,,pen ,,drawing ,,an ,,illustrated ,,treatise ,,by ,,charles ,d4 ,,maginnis ,f4,a4,i4,a41 ,,ll4,d4 ,,fellow ,,am4 ,,acad4 ,,arts ,,and ,,sciences ,,formerly ,,instructor ,,in ,,illustration1 ,,cowles ,,art ,,school ,,instructor ,,in ,,pen ,,drawing1 ,,boston ,,architectural ,,club ,,seventh ,,edition ,,acknowledgment ,to ,mr4 ,david ,a4 ,gregg and to ,mr4 ,bertram ,g4 ,goodhue1 who have generously made special drawings for this little book1 and to the ,publishers who have courteously allowed me to make use of illustrations owned by them1 my thanks and my cordial acknowledgements are due4 ,c4 ,d4 ,m4 ,,list ,,of ,,illustrations ,,figure #a4 ,,joseph ,,pennell4 ,from ,the ,century ,magazine 7,the ,century ,co3 ,new ,york7 #b4 ,,maxime ,,lalanne4 ,from ,la ,hollande ,vol d',oiseau1 by ,h4 ,havard 7,a4 ,quantin3 ,paris7 #c4 ,,maxime ,,lalanne4 ,from ,la ,hollande ,vol d',oiseau1 by ,h4 ,havard 7,a4 ,quantin3 ,paris7 #d4 ,,restoration ,,house1 ,,rochester1 ,,england4 ,drawing from a ,photograph #e4 ,,joseph ,,pennell4 ,from ,highways and ,byways in ,north ,wales 7,macmillan ,co3 ,london7 #f4 ,,bertram ,g4 ,,goodhue4 ,drawn for ,pen ,drawing #g4 ,,herbert ,,railton4 ,from ,coaching ,days and ,coaching ,ways1 by ,w4 ,outram ,tristram 7,macmillan ,co3 ,london7 #h4 ,,bertram ,g4 ,,goodhue4 ,drawn for ,pen ,drawing #i4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #aj4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #aa4 ,,martin ,,rico4 ,from ,la ,ilustracion ,espaola y ,americana #ab4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #ac4 ,,daniel ,,vierge4 ,from ,pablo de ,sgovie1 by ,francisco de ,quevedo 7,lon ,bonhoure3 ,paris7 #ad4 ,,martin ,,rico4 ,from ,la ,ilustracion ,espaola y ,americana #ae4 ,,alfred ,,brennan4 ,from ,st4 ,nicholas 7,the ,century ,co3 ,new ,york7 #af4 ,,leslie ,,willson4 ,from ,pick-,me-,up 7,london7 #ag4 ,,drawing ,,from ,,photograph4 ,from ,harper's ,magazine 7,harper ,brothers3 ,new ,york7 #ah4 ,,joseph ,,pennell4 ,from ,the ,sone3 ,a ,summer ,voyage1 by ,philip ,gilbert ,hamerton 7,seeley ,co3 ,london7 #ai4 ,,joseph ,,pennell4 ,from ,the ,sone3 ,a ,summer ,voyage1 by ,philip ,gilbert ,hamerton 7,seeley ,co3 ,london7 #bj4 ,,joseph ,,pennell4 ,from ,harper's ,magazine 7,harper ,brothers3 ,new ,york7 #ba4 ,e4 ,,dantan4 ,from ,l',art 7,paris7 #bb4 ,j4 ,f4 ,,raffa,,lli4 ,from ,gazette des ,beaux-,arts 7,paris7 #bc4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #bd4 ,d4 ,a4 ,,gregg4 ,from ,architectural ,rendering in ,pen and ,ink1 by ,d4 ,a4 ,gregg 7,ticknor ,co3 ,boston7 #be4 ,,daniel ,,vierge4 ,from ,pablo de ,sgovie1 by ,francisco de ,quevedo 7,lon ,bonhoure3 ,paris7 #bf4 ,,daniel ,,vierge4 ,from ,pablo de ,sgovie1 by ,francisco de ,quevedo 7,lon ,bonhoure3 ,paris7 #bg4 ,,harry ,,fenn4 ,from ,the ,century ,magazine 7,the ,century ,co3 ,new ,york7 #bh4 ,,reginald ,,birch4 ,from ,the ,century ,magazine 7,the ,century ,co3 ,new ,york7 #bi4 ,,joseph ,,pennell4 ,from ,the ,century ,magazine 7,the ,century ,co3 ,new ,york7 #cj4 ,,bertram ,g4 ,,goodhue4 ,from ,the ,architectural ,review 7,bates ,guild ,co3 ,boston7 #ca4 ,,joseph ,,pennell4 ,from ,charing ,cross to ,st4 ,paul's1 by ,justin ,mc,carthy 7,seeley ,co3 ,london7 #cb4 ,,leonard ,,raven ,,hill4 ,from ,pick-,me-,up 7,london7 #cc4 ,,daniel ,,vierge4 ,from ,pablo de ,sgovie1 by ,francisco de ,quevedo 7,lon ,bonhoure3 ,paris7 #cd4 ,p4 ,g4 ,,jeanniot4 ,from ,la ,vie ,moderne 7,paris7 #ce4 ,,porch ,,of ,,an ,,english ,,church4 ,from a ,photograph #cf4 ,d4 ,a4 ,,gregg4 ,drawn for ,pen ,drawing #cg4 ,,normandy ,,moat-,,house4 ,from a ,photograph #ch4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #ci4 ,,street ,,in ,,holland4 ,from a ,photograph #dj4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #da4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #db4 ,,george ,f4 ,,newton4 ,from ,catalogue of the ,philadelphia ,boston ,face ,brick ,co4 7,boston7 #dc4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #dd4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #de4 ,,frank ,e4 ,,wallis4 ,from ,the ,engineering ,record #df4 ,,harry ,,allan ,,jacobs4 ,from ,the ,architectural ,review 7,bates ,guild ,co3 ,boston7 #dg4 ,d4 ,a4 ,,gregg4 ,from ,architectural ,rendering in ,pen and ,ink1 by ,d4 ,a4 ,gregg 7,ticknor ,co3 ,boston7 #dh4 ,d4 ,a4 ,,gregg4 ,from ,the ,brickbuilder 7,rogers ,manson3 ,boston7 #di4 ,,herbert ,,railton4 ,from ,coaching ,days and ,coaching ,ways1 by ,w4 ,outram ,tristram 7,macmillan ,co3 ,london7 #ej4 ,d4 ,a4 ,,gregg4 ,from ,the ,american ,architect 7,the ,american ,architect and ,building ,news ,co3 ,boston7 #ea4 ,,walter ,m4,,campbell4 ,from ,the ,american ,architect 7,the ,american ,architect and ,building ,news ,co3 ,boston7 #eb4 ,,herbert ,,railton4 ,from ,coaching ,days and ,coaching ,ways1 by ,w4 ,outram ,tristram 7,macmillan ,co3 ,london7 #ec4 ,a4 ,f4 ,,jaccaci4 ,from ,the ,century ,magazine 7,the ,century ,co3 ,new ,york7 #ed4 ,,claude ,,fayette ,,bragdon4 ,from ,the ,brickbuilder 7,rogers ,manson3 ,boston7 #ee4 ,,harvey ,,ellis4 ,from ,the ,inland ,architect 7,the ,inland ,publishing ,co3 ,chicago7 #ef4 ,c4 ,e4 ,,mallows4 ,from ,the ,british ,architect 7,london7 #eg4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #eh4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #ei4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #fj4 ,c4 ,d4 ,m4 ,drawn for ,pen ,drawing #fa4 ,a4 ,b4 ,,frost4 ,from ,scribner's ,magazine 7,charles ,scribner's ,sons3 ,new ,york7 #fb4 ,,alfred ,g4 ,,jones4 ,from a ,book ,plate #fc4 ,,walter ,,appleton ,,clark4 ,from ,scribner's ,magazine 7,charles ,scribner's ,sons3 ,new ,york74 #fd4 ,a4 ,,campbell ,,cross4 ,from ,quartier ,latin 7,paris7 #fe4 ,,mucha4 ,from a ,poster ,design #ff4 ,,howard ,,pyle4 ,from ,otto of the ,silver ,hand1 by ,howard ,pyle 7,charles ,scribner's ,sons3 ,new ,york7 #fg4 ,,will ,h4 ,,bradley4 ,from a ,poster ,design for ,the ,chap-,book 7,herbert ,s4 ,stone ,co3 ,chicago7 #fh4 ,p4 ,j4 ,,billinghurst4 ,from a ,book ,plate #fi4 ,,beggarstaff ,,brothers4 ,from a ,poster ,design #gj4 ,,edward ,,penfield4 ,from a ,design for the ,poster ,calendar 7,r4 ,h4 ,russell ,son3 ,new ,york7 #ga4 ,,louis ,j4 ,,rhead4 ,from a ,poster ,design for ,lundborg's ,perfumes #gb4 ,j4 ,w4 ,,simpson4 ,from a ,book ,plate ,,contents ,,chapter ,i4--,style in ,pen ,drawing ,,chapter ,,ii4--,materials ,,chapter ,,iii4--,technique ,,chapter ,,iv4--,values ,,chapter ,v4--,practical ,problems ,,chapter ,,vi4--,architectural ,drawing ,,chapter ,,vii4--,decorative ,drawing ,,chapter ,i ,,style ,,in ,,pen ,,drawing ,art1 with its finite means1 cannot hope to record the infinite variety and complexity of ,nature1 and so contents itself with a partial statement1 addressing this to the imagination for the full and perfect meaning4 ,this inadequation1 and the artificial adjustments which it involves1 are tolerated by right of what is known as artistic convention2 and as each art has its own particular limitations1 so each has its own particular conventions4 ,sculpture reproduces the forms of ,nature1 but discards the color without any shock to our ideas of verity2 ,painting gives us the color1 but not the third dimension1 and we are satisfied2 and ,architecture is purely conventional1 since it does not even aim at the imitation of natural form4 ,sidenote3 ,the ,conventions of ,line ,drawing ,of the kindred arts which group themselves under the head of ,painting1 none is based on such broad conventions as that with which we are immediately concerned--the art of ,pen ,drawing4 ,in this medium1 ,nature's variety of color1 when not positively ignored1 is suggested by means of sharp black lines1 of varying thickness1 placed more or less closely together upon white paper2 while natural form depends primarily for its representation upon arbitrary boundary lines4 ,there is1 of course1 no authority in ,nature for a positive outline3 we see objects only by the difference in color of the other objects behind and around them4 ,the technical capacity of the pen and ink medium1 however1 does not provide a value corresponding to every natural one1 so that a broad interpretation has to be adopted which eliminates the less positive values2 and1 that form may not likewise be sacrificed1 the outline becomes necessary1 that light objects may stand relieved against light4 ,this outline is the most characteristic1 as it is the most indispensable1 of the conventions of line drawing4 ,to seek to abolish it only involves a resort to expedients no less artificial1 and the results of all such attempts1 dependent as they necessarily are upon elaboration of color1 and a general indirectness of method1 lack some of the best characteristics of pen drawing4 ,more frequently1 however1 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 values4 ,it may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions1 or in otherwise taxing the technical resources of the instrument4 ,this involves the question of ,style1--of what characteristic pen methods are1--a question which we will briefly consider4 ,side note3 ,what ,constituted ,style ,it is a recognized principle that every medium of art expression should be treated with due regard to its nature and properties4 ,the sculptor varies his technique according as he works in wood1 granite1 or marble2 the painter handles his water-color in quite another manner than that he would employ on an oil-painting of the same subject2 and the architect1 with the subtle sense of the craftsman1 carries this principle to such a fine issue as to impart an individual expression even to particular woods4 ,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 wood4 ,an artistic motive for a silver flagon1 too1 is likely to prove ugly for pottery or cut-glass1 and so on4 ,there is a genius1 born of its particular properties1 in every medium1 which demands individual expression4 ,observe1 therefore1 that ,art is not satisfied with mere unrelated beauty of form or color4 ,it requires that the result confess some sensible relation to the means by which it has been obtained2 and in proportion as it does this1 it may claim to possess that individual and distinctive charm which we call ,style4 ,it may be said1 therefore1 that the technical limitations of particular mediums impose what might properly be called natural conventions2 and while misguided ambition may set these conventions aside to hammer out effects from an unwilling medium1 the triumph is only mechanical2 ,art does not lie that way4 ,side note3 ,the ,province of the ,pen ,ought the pen1 then1 to be persuaded into the province of the brush8 ,since the natures of the two means differ1 it does not stultify the water-color that it cannot run the deep gamut of oil4 ,even if the church-organ be the grandest and most comprehensive of musical instruments we may still be permitted to cherish our piano4 ,each has its own sphere1 its own reason for being4 ,so of the pen1--the piccolo flute of the artistic orchestra4 ,let it pipe its high treble as merrily as it may1 but do not coerce it into mimicking the bassoon4 ,illustration3 ,,fig4 #a ,,joseph ,,pennell ,pen drawing is most apt to lose its individuality when it begins to assume the characteristics of wash-drawing1 such as an elaborate massing of grays1 small light areas1 and a general indirectness of method4 ,a painter once told me that he was almost afraid to handle the pen1--,it is so fearfully direct1 he said4 ,he understood the instrument1 certainly1 for if there is one characteristic more than another which should distinguish pen methods it is ,directness4 ,the nature of the pen seems to mark as its peculiar function that of picking out the really vital features of a subject4 ,pen drawing has been aptly termed the shorthand of ,art2 the genius of the pen-point is essentially epitome4 ,if we turn to the brush1 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 it2 whereas the tedious labor1 not to speak of the actual technical difficulties1 encountered in attempting such an effect of color with pen and ink1 indicates that we are forcing the medium4 ,moreover1 it is technically impossible to reproduce with the pen the low values which may be obtained with the brush2 and it is unwise to attempt it4 ,the way1 for example1 in which ,mr4 ,joseph ,pennell handles his pen as compared with that in which he handles his brush is most instructive as illustrating what ,i have been maintaining4 ,his pen drawings are pitched in a high key1--brilliant blacks and large light areas1 with often just enough half-tone to soften the effect4 ,his wash-drawings1 on the contrary1 are so utterly different in manner as to have nothing in common with the others1 distinguished as they are by masses of low tone and small light areas4 ,compare ,figs4 #a and #e4 ,observe that there is no straining at the technical capacity of the pen or of the brush2 no attempt to obtain an effect in one medium which seems to be more naturally adapted to the other4 ,individuality is imparted to each by a frank concession to its peculiar genius4 ,illustration3 ,,fig4 #b ,,maxime ,,lalanne ,side note3 ,examples of ,good ,style ,i have said that the chief characteristic of pen methods is ,directness4 ,i think ,i may now say that the chief element of style is ,economy of ,means4 ,the drawing by ,m4 ,maxime ,lalanne shown in ,fig4 #b is an excellent example of this economy carried to its extreme4 ,not a stroke could be spared1 so direct and simple is it1 and yet it is so complete and homogenous that nothing could be added to make it more so4 ,the architecture is left without color1 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 rendering1 which would have intensified the whites and lighted up the picture4 ,fig4 #c1 by the same artist1 is even more notable by reason of the masterly breadth which characterizes the treatment of a most complicated subject4 ,a comparison of these with a drawing of the ,restoration ,house1 at ,rochester1 ,england1 ,fig4 #d1 is instructive4 ,in the latter the method is almost painfully elaborate2 nothing of the effect is obtained by suggestion4 ,the technique is varied and interesting1 but the whole drawing lacks that individual something which we call ,style4 ,in the ,lalanne drawings we see foliage convincingly represented by means of the mere outlines and a few subtle strokes of the pen4 ,there is no attempt at the literal rendering of natural objects in detail1 all is accomplished by suggestion3 and while ,i do not wish to be understood as insisting upon such a severely simple style1 much less upon the purist theory that the function of the pen is concerned with form alone1 ,i would impress upon the student that ,lalanne's is incomparably the finer manner of the two4 ,illustration3 ,,fig4 #c ,,maxime ,,lalanne ,illustration3 ,,fig4 #d ,,from ,a ,,photograph ,illustration3 ,,fig4 #e ,,joseph ,,pennell ,side note3 ,a ,word of ,advice ,between these two extremes of method there is a wide latitude for individual choice4 ,contrast with the foregoing the accompanying pen drawing by ,mr4 ,pennell1 ,fig4 #e1 which gives a fair idea of the manner of this admirable stylist4 ,compared with the sketches by ,lalanne it has more richness of color1 but there is the same fine restraint1 the same nice regard for the instrument4 ,the student will find it most profitable to study the work of this masterly penman4 ,by way of warning1 however1 let me remind him here1 that in studying the work of any accomplished draughtsman he is selecting a style for the study of principles1 not that he may learn to mimic somebody1 however excellent the somebody may be2 that he must1 therefore1 do a little thinking himself2 that he has an individuality of his own which he does not confess if his work looks like some one's else2 and1 finally1 that he has no more right to consciously appropriate the peculiarities of another's style than he has to appropriate his more tangible property1 and no more reason to do so than he has to walk or talk like him4 ,,chapter ,,ii ,,materials ,every illustrator has his special predilections in the matter of materials1 just as he has in the matter of methods4 ,the purpose of this chapter is1 therefore1 rather to assist the choice of the student by limiting it than to choose for him4 ,it would be advisable for him to become acquainted with the various materials that ,i may have occasion to mention 7all of them are more or less employed by the prominent penmen71 and a partiality for particular ones will soon develop itself4 ,he is reminded1 however1 that it is easily possible to exaggerate the intrinsic values of pens and papers2 in fact the beginner invariably expects too much from them4 ,of course1 he should not use any but the best1--even ,vierge could not make a good drawing with a bad pen1--but the artistic virtues of a particular instrument are not likely to disclose themselves in the rude scratchings of the beginner4 ,he has to master it1 to break it in1 ere he can discover of what excellent service it is capable4 ,side note3 ,pens ,the student will find that most of the steel pens made for artists have but a short period of usefulness4 ,when new they are even more unresponsive than when they are old4 ,at first they are disposed to give a hard1 wiry line1 then they grow sympathetic1 and1 finally1 lose their temper1 when they must be immediately thrown away4 ,as a general rule1 the more delicate points are better suited to the smooth surfaces1 where they are not likely to get tripped up and shaken by the roughness in the paper4 ,to begin with the smaller points1 the ,gillott ,crow-quill is an excellent instrument4 ,the normal thickness of its line is extremely small1 but so beautifully is the nib made that it will respond vigorously to a big sweeping stroke4 ,i say a sweeping stroke1 as its capacity is not to be taxed for uniformly big lines4 ,an equally delicate point1 which surpasses the crow-quill in range1 is ,gillott's ,mapping-pen4 ,it is astonishing how large a line may be made with this instrument4 ,it responds most nimbly to the demands made upon it1 and in some respects reminds one of a brush4 ,it has a short life1 but it may be a merry one4 ,mr4 ,pennell makes mention of a pen1 ,perry's ,auto-,stylo1 which seems to possess an even more wonderful capacity1 but of this ,i cannot speak from experience4 ,a coarser1 but still a small point1 is the ,gillott #aib--;a good pen with a fairly large range2 and1 for any others than the smooth papers1 a pen smaller than this will probably be found undesirable for general use4 ,a shade bigger than this is the ,gillott #cjc1 a very good average size4 ,neither of these two possesses the sensitiveness of those previously mentioned1 but for work demanding more or less uniformity of line they will be found more satisfactory4 ,the smaller points are liable to lead one into the quagmire of finicalness4 ,when we get beyond the next in size1 the ,gillott #djd1 there is nothing about the coarse steel points to especially commend them for artistic use4 ,they are usually stupid1 unreliable affairs1 whose really valuable existence is about fifteen working minutes4 ,for decorative drawing the ordinary commercial stub will be found a very satisfactory instrument4 ,of course one may use several sizes of pens in the same drawing1 and it is often necessary to do so4 ,before leaving the steel pens1 the double-line pen may be mentioned1 though it has only a limited sphere4 ,it is a two-pointed arrangement1 practically two pens in one1 by means of which parallel lines may be made with one stroke4 ,rather interesting effects can be obtained with it1 but on the whole it is most valuable as a curiosity4 ,though somewhat out of fashion for general use1 the quill of our fathers is favored by many illustrators4 ,it is splendidly adapted for broad1 vigorous rendering of foreground effects1 and is almost dangerously easy to handle4 ,reed pens1 which have somewhat similar virtues1 are now little employed1 and cannot be bought4 ,they have to be cut from the natural reed1 and used while fresh4 ,for many uses in decorative drawing one of the most satisfactory instruments is the glass pen1 which gives an absolutely uniform line4 ,the point being really the end of a thin tube1 the stroke may be made in any direction1 a most unique characteristic in a pen4 ,it has1 however1 the disadvantages of being friable and expensive2 and1 as it needs to be kept clean1 the patent water-proof ink should not be used with it unless absolutely necessary4 ,a flat piece of cork or rubber should be placed inside the ink-bottle when this pen is used1 otherwise it is liable to be smashed by striking the bottom of the bottle4 ,the faculty possessed by the ,japanese brush of retaining its point renders it also available for use as a pen1 and it is often so employed4 ,side note3 ,inks ,in drawing for reproduction1 the best ink is that which is blackest and least shiny4 ,until a few years ago it was the custom of penmen to grind their ,india ink themselves2 but1 besides the difficulty of always ensuring the proper consistency1 it was a cumbersome method1 and is now little resorted to1 especially as numerous excellent prepared inks are ready to hand4 ,the better known of these prepared inks are1 ,higgins' ,american 7general and waterproof71 ,bourgeois' ,encre de ,chine ,liquide1 ,carter's1 ,winsor ,newton's1 and ,rowney's4 ,higgins' and ,carter's have the extrinsic advantages of being put up in bottles which do not tip over on the slightest provocation1 and of being furnished with stoppers which can be handled without smearing the fingers4 ,otherwise1 they cannot be said to possess superiority over the others1 certainly not over the ,encre de ,chine ,liquide4 ,should the student have occasion to draw over salt-prints he will find it wise to use waterproof ink1 as the bleaching acid which is used to fade the photographic image may otherwise cause the ink to run4 ,side note3 ,papers ,bristol-board is probably the most popular of all surfaces for pen drawing4 ,it is certainly that most approved by the process engraver1 whose point of view in such a matter1 though a purely mechanical one1 is worthy of consideration4 ,it has a perfectly smooth surface1 somewhat difficult to erase from with rubber1 and which had better be scratched with a knife when any considerable erasure is necessary4 ,as the cheap boards are merely a padding veneered on either side with a thin coating of smooth paper1 little scraping is required to develop a fuzzy surface upon which it is impossible to work4 ,only the best board1 such as ,reynolds'1 therefore1 should be used4 ,bristol-board can be procured in sheets of various thicknesses as well as in blocks4 ,whatman's hot-pressed paper affords another excellent surface and possesses some advantages over the ,bristol-board4 ,it comes in sheets of various sizes1 which may be either tacked down on a board or else stretched4 ,tacking will be satisfactory enough if the drawing is small and is to be completed in a few hours2 otherwise the paper is sure to hump up1 especially if the weather be damp4 ,the process of stretching is as follows3 ,fold up the edges of the sheet all around1 forming a margin about an inch wide4 ,after moistening the paper thoroughly with a damp sponge1 cover the under side of this turned-up margin with photographic paste or strong mucilage4 ,during this operation the sheet will have softened and humped up1 and will admit of stretching4 ,now turn down the adhesive margin and press it firmly with the fingers1 stretching the paper gently at the same time4 ,as this essential part of the process must be performed quickly1 an assistant is requisite when the sheet is large4 ,care should be taken that the paper is not strained too much1 as it is then likely to burst when it again contracts4 ,although generally employed for watercolor drawing1 ,whatman's cold-pressed paper has some advantages as a pen surface4 ,slightly roughish in texture1 it gives an interesting broken line1 which is at times desirable4 ,a peculiar paper which has considerable vogue1 especially in ,france and ,england1 is what is known as clay-board4 ,its surface is composed of ,china clay1 grained in various ways1 the top of the grain being marked with fine black lines which give a gray tone to the paper1 darker or lighter according to the character of the pattern4 ,this tone provides the middle-tint for the drawing4 ,by lightly scraping with a sharp penknife or scratcher1 before or after the pen work is done1 a more delicate gray tone may be obtained1 while vigorous scraping will produce an absolute white4 ,with the pen work added1 it will be seen that a good many values are possible2 and1 if the drawing be not reduced more than one-third1 it will print excellently4 ,the grain1 running as it does in straight lines1 offers a good deal of obstruction to the pen1 however1 so that a really good line is impossible4 ,thin letter-paper is sometimes recommended for pen and ink work1 chiefly on account of its transparency1 which obviates the necessity of re-drawing after a preliminary sketch has been worked up in pencil4 ,over the pencil study a sheet of the letter-paper is placed on which the final drawing may be made with much deliberation4 ,bond paper1 however1 possesses the similar advantage of transparency besides affording a better texture for the pen4 ,,chapter ,,iii ,,technique ,side note3 ,the ,individual ,line ,the first requirement of a good pen technique is a good ,individual ,line1 a line of feeling and quality4 ,it is usually a surprise to the beginner to be made aware that the individual line is a thing of consequence1--a surprise due1 without doubt1 to the apparently careless methods of some successful illustrators4 ,it is to be borne in mind1 however1 that some illustrators are successful in spite of their technique rather than because of it2 and also that the apparently free and easy manner of some admirable technicians is in reality very much studied1 very deliberate1 and not at all to be confounded with the unsophisticated scribbling of the beginner4 ,the student is apt to find it just about as easy to draw like ,mr4 ,pennell as to write like ,mr4 ,kipling4 ,the best way to acquire such a superb freedom is to be very1 very careful and painstaking4 ,to appreciate how beautiful the individual line may be one has but to observe the rich1 decorative stroke of ,howard ,pyle1 ,fig4 #ff1 or that of ,mucha1 ,fig4 #fe1 the tender outline of ,boutet de ,monvel1 the telling1 masterly sweep of ,gibson1 or the short1 crisp line of ,vierge or ,rico4 ,compared with any of these the line of the beginner will be either feeble and tentative1 or harsh1 wiry1 and coarse4 ,illustration3 ,,fig4 #f ,b4 ,g4 ,,goodhue ,illustration3 ,,fig4 #g ,,herbert ,,railton ,side note3 ,variety of ,line ,the second requisite is ,variety of ,line1--not merely variety of size and direction1 but1 since each line ought to exhibit a feeling for the particular texture which it is contributing to express1 variety of character4 ,mr4 ,gibson's manner of placing very delicate gray lines against a series of heavy black strokes exemplifies some of the possibilities of such variety4 ,observe1 in ,fig4 #f1 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 roofs4 ,this conjunction was employed early by ,mr4 ,herbert ,railton1 who has made a beautiful use of it in his quaint architectural subjects4 ,mr4 ,railton's technique is remarkable also for the varied direction of line and its expression of texture4 ,note this characteristic in his drawing of buttresses1 ,fig4 #g4 ,illustration3 ,,fig4 #h ,b4 ,g4 ,,goodhue ,illustration3 ,,fig4 #i ,c4 ,d4 ,m4 ,illustration3 ,,fig4 #aj ,c4 ,d4 ,m4 ,side note3 ,economy of ,method ,the third element of good technique is ,economy and ,directness of ,method4 ,a tone should not be built up of a lot of meaningless strokes4 ,each line ought1 sensibly and directly1 to contribute to the ultimate result4 ,the old mechanical process of constructing tones by cross-hatching is now almost obsolete4 ,it is still employed by modern pen draughtsmen1 but it is only one of many resources1 and is used with nice discrimination4 ,at times a cross-hatch is very desirable and very effective1--as1 for example1 in affording a subdued background for figures having small1 high lights4 ,a very pretty use of it is seen in the tower of ,mr4 ,goodhue's drawing1 ,fig4 #h4 ,observe here how the intimate treatment of the roofs is enhanced and relieved by the foil of closely-knit hatch on the tower-wall1 and how effective is the little area of it at the base of the spire4 ,the cross-hatch also affords a satisfactory method of obtaining deep1 quiet shadows4 ,see the archway ,b in ,fig4 #i4 ,on the whole1 however1 the student is advised to accustom himself to a very sparing use of this expedient4 ,compare the two effects in ,fig4 #i1 ,some examples of good and bad cross-hatching are illustrated in ,fig4 #aj4 ,those marked ,i and ,j may be set down as bad1 being too coarse4 ,the only satisfactory cross-hatch at a large scale would seem to be that shown in ,n1 where lines cross at a sharp angle2 and this variety is effectively employed by figure illustrators4 ,perhaps no better argument against the necessity for thus building up tones could be adduced than the little drawing by ,martin ,rico1 shown in ,fig4 #aa4 ,notice what a beautiful texture he gives to the shadow where it falls on the street1 how it differs from that on the walls1 how deep and closely knit it all is1 and yet that there is absolutely no cross-hatching4 ,remark1 also1 how the textures of the walls and roof and sky are obtained4 ,the student would do well to copy such a drawing as this1 or a portion of it1 at least1 on a larger scale1 as much can be learned from it4 ,illustration3 ,,fig4 #aa ,,martin ,,rico ,size note3 ,methods of ,tone-,making ,i have shown various methods of making a tone in ,fig4 #ab4 ,it will be observed that ,rico's shadow1 in ,fig4 #aa1 is made up of a combination of ,b and ,c1 except that he uses ,b horizontally1 and makes the line heavy and dragging4 ,the clear1 crisp shadows of ,vierge are also worthy of study for the simplicity of method4 ,this is beautifully illustrated in the detail1 ,fig4 #ac4 ,it would be impossible to suggest atmosphere more vibrating with sunlight2 a result due to the transparency of the shadows1 the lines of which are sharp and clean1 with never a suggestion of cross-hatch4 ,notice how the lines of the architectural shadows are stopped abruptly at times1 giving an emphasis which adds to the brilliancy of the effect4 ,the drawing of the buildings on the canal1 by ,martin ,rico1 ,fig4 #ad1 ought also to be carefully studied in this connection4 ,observe how the shadow-lines in this drawing1 as in that previously mentioned1 are made to suggest the direction of the sunlight1 which is high in the heavens4 ,an example of all that is refined and excellent in pen technique is the drawing by ,mr4 ,alfred ,brennan1 ,fig4 #ae4 ,the student would do well to study this carefully for its marvellous beauty of line4 ,there is little hatching1 and yet the tones are deep and rich4 ,the wall tone will be found to be made up similarly to ,a and ,h in ,fig4 #ab4 ,the tone ,b in the same ,figure is made up of lines which are thin at the ends and big in the middle1 fitting into each other irregularly1 and imparting a texture somewhat different from that obtained by the abrupt ending of the strokes of ,a4 ,this method is also employed by ,brennan1 and is a very effective one4 ,a good example of the use of this character of line 7unknitted1 however7 is the drawing by ,mr4 ,leslie ,willson1 ,fig4 #af4 ,the irregular line ,c has good possibilities for texture1 and the wavy character of ,d is most effective in the rendering of shadows1 giving a certain vibration to the atmosphere4 ,e and ,f suggest a freer method of rendering a tone2 while ,g shows a scribbling line that is sometimes employed to advantage4 ,the very interesting texture of the coat1 ,fig4 #ag1 is made with a horizontal line having a similar return stroke1 as may be noticed where the rendering ends4 ,there are times when an irresponsible sort of line is positively desirable1--say for rough foreground suggestion or for freeing the picture at the edges4 ,illustration3 ,,fig4 #ab ,c4 ,d4 ,m4 ,illustration3 ,,fig4 #ac ,,daniel ,,vierge ,illustration3 ,,fig4 #ad ,,martin ,,rico ,illustration3 ,,fig4 #ae ,,alfred ,,brennan ,illustration3 ,,fig4 #af ,,leslie ,,willson ,size note3 ,outline ,i have invariably found that what presents the chief difficulty to the student of pen and ink is the management of the ,outline4 ,when it is realized that1 by mere outline1 one may express the texture of a coat or a tree or a wall without any rendering whatever1 it will be seen that nothing in pen drawing is really of so much importance4 ,notice1 for example1 the wonderful drawing of the dog in ,fig4 #cd4 ,again1 if a connected line had been used to define the corners of ,railton's buttresses in ,fig4 #g all the texture1 would have been destroyed4 ,instead of this he has used a broken outline1 sometimes omitting it altogether for a considerable space4 ,on the ledges1 too1 the lines are broken4 ,in ,rico's drawing1 ,fig4 #aa1 all the outlines may be observed to have a break here and there4 ,this broken line is particularly effective in out-door subjects1 as it helps to suggest sunlit atmosphere as well as texture4 ,illustration3 ,,fig4 #ag ,,drawing ,,from ,a ,,photograph ,architectural outlines1 however1 are not particularly subtle2 it is when we come to render anything with vague boundaries1 such as foliage or clouds for example1 that the chief difficulties are encountered4 ,foliage is an important element of landscape drawing and deserves more than passing consideration4 ,to make a successful rendering of a tree in pen and ink the tree must be first well drawn in pencil4 ,it is absolutely impossible to obtain such a charming effect of foliage as that shown in ,mr4 ,pennell's sketch1 ,fig4 #ah1 without the most painstaking preparation in pencil4 ,the success of this result is not attributable merely to the difference in textures1 nor to the direction or character of the line2 it is first of all a matter of good drawing4 ,the outline should be free and subtle so as to suggest the edges of leafage1 and the holes near the edges should be accented1 otherwise they will be lost and the tree will look solid and characterless4 ,observe1 in the same drawing1 how ,mr4 ,pennell suggests the structure of the leafage by the irregular outlines which he gives to the different series of lines1 and which he emphasizes by bringing the lines to an abrupt stop4 ,observe also how the stronger texture of the tree in ,fig4 #ai is obtained by making the lines with greater abruptness4 ,compare both of these ,figures with the foreground trees by the same artist in ,fig4 #bj4 ,the last is a brilliant example of foliage drawing in pen and ink4 ,illustration3 ,,fig4 #ah ,,joseph ,,pennell ,illustration3 ,,fig4 #ai ,,joseph ,,pennell ,illustration3 ,,fig4 #bj ,,joseph ,,pennell ,illustration3 ,,fig4 #ba ,e4 ,,dantan ,side note3 ,textures ,the matter of ,textures is very important1 and the student should learn to differentiate them as much as possible4 ,this is done1 as ,i have already said1 by differences in the size and character of the line1 and in the closeness or openness of the rendering4 ,observe the variety of textures in the drawing of the sculptor by ,dantan1 ,fig4 #ba4 ,the coat is rendered by such a cross-hatch as ,n in ,fig4 #aj1 made horizontally and with heavy lines4 ,in the trousers the lines do not cross but fit in together4 ,this is an excellent example for study1 as is also the portrait by ,raffalli1 ,fig4 #bb4 ,the textures in the latter drawing are wonderfully well conveved1--the hard1 bony face1 the stubby beard1 and the woolen cap with its tassel in silhouette4 ,for the expression of texture with the least effort the drawings of ,vierge are incomparable4 ,the architectural drawing by ,mr4 ,gregg in ,fig4 #ej is well worth careful study in this connection1 as are all of ,herbert ,railton's admirable drawings of old ,english houses4 7,i recommend the study of ,mr4 ,railton's work with a good deal of reservation1 however4 ,while it is admirable in respect of textures and fascinating in its color1 the values are likely to be most unreal1 and the mannerisms are so pronounced and so tiresome that ,i regard it as much inferior to that of ,mr4 ,pennell1 whose architecture always appears1 at least1 to have been honestly drawn on the spot47 ,illustration3 ,,fig4 #bb ,j4 ,f4 ,,raffa,,lli ,the hats in ,fig4 #aj are merely suggestions to the student in the study of elementary combinations of line in expressing textures4 ,side note3 ,drawing for ,reproduction ,as the mechanical processes of ,reproduction have much to do with determining pen methods they become important factors for consideration4 ,while their waywardness and inflexibility are the cause of no little distress to the illustrator1 the limitations of processes cannot be said1 on the whole1 to make for inferior standards in drawing1 as will be seen by the following rules which they impose1 and for which a strict regard will be found most advisable4 ,first3 ,make each line clear and distinct4 ,do not patch up a weak line or leave one which has been broken or blurred by rubbing1 for however harmless or even interesting it may seem in your original it will almost certainly be neither in the reproduction4 ,when you make mistakes1 erase the offensive part completely1 or1 if you are working on ,bristol-board and the area of unsatisfactoriness be considerable1 paste a fresh piece of paper over it and redraw4 ,second3 ,keep your work open4 ,aim for economy of line4 ,if a shadow can be rendered with twenty strokes do not crowd in forty1 as you will endanger its transparency4 ,remember that in reproduction the lines tend to thicken and so to crowd out the light between them4 ,this is so distressingly true of newspaper reproduction that in drawings for this purpose the lines have to be generally very thin1 sharp1 and well apart4 ,the above rule should be particularly regarded in all cases where the drawing is to be subject to much reduction4 ,the degree of reduction of which pen drawings are susceptible is not1 as is commonly supposed1 subject to rule4 ,it all depends on the scale of the technique4 ,third3 ,have the values few and positive4 ,it is necessary to keep the gray tones pretty distinct to prevent the relation of values being injured1 for while the gray tones darken in proportion to the degree of reduction1 the blacks cannot1 of course1 grow blacker4 ,a gray tone which may be light and delicate in the original1 will1 especially if it be closely knit1 darken and thicken in the printing4 ,these rules are most strictly to be observed when drawing for the cheaper classes of publications4 ,for book and magazine work1 however1 where the plates are touched up by the engraver1 and the values in a measure restored1 the third rule is not so arbitrary4 ,nevertheless1 the beginner who has ambitions in this direction will do well not to put difficulties in his own way by submitting work not directly printable4 ,side note3 ,some ,fanciful ,expedients ,there are a number of more or less fanciful expedients employed in modern pen work which may be noted here1 and which are illustrated in ,fig4 #aj4 ,the student is advised1 however1 to resort to them as little as possible1 not only because he is liable to make injudicious use of them1 but because it is wiser for him to cultivate the less meretricious possibilities of the instrument4 ,spatter work is a means of obtaining a delicate printable tone1 consisting of innumerable little dots of ink spattered on the paper4 ,the process is as follows3 ,carefully cover with a sheet of paper all the drawing except the portion which is to be spattered1 then take a tooth-brush1 moisten the ends of the bristles consistently with ink1 hold the brush1 back downwards1 in the left hand1 and with a wooden match or tooth-pick rub the bristles toward you so that the ink will spray over the paper4 ,particular1 care must be taken that the brush is not so loaded with ink that it will spatter in blots4 ,it is well1 therefore1 to try it first on a rough sheet of paper1 to remove any superfluous ink4 ,if the spattering is well done1 it gives a very delicate tone of interesting texture1 but if not cleverly employed1 and especially if there be a large area of it1 it is very likely to look out of character with the line portions of the drawing4 ,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 paper4 ,the series of lines of the skin make an impression that can be reproduced by the ordinary line processes4 ,as in the case of spatter work1 superfluous ink must be looked after before making the impression so as to avoid leaving hard edges4 ,thumb markings lend themselves to the rendering of dark smoke1 and the like1 where the edges require to be soft and vague1 and the free direction of the lines impart a feeling of movement4 ,interesting effects of texture are sometimes introduced into pen drawings by obtaining the impression of a canvas grain4 ,to produce this1 it is necessary that the drawing be made on fairly thin paper4 ,the modus operandi is as follows3 ,place the drawing over a piece of mounted canvas of the desired coarseness of grain1 and1 holding it firmly1 rub a lithographic crayon vigorously over the surface of the paper4 ,the grain of the canvas will be found to be clearly reproduced1 and1 as the crayon is absolutely black1 the effect is capable of reproduction by the ordinary photographic processes4 ,,chapter ,,iv ,,values ,side note3 ,the ,color ,scheme ,after the subject has been mapped out in pencil1 and before beginning the pen work1 we have to consider and determine the proper disposition of the ,color4 ,by color is meant1 in this connection1 the gamut of values from black to white1 as indicated in ,fig4 #bc4 ,the success or failure of the drawing will largely depend upon the disposition of these elements1 the quality of the technique being a matter of secondary concern4 ,beauty of line and texture will not redeem a drawing in which the values are badly disposed1 for upon them we depend for the effect of unity1 or the pictorial quality4 ,if the values are scattered or patchy the drawing will not focus to any central point of interest1 and there will be no unity in the result4 ,illustration3 ,,fig4 #bc ,c4 ,d4 ,m4 ,there are certain general laws by which color may be pleasingly disposed1 but it must be borne in mind that it ought to be disposed naturally as well4 ,by a natural scheme of color1 ,i mean one which is consistent with a natural effect of light and shade4 ,now the gradation from black to white1 for example1 is a pleasing scheme1 as may be observed in ,fig4 #bd1 yet the effect is unnatural1 since the sky is black4 ,in a purely decorative illustration like this1 however1 such logic need not be considered4 ,illustration3 ,,fig4 #bd ,d4 ,a4 ,,gregg ,side note3 ,principality in the ,color-,scheme ,since1 as ,i said before1 color is the factor which makes for the unity of the result1 the first principle to be regarded in its arrangement is that of ,principality1--there must be some dominant note in the rendering4 ,there should not1 for instance1 be two principal dark spots of equal value in the same drawing1 nor two equally prominent areas of white4 ,the ,vierge drawing1 ,fig4 #be1 and that by ,mr4 ,pennell1 ,fig4 #e1 are no exceptions to this rule2 the black figure of the old man counting as one note in the former1 as do the dark arches of the bridge in the latter4 ,the work of both these artists is eminently worthy of study for the knowing manner in which they dispose their values4 ,illustration3 ,,fig4 #be ,,daniel ,,vierge ,side note3 ,variety ,the next thing to be sought is ,variety4 ,too obvious or positive a scheme1 while possibly not unsuitable for a conventional decorative drawing1 may not be well adapted to a perspective subject4 ,the large color areas should be echoed by smaller ones throughout the picture4 ,take1 for example1 the ,vierge drawing shown in ,fig4 #bf4 ,observe how the mass of shadow is relieved by the two light holes seen through the inn door4 ,without this repetition of the white the drawing would lose much of its character4 ,in ,rico's drawing1 ,fig4 #aa1 a tiny white spot in the shadow cast over the street would1 ,i venture to think1 be helpful1 beautifully clear as it is2 and the black area at the end of the wall seems a defect as it competes in value with the dark figure4 ,illustration3 ,,fig4 #bf ,,daniel ,,vierge ,side note3 ,breadth of ,effect ,lastly1 ,breadth of ,effect has to be considered4 ,it is requisite that1 however numerous the tones are 7and they should not be too numerous71 the general effect should be simple and homogeneous4 ,the color must count together broadly1 and not be cut up into patches4 ,illustration3 ,,fig4 #bg ,,harry ,,fenn ,it is important to remember that the gamut from black to white is a short one for the pen4 ,one need only try to faithfully render the high lights of an ordinary table glass set against a gray background1 to be assured of its limitations in this respect4 ,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 whole4 ,the gray background would1 therefore1 be lost1 and if a really black object were also part of the picture it could not be represented at all4 ,observe1 in ,fig4 #bg1 how just such a problem has been worked out by ,mr4 ,harry ,fenn4 ,it will be manifest that the student must learn to think of things in their broad relation4 ,to be specific1--in the example just considered1 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 value1 thus demanding that the elaborate values of the glass be ignored1 and just enough suggested to give the general effect4 ,this reasoning would equally apply were the light object1 instead of a glass1 something of intricate design1 presenting positive shadows4 ,just so much of such a design should be rendered as not to darken the object below its proper relative value as a whole4 ,in this faculty of suggesting things without literally rendering them consists the subtlety of pen drawing4 ,it may be said1 therefore1 that large light areas resulting from the necessary elimination of values are characteristic of pen drawing4 ,the degree of such elimination depends1 of course1 upon the character of the subject1 this being entirely a matter of relation4 ,the more black there is in a drawing the greater the number of values that can be represented4 ,generally speaking1 three or four are all that can be managed1 and the beginner had better get along with three1--black1 half-tone1 and white4 ,illustration3 ,,fig4 #bh ,,reginald ,,birch ,side note3 ,various ,color-,schemes ,while it is true that every subject is likely to contain some motive or suggestion for its appropriate color-scheme1 it still holds that1 many times1 and especially in those cases where the introduction of foreground features at considerable scale is necessary for the interest of the picture1 an artificial arrangement has to be devised4 ,it is well1 therefore1 to be acquainted with the possibilities of certain color combinations4 ,the most brilliant effect in black and white drawing is that obtained by placing the prominent black against a white area surrounded by gray4 ,the white shows whiter because of the gray around it1 so that the contrast of the black against it is extremely vigorous and telling4 ,this may be said to be the illustrator's tour de force4 ,we have it illustrated by ,mr4 ,reginald ,birch's drawing1 ,fig4 #bh4 ,observe how the contrast of black and white is framed in by the gray made up of the sky1 the left side of the building1 the horse1 and the knight4 ,in the drawing by ,mr4 ,pennell1 ,fig4 #bi1 we have the same scheme of color4 ,notice how the trees are darkest just where they are required to tell most strongly against the white in the centre of the picture4 ,an admirable illustration of the effectiveness of this color-scheme is shown in the ,becket poster by the ,beggarstaff ,brothers1 ,fig4 #fi4 ,another scheme is to have the principal black in the gray area1 as in the ,vierge drawing1 ,fig4 #bf and in ,rico's sketch1 ,fig4 #aa4 ,illustration3 ,,fig4 #bi ,,joseph ,,pennell ,illustration3 ,,fig4 #cj ,b4 ,g4 ,,goodhue ,illustration3 ,,fig4 #ca ,,joseph ,,pennell ,still another and a more restful scheme is the actual gradation of color4 ,this gradation1 from black to white1 wherein the white occupies the centre of the picture1 is to be noted in ,fig4 #bj4 ,observe how the dark side of the foreground tree tells against the light side of the one beyond1 which1 in its turn1 is yet so strongly shaded as to count brilliantly against the white building4 ,still again1 in ,mr4 ,goodhue's drawing1 ,fig4 #cj1 note how the transition from the black tree on the left to the white building is pleasingly softened by the gray shadow4 ,notice1 too1 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 picture4 ,yet another example of this color-scheme is the drawing by ,mr4 ,gregg1 ,fig4 #ej4 ,the gradation here is from the top of the picture downwards4 ,the sketch of the coster women by ,mr4 ,pennell1 ,fig4 #ca1 shows this gradation reversed4 ,the drawing of the hansom cab1 ,fig4 #cb1 by ,mr4 ,raven ,hill1 illustrates a very strong color-scheme1--gray and white separated by black1 the gray moderating the black on the upper side1 leaving it to tell strongly against the white below4 ,notice how luminous is this same relation of color where it occurs in the ,venetian subject by ,rico1 ,fig4 #ad4 ,the shadow on the water qualifies the blackness of the gondola below1 permitting a brilliant contrast with the white walls of the building above4 ,it is interesting to observe how ,vierge and ,pennell1 but chiefly the former1 very often depend for their grays merely upon the delicate tone resulting from the rendering of form and of direct shadow1 without any local color4 ,this may be seen in the ,vierge drawing1 ,fig4 #cc4 ,observe in this1 as a consequence1 how brilliantly the tiny black counts in the little figure in the centre4 ,notice1 too1 in the drawing of the soldiers by ,jeanniot1 ,fig4 #cd1 that there is very little black2 and yet see how brilliant is the effect1 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 distance4 ,illustration3 ,,fig4 #cb ,l4 ,,raven ,,hill ,illustration3 ,,fig4 #cc ,,daniel ,,vierge ,illustration3 ,,fig4 #cd ,p4 ,g4 ,,jeanniot ,,chapter ,v ,,practical ,,problems ,i have thought it advisable in this chapter to select1 and to work out in some detail1 a few actual problems in illustration1 so as to familiarize the student with the practical application of some of the principles previously laid down4 ,illustration3 ,,fig4 #ce ,,from ,a ,,photograph ,illustration3 ,,fig4 #cf ,d4 ,a4 ,,gregg ,side note3 ,first ,problem ,in the first example the photograph1 ,fig4 #ce1 shows the porch of an old ,english country church4 ,let us see how this subject has been interpreted in pen and ink by ,mr4 ,d4 ,a4 ,gregg1 ,fig4 #cf4 ,in respect to the lines1 the original composition presents nothing essentially unpleasant4 ,where the strong accent of a picture occurs in the centre1 however1 it is generally desirable to avoid much emphasis at the edges4 ,for this reason the pen drawing has been vignetted1--that is to say1 permitted to fade away irregularly at the edges4 ,regarding the values1 it will be seen that there is no absolute white in the photograph4 ,a literal rendering of such low color would1 as we saw in the preceding chapter1 be out of the question2 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 out4 ,we observe1 then1 that the principal note of the photograph is made by the dark part of the roof under the porch relieved against the light wall beyond4 ,this is the direct result of light and shade1 and is therefore logically adopted as the principal note of ,mr4 ,gregg's sketch also4 ,the wall at this point is made perfectly white to heighten the contrast4 ,to still further increase the light area1 the upper part of the porch has been left almost white1 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 wall4 ,the low color of the grass1 were it rendered literally1 would make the drawing too heavy and uninteresting1 and this is therefore only suggested in the sketch4 ,the roof of the main building1 being equally objectionable on account of its mass of low tone1 is similarly treated4 ,mr4 ,gregg's excellent handling of the old woodwork of the porch is well worthy of study4 ,side note3 ,second ,problem ,let us take another example4 ,the photograph in ,fig4 #cg shows a moat-house in ,normandy2 and1 except that the low tones of the foliage are exaggerated by the camera1 the conditions are practically those which we would have to consider were we making a sketch on the spot4 ,first of all1 then1 does the subject1 from the point of view at which the photograph is taken1 compose well899 ,it cannot be said that it does4 ,the vertical lines made by the two towers are unpleasantly emphasized by the trees behind them4 ,the tree on the left were much better reduced in height and placed somewhat to the right1 so that the top should fill out the awkward angles of the roof formed by the junction of the tower and the main building4 ,the trees on the right might be lowered also1 but otherwise permitted to retain their present relation4 ,the growth of ivy on the tower takes an ugly outline1 and might be made more interestingly irregular in form4 ,footnote 993 ,the student is advised to consult ,composition1 by ,arthur ,w4 ,dow4 ,new ,york1 #ahih ,illustration3 ,,fig4 #cg ,,from ,a ,,photograph ,the next consideration is the disposition of the values4 ,in the photograph the whites are confined to the roadway of the bridge and the bottom of the tower4 ,this is evidently due1 however1 to local color rather than to the direction of the light1 which strikes the nearer tower from the right1 the rest of the walls being in shadow4 ,while the black areas of the picture are large enough to carry a mass of gray without sacrificing the sunny look1 such a scheme would be likely to produce a labored effect4 ,two alternative schemes readily suggest themselves3 ,first1 to make the archway the principal dark1 the walls light1 with a light half-tone for the roof1 and a darker effect for the trees on the right4 ,or1 second1 to make these trees themselves the principal dark1 as suggested by the photograph1 allowing them to count against the gray of the roof and the ivy of the tower4 ,this latter scheme is that which has been adopted in the sketch1 ,fig4 #ch4 ,illustration3 ,,fig4 #ch ,c4 ,d4 ,m4 ,it will be noticed that the trees are not nearly so dark as in the photograph4 ,if they were1 they would be overpowering in so large an area of white4 ,it was thought better1 also1 to change the direction of the light1 so that the dark ivy1 instead of acting contradictorily to the effect1 might lend character to the shaded side4 ,the lower portion of the nearer tower was toned in1 partly to qualify the vertical line of the tower1 which would have been unpleasant if the shading were uniform1 and partly to carry the gray around to the entrance4 ,it was thought advisable1 also1 to cut from the foreground1 raising the upper limit of the picture correspondingly4 7,it is far from my intention1 however1 to convey the impression that any liberties may be taken with a subject in order to persuade it into a particular scheme of composition2 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 whatever2--a nearer view of the building1 for one thing1 would have considerably lowered the trees47 ,illustration3 ,,fig4 #ci ,,from ,a ,,photograph ,side note3 ,third ,problem ,we will consider still another subject4 ,the photograph1 ,fig4 #ci1 shows a street in ,holland4 ,in this case1 the first thing we have to determine is where the interest of the subject centres4 ,in such a perspective the salient point of the picture often lies in a foreground building2 or1 if the street be merely a setting for the representation of some incident1 in a group of foreground figures4 ,in either case the emphasis should be placed in the foreground1 the distant vanishing lines of the street being rendered more or less vaguely4 ,in the present subject1 however1 the converging sky and street lines are broken by the quaint clock-tower4 ,this and the buildings underneath it appeal to us at once as the most important elements of the picture4 ,the nearer buildings present nothing intrinsically interesting1 and therefore serve no better purpose than to lead the eye to the centre of interest4 ,whatever actual values these intermediate buildings have that will hinder their usefulness in this regard can1 therefore1 be changed or actually ignored without affecting the integrity of the sketch or causing any pangs of conscience4 ,the building on the extreme left shows very strong contrasts of color in the black shadow of the eaves and of the shop-front below4 ,these contrasts1 coming as they do at the edge of the picture1 are bad4 ,they would act like a showy frame on a delicate drawing1 keeping the eye from the real subject4 ,it may be objected1 however1 that it is natural that the contrasts should be stronger in the foreground4 ,yes2 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 foreground4 ,the camera saw it1 because the camera with its hundred eyes sees everything1 and does not interest itself about any one thing in particular4 ,besides1 if the keeper of the shop had the bad taste to paint it dark we are not bound to make a record of the fact2 nor need we assume that it was done out of regard to the pictorial possibilities of the street4 ,we decide1 therefore1 to render1 as faithfully as we may1 the values of the clock-tower and its immediate surroundings1 and to disregard the discordant elements2 and we have no hesitation in selecting for principal emphasis in our drawing1 ,fig4 #dj1 the shadow under the projecting building4 ,this dark accent will count brilliantly against the foreground and the walls of the buildings1 which we will treat broadly as if white1 ignoring the slight differences in value shown in the photograph4 ,we retain1 however1 the literal values of the clock-tower and the buildings underneath it1 and express as nearly as we can their interesting variations of texture4 ,the buildings on the right are too black in the photograph1 and these1 as well as the shadow thrown across the street1 we will considerably lighten4 ,after some experiment1 we find that the building on the extreme left is a nuisance1 and we omit it4 ,even then1 the one with the balcony next to it requires to be toned down in its strong values1 and so the shadows here are made much lighter1 the walls being kept white4 ,it will be found that anything like a strong emphasis of the projecting eaves of the building would detract from the effect of the tower1 so that the shadow under the eaves is1 therefore1 made grayer than in the photograph1 while that of the balcony below is made stronger than the shadow of the eaves1 but is lightened at the edge of the drawing to throw the emphasis toward the centre4 ,illustration3 ,,fig4 #dj ,c4 ,d4 ,m4 ,to add interest to the picture1 and more especially to give life to the shadows1 several figures are introduced4 ,it will be noticed that the cart is inserted at the focal point of the drawing to better assist the perspective4 ,,chapter ,,vi ,,architectural ,,drawing ,it is but a few years since architects' perspectives were built up 7it would be a mistake to say drawn7 by means of a ,t-square and the ruling pen2 and if architectural drawing has not quite kept pace with that for general illustration since1 a backward glance over the professional magazines encourages a feeling of comparative complacency4 ,that so high a standard or so artistic a character is not observable in architectural as in general illustration is1 ,i think1 not difficult to explain4 ,very few of the clever architectural draughtsmen are illustrators by profession4 ,few1 even of those who are generally known as illustrators1 are anything more--,i should perhaps say anything less--than versatile architects2 and yet ,mr4 ,pennell1 who would appear to assume1 in his book on drawing1 that the point of view of the architect is normally pictorial1 seems at a loss to explain why ,mr4 ,robert ,blum1 for instance1 can illustrate an architectural subject more artistically than any of the draughtsmen in the profession4 ,without accepting his premises1 it is remarkably creditable to architecture that it counts among its members in this country such men as ,mr4 ,b4 ,g4 ,goodhue and ,mr4 ,wilson ,eyre1 ,jr41 and in ,england such thorough artists as ,mr4 ,prentice and ,mr4 ,ernest ,george--men known even to distinction for their skill along lines of purely architectural practice1 yet any one of whom would1 ,i venture to say1 cause considerable displacement did he invade the ranks of magazine illustrators4 ,moreover 7and the suggestion is not unkindly offered71 were the architects and the illustrators to change places architecture would suffer most by the process4 ,side note3 ,the ,architects' ,case ,that the average architect should be incapable of artistically illustrating his own design1 ought1 ,i think1 to be less an occasion for surprise than that few painters1 whose point of view is essentially pictorial1 can make even a tolerable interpretation in line of their own paintings4 ,be it remembered that the pictures made by the architect are seldom the records of actualities4 ,the buildings themselves are merely contemplated1 and the illustrations are worked up from geometrical elevations in the office1 very1 very far from ,nature4 ,moreover1 the subjects are not infrequently such as lend themselves with an ill grace to picturesque illustration4 ,the structure to be depicted may1 for instance1 be a heavy cubical mass with a bald uninteresting sky-line2 or it may be a tall office building1 impossible to reconcile with natural accessories either in pictorial scale or in composition4 ,these natural accessories1 too1 the draughtsman must1 with an occasional recourse to his photograph album1 evolve out of his inner consciousness4 ,when it is further considered that such structures1 even when actualities1 are uncompromisingly stiff and immaculate in their newness1 presenting absolutely none of those interesting accidents so dear to the artist1 and perhaps with nothing whatever about them of picturesque suggestion1 we have a problem presented which is somewhat analogous to that presented by the sculpturesque possibilities of fashionable trousering4 ,that1 with such uninspiring conditions1 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 at4 ,it is rather an occasion for surprise that it exhibits so little of the artificiality of the fashion-plate after all1 and that the better part of it1 at least1 is not more unworthy than figure illustration would be were it denied the invaluable aid of the living model4 ,so much by way of apology4 ,side note3 ,the ,architects' ,point of ,view ,the architectural perspective1 however1 is not to be regarded purely from the pictorial point of view4 ,it is an illustration first1 a picture afterwards1 and almost invariably deals with an individual building1 which is the essential subject4 ,this building cannot1 therefore1 be made a mere foil for interesting picturesqueries1 nor subordinated to any scenic effect of landscape or chiaroscuro4 ,natural accessories or interesting bits of street life may be added to give it an appropriate setting2 but the result must clearly read ,building1 with landscape1 not ,landscape1 with building4 ,much suggestion for the sympathetic handling of particular subjects may be found in the character of the architecture itself4 ,the illustrator ought to enter into the spirit of the designer1 ought to feel just what natural accessories lend themselves most harmoniously to this or that particular type4 ,if the architecture be quaint and picturesque it must not have prosaic surroundings4 ,if1 on the other hand1 it be formal or monumental1 the character and scale of the accessories should be accordingly serious and dignified4 ,the rendering ought also to vary with the subject1--a free picturesque manner for the one1 a more studied and responsible handling for the other4 ,technique is the language of art1 and a stiff pompous phraseology will accord ill with a story of quaint humor or pathos1 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 document4 ,side note3 ,rendering of ,detail ,it would be well for the student1 before venturing upon whole subjects1 to learn to render details1 such as windows1 cornices1 etc4 ,windows are a most important feature of the architectural drawing1 and the beginner must study them carefully1 experimenting for the method which will best represent their glassy surfaces4 ,no material gives such play of light and shade as glass does4 ,one window is never absolutely like another2 so that while a certain uniformity in their value may be required for breadth of effect in the drawing of a building1 there is plenty of opportunity for incidental variety in their treatment4 ,a few practical hints on the rendering of windows may prove serviceable4 ,always emphasize the sash4 ,where there is no recess1 as in wooden buildings1 strengthen the inner line of sash1 as in ,fig4 #da4 ,in masonry buildings the frame and sash can be given their proper values1 the area of wood being treated broadly1 without regard to the individual members4 ,the wood may1 however1 be left white if required1 as would be the case in ,colonial designs4 ,in either case the dark shadow which the sash casts on the glass should be suggested1 if the scale of the drawing be such as to permit of it4 ,do not try to show too much4 ,one is apt to make a fussy effect1 if1 for instance1 one insists on always shading the soffit of the masonry opening1 especially if the scale of the drawing be small4 ,besides1 a white soffit is not a false but merely a forced value1 as in strong sunlight the reflected light is considerable4 ,if the frame be left white1 however1 the soffit ought to be shaded1 otherwise it will be difficult to keep the values distinct4 ,in respect of wooden buildings there is no need to always complete the mouldings of the architrave4 ,notice in ,fig4 #da that1 in the window without the muntins1 the mouldings have been carried round the top to give color1 but that in the other they are merely suggested at the corners so as to avoid confusion4 ,care should be taken to avoid mechanical rendering of the muntins4 ,for the glass itself1 a uniformly flat tone is to be avoided4 ,the tones should soften vaguely4 ,it will be found1 too1 that it is not advisable to have a strong dark effect at the top of the window and another at the bottom2 one should predominate4 ,illustration3 ,,fig4 #da ,c4 ,d4 ,m4 ,the student after careful study of ,fig4 #da should make from it enlarged drawings1 and afterwards1 laying the book aside1 proceed to render them in his own way4 ,when he has done so1 let him compare his work with the originals4 ,this process ought to be repeated several times1 the aim being always for similarity1 not for literalness of effect4 ,if he can get equally good results with another method he need not be disconcerted at the lack of any further resemblance4 ,the cornice with its shadow is another salient feature4 ,in short shadows1 such as those cast by cornices1 it is well1 if a sunny effect be desired1 to accent the bottom edge of the shadow4 ,the shadow lines ought to be generally parallel1 but with enough variation to obviate a mechanical effect4 ,they need not be vertical lines1--in fact it is better that they should take the same slant as the light4 ,if they are not absolutely perpendicular1 however1 it is well to make them distinctly oblique1 otherwise the effect will be unpleasant4 ,a clever sketch of a cornice by ,mr4 ,george ,f4 ,newton is shown in ,fig4 #db4 ,notice how well the texture of the brick is expressed by the looseness of the pen work4 ,some of the detail1 too1 is dexterously handled1 notably the bead and button moulding4 ,the strength of the cornice shadow should be determined by the tone of the roof above it4 ,to obtain for this shadow the very distinct value which it ought to have1 however1 does not require that the roof be kept always much lighter than it4 ,in the gable roof in ,fig4 #eg1 the tone of the roof is shaded lighter as it approaches the eaves1 so that the shadow may count more emphatically4 ,this order may be reversed1 as in the case of a building with dark roof and light walls1 in which case the shadow may be grayer than the lower portion of the roof1 as in ,b in ,fig4 #dd4 ,illustration3 ,,fig4 #db ,,george ,f4 ,,newton ,but the beginner should not yet hurry on to whole subjects4 ,a church porch1 as in ,fig4 #ce1 or a dormer with its shadow cast on a roof1 as in ,fig4 #dc1 will be just as beneficial a study for him as an entire building1 and will afford quite as good an opportunity for testing his knowledge of the principles of pen drawing1 with the added advantage that either of the subjects mentioned can be mapped out in a few minutes1 and that a failure or two1 therefore1 will not prove so discouraging as if a more intricate subject had to be re-drawn4 ,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 illustrator4 ,when the beginner grows faint-hearted1 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 accomplishment4 ,illustration3 ,,fig4 #dc ,c4 ,d4 ,m4 ,side note3 ,a ,general ,system ,it is a common fault of students to dive into the picture unthinkingly1 beginning anywhere1 without the vaguest plan of a general effect1 whereas it is of the utmost importance that every stroke of the pen be made with intelligent regard to the ultimate result4 ,the following general method will be found valuable4 ,pencil the outline of the entire subject before beginning the pen work4 ,it will not do to start on the rendering as soon as the building alone is pencilled out1 leaving the accessories to be put in as one goes along4 ,the adjacent buildings1 the foliage1 and even the figures must be drawn--carefully drawn--before the pen is taken up4 ,the whole subject from the very beginning should be under control1 and to that end it becomes necessary to have all the elements of it pre-arranged4 ,side note3 ,arrangement of the ,values ,next scheme out the values4 ,this is the time to do the thinking4 ,do not start out rashly as soon as everything is outlined in pencil1 confident in the belief that all windows1 for instance1 are dark1 and that you may as well make them so at once and be done with them4 ,this will be only to court disaster4 ,besides1 all windows are not dark2 they may be very light indeed4 ,the color value of nothing is absolute4 ,a shadow may seem almost black till a figure passes into it1 when it may become quite gray by comparison4 ,so a window with the sun shining full upon it1 or even one in shade1 on which a reflected light is cast1 may be brilliantly light until the next instant a cloud shadow is reflected in it1 making it densely black4 ,arrange the values1 therefore1 with reference to one general effect1 deciding first of all on the direction of the light4 ,should this be such as to throw large areas of shadow1 these masses of gray will be important elements in the color-scheme4 ,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 charcoal1 making several sketches if necessary4 ,after having determined on a satisfactory scheme1 put fixatif on the rough sketch and keep it in sight4 ,otherwise1 one is liable1 especially if the subject is an intricate one1 to be led astray by little opportunities for interesting effects here and there1 only to discover1 when too late1 that these effects do not hang together and that the drawing has lost its breadth4 ,the rough sketch is to the draughts man what manuscript notes are to the lecturer4 ,side note3 ,treatment of ,detail ,do not be over-conscious of detail4 ,it is a common weakness of the architectural draughts man to be too sophisticated in his pictorial illustration4 ,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-glass4 ,he is conscious of the fact that there are just so many brick courses to the foot1 that the clapboards are laid just so many inches to the weather1 that there are just so many mouldings in the belt course1--that everything in general is very1 very mathematical4 ,this is not because his point of view is too big1 but because it is too small4 ,he who sees so much never by any chance sees the whole building4 ,let him try to think broadly of things4 ,even should he succeed in forgetting some of these factitious details1 the result will still be stiff enough1 so hard is it to re-adjust one's attitude after manipulating the ,t-square4 ,i strongly recommend1 as an invaluable aid toward such a re-adjustment1 the habit of sketching from ,nature1--from the figure during the winter evenings1 and out of doors in summer4 ,illustration3 ,,fig4 #dd ,c4 ,d4 ,m4 ,the beginner is apt to find his effects at first rather hard and mechanical at the best1 because he has not yet attained that freedom of handling which ignores unimportant details1 suggests rather than states1 gives interesting variations of line and tone1 and differentiates textures4 ,a good part of the unpleasantness of effect will undoubtedly be found to be due to a mistaken regard for accuracy of statement1 individual mouldings being lined in as deliberately as in the geometrical office drawings1 and not an egg nor a dart slighted4 ,take1 for example1 the case of an old ,colonial building with its white cornice1 or any building with white trimmings4 ,see the effect of such a one in an elevation where all the detail is drawn1 as in ,a1 ,fig4 #dd4 ,observe that the amount of ink necessary to express this detail has made the cornice darker than the rest of the drawing1 and yet this is quite the reverse of the value which it would have in the actual building1 see ,b4 ,to obtain the true value the different mouldings which make up the cornice should be merely suggested4 ,where it is not a question of local color1 however1 this matter of elimination is largely subject to the exigencies of reproduction2 the more precisely and intimately one attempts to render detail1 the smaller the scale of the technique requires to be1 and the greater the difficulty4 ,consequently1 the more the reduction which the drawing is likely to undergo in printing1 the more one will be obliged to disregard the finer details4 ,these finer details need not1 however1 be absolutely ignored4 ,notice1 for instance1 the clever suggestion of the sculpture in the admirable drawing by ,mr4 ,f4 ,e4 ,wallis1 ,fig4 #de4 ,the conventional drawing of the faade1 ,fig4 #df1 is a fine illustration of the decorative effect of color obtainable by emphasizing the organic lines of the design4 ,illustration3 ,,fig4 #de ,,frank ,e4 ,,wallis ,side note3 ,foliage and ,figures ,the elements in a perspective drawing which present most difficulties to the architectural draughtsman are foliage and figures4 ,these are1 however1 most important accessories1 and must be cleverly handled4 ,it is difficult to say which is the harder to draw1 a tree or a human figure2 and if the student has not sketched much from ,nature either will prove a stumbling-block4 ,presuming1 therefore1 that he has already filled a few sketch-books1 he had better resort to these1 or to his photograph album1 when he needs figures for his perspective4 ,designing figures and trees out of one's inner consciousness is slow work and not very profitable2 and if the figure draughtsman may employ models1 the architect may be permitted to use photographs4 ,illustration3 ,,fig4 #df ,,harry ,,allan ,,jacobs ,unhappily for the beginner1 no two illustrators consent to render foliage1 or anything else for that matter1 in quite the same way1 and so ,i cannot present any authoritative formula for doing so4 ,this subject has been treated1 however1 in a previous chapter1 and nothing need be added here except to call attention to an employment of foliage peculiar to architectural drawings4 ,this is the broad suggestive rendering of dark leafage at the sides of a building1 to give it relief4 ,the example shown in ,fig4 #dg is from one of ,mr4 ,gregg's drawings4 ,illustration3 ,,fig4 #dg ,d4 ,a4 ,,gregg ,the rendering of the human figure need not be dealt with under this head1 as figures in an architectural subject are of necessity relatively small1 and therefore have to be rendered very broadly4 ,careful drawing is none the less essential1 however1 if their presence is to be justified2 and badly drawn figures furnish a tempting target for the critic of architectural pictures4 ,certainly1 it is only too evident that the people usually seen in such pictures are utterly incapable of taking the slightest interest whatever in architecture1 or in anything else2 and not infrequently they seem to be even more immovable objects than the buildings themselves1 so fixed and inflexible are they4 ,such figures as these only detract from the interest of the drawing1 instead of adding to it1 and the draughtsman who has no special aptitude is wise in either omitting them altogether1 or in using very few1 and is perhaps still wiser if he entrusts the drawing of these to one of his associates more accomplished in this special direction4 ,the first thing to decide in the matter of figures is their arrangement and grouping1 and when this has been determined they should be sketched in lightly in pencil4 ,in this connection a few words by way of suggestion may be found useful4 ,be careful to avoid anything like an equal spacing of the figures4 ,group the people interestingly4 ,i have seen as many as thirty individuals in a drawing1 no two of whom seemed to be acquainted1--a very unhappy condition of affairs even from a purely pictorial point of view4 ,do not over-emphasize the base of a building by stringing all the figures along the sidewalks4 ,the lines of the curbs would thus confine and frame them in unpleasantly4 ,break the continuity of the street lines with figures or carriages in the roadway1 as in ,fig4 #ee4 ,after the figures have been satisfactorily arranged1 they ought to be carefully drawn as to outline4 ,in doing so1 take pains to vary the postures1 giving them action1 and avoiding the stiff wooden1 fashion-plate type of person so common to architectural drawings4 ,when the time comes to render these accessories with the pen 7and this ought1 by the way1 to be the last thing done7 do not lose the freedom and breadth of the drawing by dwelling too long on them4 ,rise superior to such details as the patterns of neckties4 ,we will now consider the application to architectural subjects of the remarks on technique and color contained in the previous chapters4 ,side note3 ,architectural ,textures ,to learn to render the different textures of the materials used in architecture1 the student would do well to examine and study the methods of prominent illustrators1 and then proceed to forget them1 developing meanwhile a method of his own4 ,it will be instructive for him1 however1 as showing the opportunity for play of individuality1 to notice how very different1 for instance1 is ,mr4 ,gregg's manner of rendering brick work to that of ,mr4 ,railton4 ,compare ,figs4 #dh and #di4 ,one is splendidly broad1--almost decorative1--the other intimate and picturesque4 ,the work of both these men is eminently worthy of study4 ,for the sophisticated simplicity and directness of his method and the almost severe conscientiousness of his drawing1 no less than for his masterly knowledge of black and white1 no safer guide could be commended to the young architectural pen-man for the study of principles than ,mr4 ,gregg4 ,architectural illustration in ,america owes much to his influence and1 indeed1 he may be said to have furnished it with a grammar4 ,take his drawing of the ,english cottages1 ,fig4 #ej4 ,it is a masterly piece of pen work4 ,there is not a feeble or tentative stroke in the whole of it4 ,the color is brilliant and the textures are expressed with wonderful skill4 ,the student ought to carefully observe the rendering of the various roofs4 ,notice how the character of the thatch on the second cottage differs from that on the first1 and how radically the method of rendering of either varies from that used on the shingle roof at the end of the picture4 ,compare also the two gable chimneys with each other as well as with the old ruin seen over the tree-tops4 ,here is a drawing by an architectural draughtsman of an architectural actuality and not of an artificial abstraction4 ,this is a fairer ground on which to meet the illustrators of the picturesque4 ,illustration3 ,,fig4 #dh ,d4 ,a4 ,,gregg ,illustration3 ,,fig4 #di ,,herbert ,,railton ,illustration3 ,,fig4 #ej ,d4 ,a4 ,,gregg ,illustration3 ,,fig4 #ea ,,walter ,m4 ,,campbell ,illustration3 ,,fig4 #eb ,,herbert ,,railton ,illustration3 ,,fig4 #ec ,a4 ,f4 ,,jaccaci ,illustration3 ,,fig4 #ed ,c4 ,f4 ,,bragdon ,illustration3 ,,fig4 #ee ,,harvey ,,ellis ,side note3 ,examples ,mr4 ,campbell's drawing1 ,fig4 #ea1 is a very good example of the rendering of stone textures4 ,the old masonry is capitally expressed by the short irregular line4 ,the student is advised to select some portion of this1 as well as of the preceding example to copy1 using1 no matter how small the drawings he may make1 a pen not smaller than number #cjc4 ,i know of no architectural illustrator who hits stonework off quite so cleverly as ,mr4 ,goodhue4 ,notice1 in his drawing of the masonry1 in ,fig4 #h1 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 street4 ,mr4 ,railton's sketches are full of clever suggestion for the architectural illustrator in the way of texture4 ,figs4 #g and #eb show his free rendering of masonry4 ,the latter is an especially very good subject for study4 ,observe how well the texture tells in the high portion of the abutment by reason of the thick1 broken lines4 ,for a distant effect of stone texture1 the drawing by ,mr4 ,jaccaci1 ,fig4 #ec1 is a fine example4 ,in this the rendering is confined merely to the organic lines of the architecture1 and yet the texture is capitally expressed by the quality of the stroke1 which is loose and much broken4 ,the general result is extremely crisp and pleasing4 ,for broad rendering of brick textures1 perhaps there is no one who shows such a masterly method as ,mr4 ,gregg4 ,as may be seen in his sketch of the blacksmith shop1 ,fig4 #dh1 he employs an irregular dragging line with a great deal of feeling4 ,the brick panel by ,mr4 ,bragdon1 ,fig4 #ed1 is a neat piece of work4 ,there is excellent texture1 too1 in the picturesque drawing by ,mr4 ,harvey ,ellis1 ,fig4 #ee3--observe the rendering of the rough brick surface at the left side of the building4 ,a more intimate treatment is that illustrated in the detail by ,mr4 ,c4 ,e4 ,mallows1 the ,english draughts man1 ,fig4 #ef4 ,in this drawing1 however1 the edges of the building are unpleasantly hard1 and are somewhat out of character with the quaint rendering of the surfaces4 ,mr4 ,goodhue uses a similar treatment1 and1 ,i think1 rather more successfully4 ,on the whole1 the broader method1 where the texture is carried out more uniformly1 is more to be commended1 at least for the study of the beginner4 ,some examples of shingle and slate textures are illustrated by ,fig4 #eg4 ,it is advisable to employ a larger pen for the shingle1 so as to ensure the requisite coarseness of effect4 ,illustration3 ,,fig4 #ef ,c4 ,e4 ,,mallows ,illustration3 ,,fig4 #eg ,c4 ,d4 ,m4 ,illustration3 ,,fig4 #eh ,c4 ,d4 ,m4 ,side note3 ,an ,architectural ,problem ,to favorably illustrate an architectural subject it will be found generally expedient to give prominence to one particular elevation in the perspective1 the other being permitted to vanish sharply4 ,fig4 #eh may be said to be a fairly typical problem for the architectural penman4 ,the old building on the right1 it must be understood1 is not a mere accessory1 but is an essential part of the picture4 ,the matter of surroundings is the first we have to decide upon1 and these ought always to be disposed with reference to the particular form of composition which the subject may suggest4 ,were we dealing with the foreground building alone there would be no difficulty in adjusting the oval or the diamond form of composition to it499 ,as it is1 the difficulty lies in the long crested roof-line which takes the same oblique angle as the line of the street1 and the influence of this line must be1 as far as possible1 counteracted4 ,now the heavy over-hang of the principal roof will naturally cast a shadow which will be an important line in the composition1 so we arrange our accessories at the right of the picture in reference to this4 ,observe that the line of the eaves1 if continued1 would intersect the top of the gable chimney4 ,the dwelling and the tree then form a focus for the converging lines of sidewalk and roof1 thus qualifying the vertical effect of the building on the right4 ,as the obliquity of the composition is still objectionable1 we decide to introduce a foreground figure which will break up the line of the long sidewalk1 and place it so that it will increase the influence of some contrary line1 see ,fig4 #ei4 ,we find that by putting it a little to the right of the entrance and on a line with that of the left sidewalk1 the picture is pleasingly balanced4 ,footnote 993 ,see footnote on page #fb4 ,illustration3 ,,fig4 #ei ,c4 ,d4 ,m4 ,we are now ready to consider the disposition of the values4 ,as ,i have said before1 these are determined by the scheme of light and shade4 ,for this reason any given subject may be variously treated4 ,we do not necessarily seek the scheme which will make the most pictorial effect1 however1 but the one which will serve to set off the building to the best advantage4 ,it is apparent that the most intelligible idea of the form of the structure will be given by shading one side2 and1 as the front is the more important and the more interesting elevation1 on which we need sunlight to give expression to the composition1 it is natural to shade the other1 thus affording a foil for the bright effects on the front4 ,this bright effect will be further enhanced if we assume that the local color of the roof is darker than that of the walls1 so that we can give it a gray tone1 which will also make the main building stand away from the other4 ,if1 however1 we were to likewise assume that the roof of the other building were darker than its walls1 we should be obliged to emphasize the objectionable roof line1 and as1 in any case1 we want a dark effect lower down on the walls to give relief to our main building1 we will assume that the local color of the older walls is darker than that of the new4 ,the shadow of the main cornice we will make quite strong1 emphasis being placed on the nearer corner1 which is made almost black4 ,this color is repeated in the windows1 which1 coming as they do in a group1 are some of them more filled in than others1 to avoid an effect of monotony4 ,the strong note of the drawing is then given by the foreground figure4 ,illustration3 ,,fig4 #fj ,c4 ,d4 ,m4 ,another scheme for the treatment of this same subject is illustrated by ,fig4 #fj4 ,here1 by the introduction of the tree at the right of the picture1 a triangular composition is adopted4 ,observe that the sidewalk and roof lines at the left side of the building radiate to the bottom and top of the tree respectively4 ,the shadow of the tree helps to form the bottom line of the triangle4 ,in this case the foreground figure is omitted1 as it would have made the triangularity too obvious4 ,in the color-scheme the tree is made the principal dark1 and this dark is repeated in the cornice shadow1 windows and figures as before4 ,the gray tone of the old building qualifies the blackness of the tree1 which would otherwise have made too strong a contrast at the edge of the picture1 and so detracted from the interest of the main building4 ,,chapter ,,vii ,,decorative ,,drawing ,in all modern decorative illustration1 and1 indeed1 in all departments of decorative design1 the influences of two very different and distinct points of view are noticeable2 the one demanding a realistic1 the other a purely conventional art4 ,the logic of the first is1 that all good pictorial art is essentially decorative2 that of the second1 that the decorative subject must be designed in organic relation to the space which it is to occupy1 and be so treated that the design will primarily fulfil a purely ornamental function4 ,that is to say1 whatever of dramatic or literary interest the decorative design may possess must be1 as it were1 woven into it1 so that the general effect shall please as instantly1 as directly1 and as independently of the meaning1 as the pattern of an ,oriental rug4 ,the former1 it will be seen1 is an imitative1 the latter an inventive art4 ,in the one1 the elements of the subject are rendered with all possible naturalism2 while1 in the other1 effects of atmosphere and the accidental play of light and shade are sacrificed to a conventional rendering1 by which the design is kept flat upon the paper or wall4 ,one represents the point of view of the painter and the pictorial illustrator2 the other that of the designer and the architect4 ,the second1 or conventional idea1 has now come to be widely accepted as a true basic principle in decorative art4 ,side note3 ,the ,new ,decorative ,school ,the idea is not by any means novel2 it has always been the fundamental principle of ,japanese art2 but its genesis was not in ,japan4 ,the immediate inspiration of the new ,decorative school1 as far as it is concerned with the decoration of books1 at least1 was found in the art of ,drer1 ,holbein1 and the ,german engravers of the sixteenth century1--interest in which period has been lately so stimulated by the ,arts and ,crafts movement in ,england4 ,this movement1 which may fairly be regarded as one of the most powerful influences in latter-day art1 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 workers4 ,the activities of the movement were at first more directly concerned with the art of good book-making1 which fructified in the famous ,kelmscott ,press 7an institution which1 while necessarily undemocratic1 has exerted a tremendous influence on modern printing71 and to-day there is scarcely any sphere of industrial art which has not been influenced by the ,arts and ,crafts impetus4 ,side note3 ,criticisms of the ,school ,this modern decorative renaissance has a root in sound art principles1 which promises for it a vigorous vitality2 and perhaps the only serious criticism which has been directed against it is1 that it encourages archaic crudities of technique which ignore the high development of the reproductive processes of the present day2 and1 moreover1 that its sympathies tend towards medival life and feeling4 ,while such a criticism might reasonably be suggested by the work of some of its individual adherents1 it does not touch in the least the essential principles of the school4 ,art cannot be said to scout modernity because it refuses to adjust itself to the every caprice of ,science4 ,the architect rather despises the mechanically perfect brick 7very much to the surprise of the manufacturer72 and though the camera can record more than the pencil or the brush1 yet the artist is not trying to see more than he ever did before4 ,there are1 too1 many decorative illustrators who1 while very distinctly confessing their indebtedness to old examples2 are yet perfectly eclectic and individual1 both in the choice and development of motive4 ,take1 for example1 the very modern subject of the cyclist by ,mr4 ,a4 ,b4 ,frost1 ,fig4 #fa4 ,there are no archaisms in it whatever4 ,the drawing is as naturalistic and just as careful as if it were designed for a picture4 ,the shadows1 too1 are cast1 giving an effect of strong outdoor light2 but the treatment1 broad and beautifully simple so as to be reconcilable with the lettering which accompanied it1 is well within conventional lines4 ,that the character of the technical treatment is such as to place no tax on the mechanical inventiveness of the processman is not inexcusable archology4 ,illustration3 ,,fig4 #fa ,a4 ,b4 ,,frost ,a valuable attribute of this conventional art is1 that it puts no bounds to the fancy of the designer4 ,it is a figurative language in which he may get away from commonplace statement4 ,what has always seemed to me a very logical employment of convention appears in the ,punch cartoons of ,sir ,john ,tenniel and ,mr4 ,lindley ,sambourne4 ,even in those cartoons which are devoid of physical caricature 7and they are generally free from this71 we see at a glance that it is the political and not the personal relations of the person that are represented2 whereas in the naturalistic cartoons of ,puck1 for example1 one cannot resist the feeling that personalities are being roughly handled4 ,side note3 ,relation ,a chief principle in all decorative design and treatment is that of ,relation4 ,if the space to be ornamented be a book-page the design and treatment must be such as to harmonize with the printing4 ,the type must be considered as an element in the design1 and1 as the effect of a page of type is broad and uniformly flat1 the ornament must be made to count as broad and flat likewise4 ,the same principle holds equally in mural decoration4 ,there the design ought to be subordinate to the general effect of the architecture4 ,the wall is not to be considered merely as a convenient place on which to plaster a picture1 its structural purpose must be regarded1 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 order1 except that order which governs itself alone4 ,in other words1 the decoration must be organic4 ,illustration3 ,,fig4 #fb ,,alfred ,g4 ,,jones ,side note3 ,classes of ,decorative ,design ,decorative illustrations may be broadly classified under three heads as follows3 ,first1 those wherein the composition and the treatment are both conventional1 as1 for example1 in the ex-libris by ,mr4 ,a4 ,g4 ,jones1 ,fig4 #fb4 ,second1 where the composition is naturalistic1 and the treatment only is conventional1 as in ,mr4 ,frost's design4 ,third1 where the composition is decorative but not conventional1 and the treatment is semi-natural1 as in the drawing by ,mr4 ,walter ,appleton ,clark1 ,fig4 #fc4 7,the latter subject is of such a character as to lend itself without convention to a decorative effect2 and1 although the figure is modeled as in a pictorial illustration1 the organic lines are so emphasized throughout as to preserve the decorative character1 and the whole keeps its place on the page47 ,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 edges1 as in the illustration by ,mr4 ,a4 ,campbell ,cross1 ,fig4 #fd4 ,illustration3 ,,fig4 #fc ,w4 ,,appleton ,,clark ,illustration3 ,,fig4 #fd ,a4 ,,campbell ,,cross ,side note3 ,the ,decorative ,outline ,another essential characteristic of decorative drawing is the emphasized ,outline4 ,this may be heavy or delicate1 according to the nature of the subject or individual taste4 ,the designs by ,mr4 ,w4 ,nicholson and ,mr4 ,selwyn ,image1 for instance1 are drawn with a fatness of outline not to be obtained with anything but a brush2 while the outlines of ,m4 ,boutet de ,monvel1 marked as they are1 are evidently the work of a more than usually fine pen4 ,in each case1 however1 everything is in keeping with the scale of the outline adopted1 so that this always retains its proper emphasis4 ,the decorative outline should never be broken1 but should be kept firm1 positive1 and uniform4 ,it may be heavy1 and yet be rich and feeling1 as may be seen in the ,mucha design1 ,fig4#fe4 ,generally speaking1 the line ought not to be made with a nervous stroke1 but rather with a slow1 deliberate drag4 ,the natural wavering of the hand need occasion no anxiety1 and1 indeed1 it is often more helpful to the line than otherwise4 ,illustration3 ,,fig4 #fe ,,mucha ,perhaps there is no more difficult thing to do well than to model the figure while still preserving the decorative outline4 ,several examples of the skilful accomplishment of this problem are illustrated here4 ,observe1 for instance1 how in the quaint ,drer-like design by ,mr4 ,howard ,pyle1 ,fig4 #ff1 the edges of the drapery-folds are emphasized in the shadow by keeping them white1 and see how wonderfully effective the result is4 ,the same device is also to be noticed in the book-plate design by ,mr4 ,a4 ,g4 ,jones1 ,fig4 #fb1 as well as in the more conventional treatment of the black figure in the ,bradley poster1 ,fig4 #fg4 ,illustration3 ,,fig4 #ff ,,howard ,,pyle ,illustration3 ,,fig4 #fg ,,will ,h4 ,,bradley ,side note3 ,color ,in the rendering of decorative subjects1 the ,color should be1 as much as possible1 designed4 ,whereas a poster1 which is made with a view to its entire effect being grasped at once1 may be rendered in flat masses of color1 the head- or tail-piece for a decorative book-page should be worked out in more detail1 and the design should be finer and more varied in color4 ,the more the color is attained by means of pattern1 instead of by mere irresponsible lines1 the more decorative is the result4 ,observe the color-making by pattern in the book-plate by ,mr4 ,p4 ,j4 ,billinghurst1 ,fig4 #fh4 ,a great variety of textures may be obtained by means of varied patterns without affecting the breadth of the color-scheme4 ,this may be noticed in the design last mentioned1 in which the textures are extremely well rendered1 as well as in the poster design by ,mr4 ,bradley for the ,chap-,book1 just referred to4 ,illustration3 ,,fig4 #fh ,p4 ,j4 ,,billinghurst ,illustration3 ,,fig4 #fi ,,beggarstaff ,,brothers ,the color-scheme ought to be simple and broad4 ,no set rules can be laid down to govern its disposition1 which must always have reference to the whole design4 ,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 ,brothers1 ,fig4 #fi1 and that by ,mr4 ,penfield1 ,fig4#gj4 ,of course the more conventional the design the less regard need be paid to anything like a logical disposition of color4 ,a figure may be set against a black landscape with white trees without fear of criticism from reasonable people1 provided it looks effective there4 ,illustration3 ,,fig4 #gj ,,edward ,,penfield ,side note3 ,modern ,decorative ,draughtsmen ,a word or two1 in conclusion1 concerning some of the modern decorative draughtsmen4 ,of those who work in the sixteenth century manner1 ,mr4 ,howard ,pyle is unquestionably the superior technician4 ,his line1 masterly in its sureness1 is rich and charged with feeling4 ,mr4 ,h4 ,ospovat1 one of the younger group of ,english decorators1 has also a charming technique1 rather freer than that of ,mr4 ,pyle1 and yet reminding one of it4 ,mr4 ,louis ,rhead is another of the same school1 whose designs are deserving of study4 ,the example of his work shown in ,fig4 #ga--;excellent both in color and in drawing--is one of his earlier designs4 ,mr4 ,j4 ,w4 ,simpson1 in the book-plate1 ,fig4 #gb1 shows the broadest possible decorative method2 a method which1 while too broad for anything but a poster or a book-label1 is just what the student should aim at being able to attain4 ,illustration3 ,,fig4 #ga ,,louis ,j4 ,,rhead ,illustration3 ,,fig4 #gb ,j4 ,w4 ,,simpson ,some of those decorators whose work shows a ,japanese influence have a most exquisite method4 ,of these1 that remarkable draughtsman1 ,m4 ,boutet de ,monvel1 easily takes the first place4 ,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 them4 ,mr4 ,maxfield ,parrish is another masterly decorator who is noted for his free use of ,japanese precedent as well as for the resourcefulness of his technique4 ,the drawings of ,mr4 ,henry ,mc,carter1 too1 executed as they are in pure line1 are especially valuable to the student of the pen4 ,in respect both of the design and treatment of decorative subjects1 the work of the late ,aubrey ,beardsley is more individual than that of any other modern draughtsman4 ,that of our own clever and eccentric ,bradley1 while very clearly confessing its obligations1 has yet a distinctive character of its own4 ,the work of the two latter draughts men1 however1 is not to be recommended to the unsophisticated beginner for imitation1 for it is likely to be more harmful than otherwise4 ,nevertheless1 by steering clear of the grotesque conventions with which they treat the human figure1 by carefully avoiding the intense blacks in which a great deal of their work abounds1 and by generally maintaining a healthy condition of mind1 much is to be learned from a study of their peculiar methods4