No special -care need be taken in putting in these -lines, as the main object is to get the -paper sufficiently covered with the charcoal. -The largest paper stump is now -used, to unite these charcoal lines into -one flat tone of dark.</p> - -<p>The stump is held in the fingers, so that -about an inch of the point lies on the -paper, not merely the tip end. With this -the charcoal is rubbed in until no lines -appear, only one simple even tone of dark -filling the outline of the shadow.</p> - -<p>Put in the eyes, nose, mouth, etc., and in -the same way drawing the form of the -general shadow first without any detail,<span class="pagenum" id="Page_41">[Pg 41]</span> -as already mentioned, and putting in the -flat tone with the charcoal and stump.</p> - -<p>When the principal shadows are thus -laid in, look at the head from a distance -and see if the proportions are correct. Any -mistake will be easily seen in this stage, -and should be corrected at once before -proceeding further.</p> - -<p>To correct a line or erase the charcoal -in any way, use the crumb or soft part of -stale bread. This is done by taking a -small piece between the fingers, and rolling -it into a little ball, then shaping it -to a point. Be sure the bread is not too -fresh or made with butter, as greasy bread -will ruin the paper, so that it is impossible -to work nicely on it. If, however, such -a grease spot becomes evident when the -drawing is somewhat advanced, it can be -remedied in the finishing, by touching carefully -with a sharp-pointed crayon, and -rubbing with a pointed rubber stump; -working with both alternately, making -fine, small touches, until the spot is even -in tone with the rest.</p> - -<p><span class="pagenum" id="Page_42">[Pg 42]</span></p> - -<p>In using the bread, never press hard; -if the charcoal or crayon will not come -off, use the pointed rubber stump.</p> - -<p>In laying in a mass of shadow, if too -much charcoal gets on the paper, so as to -become inconvenient, wipe it off lightly -and evenly with a soft cotton rag, and if -then the tone is too light, work on it -again with charcoal, as before, using the -stump in the same way until it becomes -the right tone.</p> - -<p>In working heads, life studies, etc., in -charcoal it is the practice in all the large -art schools to finish them with black crayon. -The crayon is not touched, however, -until the shadows are all put in and the -proportions found to be correct. The -whole effect being blocked in the way -already described, the crayon is taken up -and the two materials used together at -first, as required, in the following manner:</p> - -<p>The outline, which has been sketched -in with charcoal, is now very carefully -drawn with a finely pointed Conté crayon -No. 2. First dust off the charcoal a little<span class="pagenum" id="Page_43">[Pg 43]</span> -with a rag until the outline is quite light, -though easily seen, and do not make the -crayon outline too dark and thick.</p> - -<p>Next proceed to block in the hair with -charcoal. Do this at first in the simple -masses of light and shade, rubbing in the -charcoal in close lines at first, so as to -well cover the paper, and then using the -stump to make one flat, even tone.</p> - -<p>If the hair is dark, cover the light mass -with a general tone of light gray, using -the charcoal very lightly and rubbing it -flat with the stump as before. If the hair -is light, put in a fainter tone for the dark -mass and a very delicate tone over the -light mass. Do not attempt to see any -reflected lights or small details as yet.</p> - -<p>Having the head now well started, we -proceed to carry it on by putting in the -half tints which connect the masses of -light and shadow all over the face. Do -this with a clean, medium-sized paper -stump by dragging the charcoal from the -shadow over the light. Do not put any -new charcoal on for the half tints, as it is<span class="pagenum" id="Page_44">[Pg 44]</span> -very important that they be kept light at -first. Keep a clean stump always at hand -for delicate half tints, and never use an -old one.</p> - -<p>The face now begins to model and look -round, and is further carried on by putting -in the dark accents of shadow and -taking out reflected lights with bread.</p> - -<p>The features are brought into shape, -using the sharp pointed charcoal and a -small stump.</p> - -<p>At this stage the crayon is taken -up permanently and the charcoal laid -aside.</p> - -<p>The Conté crayon No. 2 sharpened to a -fine point is rubbed all over the mass of -shadow already laid in with charcoal and -is then softened with the stump in the -manner already described, the charcoal -and crayon together producing a beautiful -quality of tone.</p> - -<p>Let me here mention that some artists -prefer to use the sauce crayon for putting -in large masses of dark, such as shadows, -hair, drapery, etc. The student should<span class="pagenum" id="Page_45">[Pg 45]</span> -try both methods and use either or both, -as he may prefer.</p> - -<p>The sauce crayon should be rubbed off -on a small piece of charcoal paper and -tacked on one side of the drawing so as -to be convenient for use.</p> - -<p>The point of the large stump is now -rolled around in the sauce or powdered -crayon thus prepared, and is then rubbed -into the shadow until the whole is covered -with the crayon and presents an even dark -tone.</p> - -<p>The sauce crayon is only to be employed -for large spaces, and is useful in saving -time, as it takes longer to cover the surface -with lines made by the crayon point. -Still many prefer the latter.</p> - -<p>The crayon point is always used in finishing -up the drawing, which is carried on -by degrees. The dark accents are put in -the eyes, nose, mouth and ears, and the -small stump is used to soften the marks -of the crayon, but should not be rubbed -too much.</p> - -<p>If the head be rather dark in its general<span class="pagenum" id="Page_46">[Pg 46]</span> -effect, a very delicate gray tint should be -put all over the light mass of the face. -This is done with a clean stump which -has been used for half tints, and the tone -is put on in the same manner, the crayon -point not being used here.</p> - -<p>The high lights are taken out with the -bread rolled to a point, and should be -made sharp and distinct. The hair is -carried on in the same manner as the face, -the dark accents and details being put in -with the crayon point and softened a little -with the stump. The half tints are developed -and reflected lights taken out with -bread. The high lights are lastly rubbed -out in the same way, taking care always -to preserve the exact form of the lights -where they meet the shadows.</p> - -<p>In drawing hair, do not attempt to put -in too much detail. The deepest shadows -and the highest lights should always be -kept simple. The most detail is generally -seen in the half tint, but should be very carefully -studied only in the most prominent -parts, the rest being left in a suggestive way.</p> - -<p><span class="pagenum" id="Page_47">[Pg 47]</span></p> - -<p>In working thus with charcoal and -crayon, there are one or two things that -should be always kept in mind.</p> - -<p>In the first place, the charcoal and -crayon must always be kept sharpened -while drawing, a fine point being most -necessary. A sharp knife should always -be at hand, and also a piece of sandpaper, -as it is very difficult to sharpen the crayons -with a knife, they break so easily.</p> - -<p>Always buy the best materials, and -always keep plenty on hand. Have a box -of charcoal, and at least half a dozen crayons, -and keep one or two clean stumps in -reserve no matter how many you have -already in use.</p> - -<p>In rubbing on charcoal, and before using -the stump, be sure to cover the paper -well, so that very little rubbing will spread -the tone into an even mass. No matter -how much charcoal you get on at first, you -can always take off the superfluity with a -rag; but if there is not enough one is -tempted to rub the paper too hard, and if -the surface of the paper gets roughened<span class="pagenum" id="Page_48">[Pg 48]</span> -by too much rubbing at first, you can never -do any thing with it afterward.</p> - -<p>In putting on the crayon, however, we -must be more careful.</p> - -<p>Put on a little and try it with the stump; -if it does not spread well, add more, and -so on. Even when dispensing entirely -with the sauce crayon and using only the -pointed sticks, it is well to rub off some -of the crayon on a small piece of paper -and pin it up on one side of the drawing, -for using in very light tones where the -point must not be employed. For instance, -in covering the light side of the face with -a delicate tone, the stump is rubbed on -this, and tried first on a piece of paper -before using it on the drawing.</p> - -<p>Never let the hand rest directly upon -the drawing itself. If not convenient to -rest it upon the margin, have a sheet of -clean writing paper to place underneath -the hand.</p> - -<p>In sketching in, or drawing long, -sweeping lines, do not steady the hand -upon the paper at all, as one does in<span class="pagenum" id="Page_49">[Pg 49]</span> -writing, but try to acquire freedom of -handling by practice, resting the hand -upon the paper only when absolutely -necessary, as in drawing fine details, or -when great precision is required.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_50">[Pg 50]</span></p> - -<h2 class="nobreak" id="CHAPTER_V">CHAPTER V.<br /> - - -<small>MEASUREMENT, ACTUAL AND COMPARATIVE.</small></h2> -</div> - -<p>By actual measurement is meant the -measurement of the object itself by holding -against it a ruler or straight strip of -paper, and marking off the number of -inches or exact distance from one given -point to another. These measurements are -then compared with the drawing, and the -same distances are marked off on the -paper.</p> - -<p>In mechanical and architectural drawing -this system of measurement is in constant -use, but in freehand drawing, and in -the method practiced by artists, actual -measurement is not allowed. Never -measure in any way when beginning a -drawing, but strike out bravely, resolving -to depend upon the eye only, if possible.</p> - -<p><span class="pagenum" id="Page_51">[Pg 51]</span></p> - -<p>After the first outlines are put in, and -the proportions are as nearly correct as -you can make them, it is perfectly legitimate -to “prove” a drawing by actual -measurement, if it is a copy. If one is -drawing from a cast, or from life, and it -is necessary that the head be exactly the -same size, a measurement may be taken -from the top of the head to the chin, and -compared with the sketch you have made. -Beyond this no actual measurement should -be allowed.</p> - - -<h3>COMPARATIVE MEASUREMENT.</h3> - -<p>This is a very important thing in drawing -from Nature, or objects of any kind, -and must be thoroughly understood by -the student, as without it no drawing can -be made absolutely correct.</p> - -<p>Comparative measurements are entirely -<i>proportional</i>. The manner of taking them -is as follows:</p> - -<p>Place yourself opposite the object to -be measured, at the same distance from -which your drawing is taken. Let us say<span class="pagenum" id="Page_52">[Pg 52]</span> -you are drawing the bust of Apollo, and -wish to discover just the exact height of -the whole, also the width across the -shoulders.</p> - -<p>Extend your arm in a perfectly straight -line at right angles to the cast, holding -in your hand a long lead-pencil. The -pencil must be held parallel to the general -direction of the cast, neither end being -allowed to swerve the slightest.</p> - -<p>Now, closing one eye to concentrate the -vision, measure off with your thumb upon -the pencil, which is held crosswise, the -apparent distance from the outside of one -shoulder in a direct line to the outside -of the other. Keep your thumb -tightly upon the pencil at the place -measured, and slowly turn the hand -around, keeping the arm extended at the -same distance from the body, and the eye -in the same position as before.</p> - -<p>The pencil is now held straight up and -down, and your object is to see how many -times the distance measured off on the -pencil will go into the whole length of<span class="pagenum" id="Page_53">[Pg 53]</span> -the cast, beginning at the top of the head -and measuring down to the foot of the -bust, slowly moving the pencil downward -and checking off with the eye each time -the measurement is repeated.</p> - -<p>In this way we can find out exactly -whether the cast is just twice as long as -it is wide, or less—in other words, the -comparative proportions.</p> - -<p>This kind of measurement is invaluable -in out-of-door sketching, and the eye soon -becomes so trained by practice that relative -proportions are compared instinctively, -and one scarcely needs to use the -pencil.</p> - - -<h3>THE PLUMB LINE.</h3> - -<p>Another most valuable adjunct in drawing -from life and from the cast is the -plumb line. This consists of a piece of -strong twine with a weight on one end, -which serves to keep the string perfectly -straight and steady when suspended from -the hand. A straight line is thus simulated -which is dropped from a given point<span class="pagenum" id="Page_54">[Pg 54]</span> -to one directly underneath, forming one -side of a triangle, which will ascertain for -us the different positions that certain -other parts assume in relation to this -line.</p> - -<p>For instance, we hold the plumb line so -as to make a straight line from the chin -of a standing figure to the ground. The -top and bottom of the line form two points -of a triangle, the third to be represented -by the man’s heel.</p> - -<p>Imaginary lines are now drawn through -these points, forming the triangle, whose -base determines the direction of the heel -in relation to the center-line of the body. -In this way the balance of a figure can be -accurately ascertained, and the most difficult -action correctly suggested.</p> - -<p>In the actual drawing the real lines may -be sketched in charcoal from point to -point at the same angle determined by -the plumb, and the corrections made accordingly, -these straight lines being of -course erased afterward.</p> - -<p><span class="pagenum" id="Page_55">[Pg 55]</span></p> - - -<h3>VALUES.</h3> - -<p>The term “value,” as understood by -artists, is used to express the <i>comparative -relation of tones to each other</i>, irrespective -of color. There may be many different -colors before us all of the same -value; also, there may be only one color -used in a drawing, yet many different -values are seen, which goes to show that -we are to compare tones and not -colors.</p> - -<p>For example, in drawing or painting a -landscape we look at the tone of the trees -against the sky and observe which is the -darker. If a stormy, heavy sky is seen -behind light, feathery, green trees we see -that the sky is darker in value.</p> - -<p>If, on the contrary, trees with dark, -rich foliage are observed to be strongly -relieved against a bright, sunny sky, we -perceive at once that the sky is lighter in -value than the trees. In like manner we -compare the rocks with the water, the<span class="pagenum" id="Page_56">[Pg 56]</span> -fence with the road, and so on, according -to the different objects to be regarded in -the picture.</p> - -<p>In drawing a head in charcoal or crayon -it is well to establish at once the darkest -value in the whole, selecting the deepest -spot of shadow with which all the other -tones of dark may be compared.</p> - -<p>Look for instance, at the shadow over -the eye or under the nose, which are -generally very dark, and compare it with -the shadow on the cheek, behind the ear, -or under the chin. In the same way decide -upon the highest light in the face. -Say it is found upon the forehead or on -the cheek bone. Be sure that it is the -brightest spot in the face, and then compare -all the other degrees of light with -this.</p> - -<p>By studying in this way, and observing -the comparative variety of these tones, we -arrive at correct values.</p> - -<p>This is a most important quality in -art and can not be overestimated, for upon -a just appreciation of the values in a pict<span class="pagenum" id="Page_57">[Pg 57]</span>ure -depends its truth. This also serves to -illustrate the necessity of making studies -directly from nature whenever possible.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_58">[Pg 58]</span></p> - -<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI.</h2> -</div> - -<h3>CRAYON PORTRAITS.</h3> - - -<p>Crayon is especially adapted to portraiture, -on account of the brilliant -effects which it is capable of producing, -as well as the great softness and delicacy -of finish which may be obtained by its -use.</p> - -<p>Portraits should, of course, always be -taken from life if possible, though if the -person be an invalid or is for any other -reason unable to give many sittings, a -photograph may be used for the beginning. -The portrait is carried on from -this until well advanced; if one or two sittings -from life can then be had in finishing, -it will be a great advantage, especially -in regard to the expression.</p> - -<p>In portraits of children a photograph is -frequently a great assistance, particularly<span class="pagenum" id="Page_59">[Pg 59]</span> -if the artist has not had much experience.</p> - -<p>In all such cases, however, it is best to -decide upon the pose, and sketch it from -life, and then have the photograph taken -in the pose you have selected.</p> - -<p>In this way, the light and shade are -arranged to suit the artist, and the pose -being decided upon by him, the portrait -will have the effect of being drawn from -life instead of being merely a copy from -a conventional photograph.</p> - -<p>In general the effect of light used by -photographers is exactly the reverse of -that chosen by artists. It will be noticed -that ordinary photographs have the -greater part of the face either in shadow -or covered by strong half-tints.</p> - -<p>An artist, on the contrary, in posing a -head for a portrait, prefers exactly the -opposite arrangement, selecting broad -and simple effects of light with only -enough shadow to give the necessary -variety and relief to the features.</p> - -<p>When arranging the preliminaries for a<span class="pagenum" id="Page_60">[Pg 60]</span> -portrait, there are several things to be -considered.</p> - -<p>In the first place, study the head carefully -and see which view is most agreeable. -Sometimes features in the same face look -differently when seen from opposite directions. -Some noses or mouths look well -on one side and distorted on the other.</p> - -<p>A very broad face should not be given -a full front pose, but would look better -seen in three-quarter.</p> - -<p>A very retreating chin must not be -seen in a profile view.</p> - -<p>This same pose, however, for a person -with a cast in the eyes is preferable, and -so on. After all such matters have been -considered, see that the head is not -thrown up too high, as it will make the -nose look short, while lowering the chin -too much will make the nose look long. -A good rule is that the eyes of the sitter -should be on a line with those of the artist -as he sits or stands at his work.</p> - -<p>The method most generally in use for -crayon portraits is that described in the<span class="pagenum" id="Page_61">[Pg 61]</span> -preceding pages, in which the stump is -used. All the old-fashioned ways of stippling -and hatching are seldom resorted to, -and not considered artistic.</p> - -<p>In drawing a life-sized head the artist -must not be too far from his subject, the -easel being placed about four or five feet -distant. It is well to get up and walk -back occasionally, looking at the work -from a distance so as to see the general -effect.</p> - -<p>There are several different kinds of -paper used for crayon portraits, some -artists preferring one make, some another. -The ordinary “Lalanne” and “Michelet” -papers used for charcoal and crayon -studies are a little too rough in texture to -please every body, and do not produce -quite so fine a finish as is desirable. They -come in too small-sized sheets for a large -portrait head, for which one wants plenty -of room.</p> - -<p>This, however, is merely a matter of -taste, that can be indulged when one has -become sufficiently proficient in the work<span class="pagenum" id="Page_62">[Pg 62]</span> -to judge for himself. We will suggest -that Whatman’s crayon paper is one of -the most satisfactory; this comes in large -sheets, and should be stretched before -using in the manner already described. -A good sized stretcher for an ordinary -portrait is 20×24.</p> - -<p>If more of the figure than the shoulders -is to be seen, a larger size would be -better.</p> - -<p>The portrait is first lightly sketched in -with charcoal, and if the student is not -very proficient in drawing from life it is -better to make the first sketch upon an -ordinary sheet of charcoal paper.</p> - -<p>When all corrections are made, and the -general proportions of the face appear to -be right, the outline is transferred to the -stretcher in the following manner:—</p> - -<p>Take the sheet of charcoal paper on -which the sketch is made, and with a -stick of charcoal “scribble,” so to speak, -all over the back, so that the paper is entirely -covered behind your sketch.</p> - -<p>Now lay this sheet with the face upward<span class="pagenum" id="Page_63">[Pg 63]</span> -on the clean stretcher, placing it so that -the head will come in exactly the right -place, neither too high nor too low.</p> - -<p>Fasten it with pins at the top and bottom, -so that the paper will not slip, and -then with a sharp, hard lead-pencil carefully -go over the outline, and every important -part of the face and head. If the -paper should move in the least the whole -thing is spoiled, therefore it is best in -transferring to lay the drawing upon a -table till finished. Remember not to rest -the hand heavily upon any portion of the -paper except the line to be traced, as -every touch leaves a black spot beneath.</p> - -<p>On removing the sketch a perfect outline -will be found upon the stretcher, -which will be a sufficient guide to the -proportions and general likeness. Now, -with a sharply pointed charcoal stick begin -to draw in the head, following the -outline, block in the features, massing the -shadows in the face and hair.</p> - -<p>Do not begin to use the crayon until -the general likeness is assured, for the<span class="pagenum" id="Page_64">[Pg 64]</span> -paper must not be roughened by too much -erasing.</p> - -<p>Use the soft cotton rag for dusting off -charcoal whenever you can, instead of -bread, as too much rubbing with bread -will grease the paper; for very large -spaces, where erasing is necessary, use -Faber’s India rubber.</p> - -<p>When the crayon is put on, advance -slowly, remembering that in a portrait -there is much more careful work than in -an ordinary life study, and that there are -many more things to be considered than -merely the drawing. The likeness is to -be secured, which is sometimes a difficult -thing even for those with experience.</p> - -<p>This is accomplished gradually; the -student must not always expect to see the -likeness in the first sketch; it comes by -degrees, as the drawing progresses, and -it is a good rule to draw the head in -exactly as you see it, emphasizing the -salient points, no matter how ugly it may -appear. Do not attempt to improve and<span class="pagenum" id="Page_65">[Pg 65]</span> -modify until the drawing and general likeness -are secured.</p> - -<p>The expression comes last of all, and -with it the beauty. If you attempt to -make the face pretty at first, you will -weaken the drawing and lose the character. -For this reason, many artists make -it a rule never to show their portraits until -finished. The sitter does not understand -the methods of working and is tempted -to criticise, which renders the worker -timid.</p> - -<p>After the head is put in with the crayon -and modeled with the stump, in the manner -described in a previous chapter, the -finishing is carried on with the crayon -point, the small stump, and the pointed -rubber stump, which is found more useful -than bread at the last.</p> - -<p>The animated expression is put in the -eyes by dark touches in the pupil and -under the lids, while sharp lights are -accented in the iris and on the eyeball.</p> - -<p>The form of the under lid must be carefully -studied.</p> - -<p><span class="pagenum" id="Page_66">[Pg 66]</span></p> - -<p>The nose, also, has much to do with the -expression; especially the shape of the -nostrils, and the direction of the lines at -the side of the nose running down to the -mouth. Observe whether the nostrils -droop downward at the outward edge; -this gives a serious expression; if, on the -contrary, the line is elevated, it tends to -give a bright and animated appearance to -the face.</p> - -<p>The mouth, of course, is of great importance, -and influences the expression more -than any other feature; when smiling, the -corners are turned upward, and the lines -or dimples are curved in an outward direction. -In a sad face the corners of the -mouth drop downward and the lines grow -straight.</p> - -<p>If the student learns to look for such -indications in many faces, he will find more -suggestions of importance to aid him in -developing the expression. Without such -knowledge, he may accidentally reverse -these conditions, and work on blindly, -puzzling himself vainly to find out where<span class="pagenum" id="Page_67">[Pg 67]</span> -he is wrong and why the expression is just -the opposite of what it should be.</p> - - -<h3>THE HAIR.</h3> - -<p>In drawing the hair, no matter how -elaborate its arrangement, it must be -blocked in at first in simple flat masses -of light and shade without any attempt -at detail. Try, however, to give the general -character of the hair in putting in the -form of the shadows where they meet the -light. In smooth, black hair, the effect -will be large masses of black with sharp, -clearly-defined high lights.</p> - -<p>Light curly hair will have much lighter -tone in the shadow and much less brilliant -lights.</p> - -<p>After the hair is thus laid in with charcoal -and the stump, the crayon is taken -up.</p> - -<p>The half tints are studied and the deep -accents of dark put in the shadows, always -following the outline of the form of -each shadow very carefully.</p> - -<p>Avoid putting in a number of lines to<span class="pagenum" id="Page_68">[Pg 68]</span> -represent hair, as this destroys the effect -and means nothing. All details are expressed -by carefully rendered light and -shade.</p> - -<p>In finishing, the high lights are taken -out with bread rolled to a point, or if more -convenient, the india-rubber stump is -used.</p> - -<p>Soften the hair where it touches the -face, never leaving a hard, dark line. -When a tone is too dark, it is not always -necessary to use either bread or rubber, -but first try rubbing with the stump, -which may be found sufficient.</p> - - -<h3>BACKGROUNDS.</h3> - -<p>A background gives relief and importance -to the head, and should be managed -with judgment.</p> - -<p>In the first place, never make the background -exactly the same value as the -head. If the hair is light and the general -effect of the face fair and delicate, the -background should be darker than the -head, though not too dark.</p> - -<p><span class="pagenum" id="Page_69">[Pg 69]</span></p> - -<p>Everything must be harmonious, and a -spotty appearance is to be avoided.</p> - -<p>For instance, a very light effect of hair -and face with a moderately dark dress -and a jetty-black background is very bad. -Also, a head with black hair, white dress -and very light background. All violent -contrasts should be avoided.</p> - -<p>Put the background in at first with charcoal -only, using parallel lines in one direction, -then crossing them diagonally. After -this take the large stump and rub these -lines into one tone, yet leaving a slight -suggestion of the lines to show through.</p> - -<p>Put in this tone only around the -shoulders and lower part of the head, -leaving the upper part of the paper bare, -or nearly so.</p> - -<p>In this way try the effect, working slowly -and adding more charcoal as the tone -needs to be darker.</p> - -<p>When you have decided that the background -has the right effect in relation to -the head, use the crayon point in the same -way as the charcoal, putting in crossed<span class="pagenum" id="Page_70">[Pg 70]</span> -lines and rubbing them together again -with the stump until a transparent effect -is achieved, which will give atmosphere -and relieve the head.</p> - -<p>If you get on too much crayon rub it -all over with a soft rag. This is an excellent -thing to do occasionally, as it softens -and unites the whole while making the -tone lighter.</p> - -<p>Sometimes in finishing, a few touches -of the rubber point may be used at the -edges of the background and where it -softens off at the top. Use the rubber in -the same manner as the crayon point, -making light lines crossing obliquely.</p> - -<p>Remember that hardly any appearance -of lines must be seen. When all is done -they must be so softened with stump and -rag as to present almost the appearance, -at a little distance, of an even tone.</p> - -<p>In some cases the background may be -carried up higher than the middle of the -head, but it is very rarely necessary to -surround the whole head with it.</p> - -<p>Sometimes a very light tone may be<span class="pagenum" id="Page_71">[Pg 71]</span> -put all over the paper with the large -stump and rag.</p> - -<p>In this case the lines are only used at -the darkest part around the shoulders. -These matters must be determined by -individual taste, and the composition of -the portrait, as it is impossible to make -general rules for every case.</p> - -<p>Never attempt to make landscape backgrounds -or effects of drapery and -still-life behind a simple portrait head. -Every thing should be kept subordinate to -the face, which is the most important -thing of all. Never use white chalk or -crayon with the black in such portraits; -take all lights out with bread, or leave the -paper clean.</p> - - -<h3>DRAPERY.</h3> - -<p>All drapery in a crayon portrait must -be treated as simply as possible, being -regarded only as secondary in importance -to the head, which is, of course, the main -object of interest.</p> - -<p><span class="pagenum" id="Page_72">[Pg 72]</span></p> - -<p>All elaborate trimmings or pronounced -fashions should be avoided.</p> - -<p>Different kinds of material are interpreted -by carefully studying the different -forms of the lights and shadows in each. -For instance, black satin is rendered by -large masses of black, as black as crayon -can be made with sharp, narrow high -lights, so light as to be almost white.</p> - -<p>In black silk, the masses of dark are -lighter in their general tone, and the -lights less sharp and brilliant.</p> - -<p>The different colors are represented by -lighter or darker tones, as the case may be.</p> - -<p>In black velvet, the masses of dark are -softer than in satin and not so jetty black, -while the lights are less brilliant and more -diffused in effect, leaving more half tints -than are seen either in silk or satin. In -black cloths the lights are quite low in -tone and the darks are not very black, no -sharp high lights are seen at all, both -light and shade taking large and simple -forms.</p> - -<p>White stuffs, such as lace, muslin, etc.,<span class="pagenum" id="Page_73">[Pg 73]</span> -are also kept simple in effect, and are -laid in with a very delicate tone all over -the mass of light, and the high lights are -taken out with bread.</p> - -<p>The shadows should also be delicate -and transparent and not too dark. -White hair is treated in this way also, -the character of the hair being indicated -by the form of the lights.</p> - -<p>When there is a white cap upon the -head or lace of any kind, do not make -it too prominent, but carefully study its -value in relation to the face.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_74">[Pg 74]</span></p> - -<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII.<br /> - - -<small>CHARCOAL AND CRAYON DRAWING WITH -THE POINT; LANDSCAPES, PROPORTIONS, -ETC.</small></h2> -</div> - - -<p>This method is principally used by -artists in making drawings for illustration, -as stump drawings can not well be reproduced. -The manner of working is as -follows:—</p> - -<p>Sketch in the outline with the charcoal -stick, sharpened to a point, and then proceed -to block in the shadows, which must -be drawn in with careful attention to the -form, for the reason that it is best to make -a distinct outline of each mass of shadow -where it meets the light. These shadows -are now filled in with the pointed charcoal, -used in close parallel lines until a<span class="pagenum" id="Page_75">[Pg 75]</span> -flat, even tone is obtained. It is not -necessary that these lines should be distinct, -or of exact regularity, as in the very -darkest shadows no lines at all should be -seen. The half tints are managed in the -same way with the point, which may be -used in the direction of the features to -some extent.</p> - -<p>The main thing to be remembered is -that no stump must be used, nor the -charcoal rubbed in any way. For erasing, -bread is the best, though rubber is sometimes -found useful.</p> - -<p>The crayon point is employed in exactly -the same way as the charcoal, the directions -applying equally to both. All -drawings should be fixed as soon as finished.</p> - - -<h3>PROPORTIONS OF THE FIGURE.</h3> - -<p>A few conventional rules for the general -proportions of the face and figure may be -found useful to the student in drawing -from life, and are regulated according to -the standard of beauty as determined by<span class="pagenum" id="Page_76">[Pg 76]</span> -the Greek statues. Such proportions will -naturally vary in individual cases, yet are -valuable as a foundation, which may be -modified when necessary.</p> - -<p>The height of a well developed man is -eight heads or eight times the length of -his own head.</p> - -<p>The height of a woman, seven heads.</p> - -<p>The human figure may be divided into -four parts of equal length, viz.: from the -top of the head to the arm-pit, thence to -the middle of the body, thence to the -knees, thence to the soles of the feet.</p> - -<p>The arms extended straight out at right -angles to the body will measure from -finger-tip to finger-tip the length of the -figure from crown of head to sole of foot.</p> - -<p>The face may be divided into three -parts. From the top of the forehead to -the root of the nose; from there to -the bottom of the nose, thence to the -bottom of the chin. The ear is the -length of the nose, and its general direction -is parallel to it.</p> - -<p>From the top of the shoulder to the<span class="pagenum" id="Page_77">[Pg 77]</span> -elbow measures twice the length of the -face, or one head and a half.</p> - -<p>From the elbow to the wrist one head.</p> - -<p>The hand measures three-quarters of a -head from the tip of the middle finger to -the wrist.</p> - -<p>The foot measures one-sixth of the -whole length of the body.</p> - - -<h3>LANDSCAPE.</h3> - -<p>Charcoal is a favorite medium with -many artists for landscape subjects, and -it is, as before stated, especially useful in -sketching from nature.</p> - -<p>In beginning to draw a landscape in -charcoal, first sketch in lightly the horizon -line, the outlines of the trees and different -objects, in their general aspect.</p> - -<p>It is always well to select a subject -where there is a good effect of light and -shade and sufficient variety to give interest.</p> - -<p>After the composition is sketched in, -look for the large masses of shadow, and -divide the whole into two distinct masses<span class="pagenum" id="Page_78">[Pg 78]</span> -of light and shade, as in figure drawing. -The sky is covered with a light tone, at -first, and even the masses of light are also -covered with a delicate half-tint.</p> - -<p>The whole drawing may be made entirely -with the point if it is desired, but the -French artist Allongé, who is celebrated -for his charcoal landscapes, prefers the -use of the stump, with the point in finishing.</p> - -<p>If in place of the stump the finger sometimes -is used to blend the charcoal, and -for rapid sketches, this is very effective.</p> - -<p>After the general masses are put in, the -details are drawn with the point, being -somewhat softened with the stump, though -in trunks of trees, dark branches, rocks, -etc., the marks of the point are left unsoftened -to give strength.</p> - -<p>The lights are taken out with bread or -rubber; sometimes a piece of chamois -skin is found useful in lightening a tone. -The light clouds are taken out with bread -from the sky which has been covered with -a half-tint, and the dark clouds are put in<span class="pagenum" id="Page_79">[Pg 79]</span> -with the stump or point, according to the -method employed.</p> - -<p>In sketching from nature out of doors, -it is always well to adopt some prominent -object as a standard of measurement; for -instance, take a house or tree in the middle -distance, and compare this in height -with objects in the background and foreground. -In this way your perspective, if -simple, may be made correct without any -elaborate rules.</p> - -<p>Objects in the distance are naturally -smaller than those in the foreground, and -the exact proportions can be determined -by comparative measurement.</p> - -<p>In drawing a road or path, notice that -it will become narrower as it recedes into -the distance. For those who have never -studied perspective such suggestions are -useful.</p> - -<p>It is very important also that the values -should be carefully studied; it is a good -thing to establish the darkest spot of -shadow in the whole sketch, and compare -all the other darks with it, as already sug<span class="pagenum" id="Page_80">[Pg 80]</span>gested -in figure drawing. Determine also -the brightest light, and let the other lights -be in their proper relation to it.</p> - -<p>Either crayon or charcoal, or both, may -be used for landscapes; it is always better -to sketch in the drawing with charcoal, -even if crayon is used afterward.</p> - -<p>Some very good effects are produced -by using crayon or charcoal on tinted -paper, either gray, blue, or light brown, -and, leaving the tone of the paper for the -half-tint, put in the high lights with white -chalk.</p> - -<p>In such drawings the stump must not -be used, nor should the tones be rubbed -or blended in any way. Use the crayon -or charcoal point in the manner already -described, and put the lights in at the last -with crisp, strong touches.</p> - -<p>As the student continues his practice -he will find out the resources of these most -interesting materials, and will develop -new possibilities for himself as he becomes -more adept, but it must be remembered -that there is no “royal road to learning,”<span class="pagenum" id="Page_81">[Pg 81]</span> -and to succeed in acquiring proficiency in -drawing of any kind, requires patience -and perseverance, with constant practice.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_82">[Pg 82]</span></p> - -<h2 class="nobreak" id="APPENDIX">APPENDIX.<br /> - - -<small>EXPLANATION OF THE PLATES.</small></h2> -</div> - -<p>The intention of the author in presenting -these plates is that the student, by -copying a series of progressive drawings, -may be prepared to study from the cast -and from life. For those who are -entirely inexperienced, it is much easier -to learn this method from such flat copies -at first, as it not only teaches the use of -the materials, but familiarizes the student -with the forms of the different features, -so that when confronted with nature he -finds his difficulties considerably lessened.</p> - - -<h3>PLATE I.</h3> - -<p>This plate is intended to show the -drawing of the human eye and mouth in<span class="pagenum" id="Page_83">[Pg 83]</span> -different positions, as well as to familiarize -the student with the general form of -these important features. Only charcoal -sharpened to a point is necessary for -these outlines, which should be carefully -practiced before proceeding to Plate II.</p> - - -<h3>PLATE II.</h3> - -<p>This study is intended for those who -have never drawn from the cast, and have -had no practice in using charcoal. A. -represents the manner of beginning a -drawing. Make a dot on the paper for -the top, and one for the bottom of the -fragment to ascertain where to place the -lines, and then with a sharply pointed -charcoal stick, draw the general form of -the outline in the manner shown in the -plate, without attempting any detail. -The shadows are then blocked in squarely -with the point. When the proportions -are thus ascertained to be correct, proceed -to finish the drawing as is seen in B.</p> - -<p>To do this, rub the shadows with the -stump till one flat, even tone is obtained,<span class="pagenum" id="Page_84">[Pg 84]</span> -and carefully draw the outline, turning -the angles into curves.</p> - -<p>This plate is for the most elementary -practice in drawing, and no further degree -of finish than this should be attempted, -until the student has learned to do this -much well.</p> - - -<h3>PLATE III.</h3> - -<p>This represents a simple study of the -hand, drawn from a cast. A. indicates -the manner of laying in the study, the -curved lines being drawn to show the -direction and movement of the fingers.</p> - -<p>In B. the stump is used in the shadows, -and the modeling is carried on further -than in Plate II., the half-tint being added. -The outline is carefully finished with the -pointed crayon, which is also used in the -shadows.</p> - - -<h3>PLATE IV.</h3> - -<p>The part drawn from the cast here represented, -is laid in with charcoal, as in -Fig. A., and then carried on in crayon<span class="pagenum" id="Page_85">[Pg 85]</span> -as in Fig. B. The outline is carefully -drawn and the shadows blocked in squarely -at first as usual, and then changed with -great care into the necessary correct -forms.</p> - -<p>It will be noticed that this study is a -little further advanced than those already -given, more detail being shown, as well -as a little greater variety in the half-tints. -The straight lines across the base and -ends of the toes serve to direct the eye -to the difference between their general -direction and a perfectly horizontal line.</p> - - -<h3>PLATE V.</h3> - -<p>In this plate the whole profile view of a -face is given, Fig. A. representing the way -to lay in a head. The straight lines outside -may be ruled, as they have nothing to do -with the drawing, but are merely mechanical -aids by which the angle of the -features is determined.</p> - -<p>In B. the modeling of the features is -carried on still further than in any of the<span class="pagenum" id="Page_86">[Pg 86]</span> -preceding studies, the half-tints and -shadows, however, being still kept flat.</p> - - -<h3>PLATE VI.</h3> - -<p>This plate gives a more difficult study -in the three-quarter view of a male head. -In laying in the drawing, as in Fig. A., -be careful to get the proportions as perfectly -correct as possible before proceeding -to carry the modeling further, as in -Fig. B.</p> - -<p>This head, though more finished than -any other yet given, purposely stops short -of the final extent to which such drawings -may be carried, as the object of the -author is to familiarize the student with -each step by the way. In the smaller -touches about the eyes, nose, etc., the -pointed rubber stump will be found more -available than bread. For the large -masses of shadow it would be well to rub -off some sauce crayon on a small piece -of drawing paper and fasten it one side -of the easel, or, if preferred, rub the -pointed crayon on the rough paper until<span class="pagenum" id="Page_87">[Pg 87]</span> -a sufficient quantity adheres. The stump -is rolled around in this until sufficient is -taken up to cover the large mass of -shadow. The more careful work is -carried on with the pointed Conté crayon, -small stump, and pointed rubber, or bread, -as before explained.</p> - - -<h3>PLATE VII.</h3> - -<p>Plate VII. is intended to prepare the -student for drawing the full length figure -from the cast, and should be carefully -copied. An excellent exercise would be -to draw Fig. A. several times first, in -order to practice the manner of beginning -such a drawing; then when this is fully -mastered proceed to finish as in Fig. B., -which in this plate shows a fully completed -drawing from the cast.</p> - - -<h3>PLATE VIII.</h3> - -<p>This plate represents a study of the -male figure taken directly from life, and -is a most carefully finished drawing in -every respect. Fig. A. shows the manner<span class="pagenum" id="Page_88">[Pg 88]</span> -of beginning such a figure; the outline is -sketched in with long, sweeping lines at -first, to determine the direction of the -pose; the proportions are noted and the -outline corrected, though drawn in -angles, the general masses of shadow -being blocked in as usual.</p> - -<p>In Fig. B. the crayon and stump are -taken up and the drawing is carefully -carried on as shown by the plate, until -completed.</p> - - -<p class="center"><span class="smcap">The End.</span></p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK DRAWING IN CHARCOAL AND CRAYON ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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