Mass Drawing Practical

This is the form of drawing with which painting in the oil medium is properly concerned. The distinction between drawing and painting that is sometimes made is a wrong one in so far as it conveys any idea of painting being distinct from drawing. Painting is drawing (i.e. the expression of form) with the added complication of colour and tone. And with a brush full of paint as your tool, some form of mass drawing must be adopted, so that at the same time that the student is progressing with line...

Set Of Four Photographs Of The Same Study From The Life In Different Stages

In the chapter on line work it was stated that Lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atmosphere, and these rules apply equally well to the direction of the brush strokes (the brush work) in a painting. The brush swinging round the forms suggests fore-shortening, andfulness of form generally, and across the forms softness, while the brush following down the forms...

Mass Drawing

In the preceding chapter it has, I hope, been shown that outline drawing is an instinct with Western artists and has been so from the earliest times that this instinct is due to the fact that the first mental idea of an object is the sense of its form as a felt thing, not a thing seen and that an outline drawing satisfies and appeals directly to this mental idea of objects. But there is another basis of expression directly related to visual appearances that in the fulness of time was evolved,...

Drawing By Leonardo Da Vinci From The Royal Collection At Windsor

Art is the expression of the invisible by means of the visible expresses the same idea, and it is this that gives to art its high place among the works of man. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite...

Bqx

East, arts of the, 57 Edges, variety of, 192 Edges, the importance of the subject of, 198 Embarquement pour l'lle de Cythere, Watteau's, 211 Emerson on the beautiful, 214 Emotional power of the arts, 20 Emotional significance of objects, 31 Erechtheum, moulding from the, 138 Etching, 283 Exercises in mass drawing, 110 Exhibitions, 57

From A Silverpoint Drawing

Its charm is the extreme delicacy of its grey-black lines. 275 Silver and GothdiPainQ lead pencil, and of even greater delicacy, is silver-point drawing. A more ancient method, it consists in drawing with a silver point on paper the surface of which has been treated with a faint wash of Chinese white. Without this wash the point will not make a mark. For extreme delicacy and purity of line no medium can surpass this method. And for the expression of a beautiful line, such as a profile, nothing...

Drawing

By drawing is here meant the expression of form upon a plane surface. Art probably owes more to form for its range of expression than to colour. Many of the noblest things it is capable of conveying are expressed by form more directly than by anything else. And it is interesting to notice how some of the world's greatest artists have been very restricted in their use of colour, preferring to depend on form for their chief appeal. It is reported that Apelles only used three colours, black, red,...

Vision

It is necessary to say something about Vision in the first place, if we are to have any grasp of the idea of form. An act of vision is not so simple a matter as the student who asked her master if she should paint nature as she saw nature would seem to have thought. And his answer, Yes, madam, provided you don't see nature as you paint nature, expressed the first difficulty the student of painting has to face the difficulty of learning to see. Let us roughly examine what we know of vision....

Introduction

The best things in an artist's work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its...

Additional Lines Drawn To Relate Original Lines Taking As Dominant L The Same As J With Addition Of Masses To Cover

In H, I have introduced a straight line into our initial scribble, and thisis& mewhat increases the difficulties of relating them. But by drawing 7-8 and 9-10 radiating from 1-2, we have introduced this straight line to 5-6. For although 5-6 and 9-10 do not radiate from the same point, they are obviously in sympathy. It is only a short part of the line at the end marked 5 that is out of sympathy, and had 5-6 taken the course of the dotted line, it would have radiated from the same point as...

L

Landscapes of Watteau, the, 211 Lang, Andrew, his definition of art, 19 Lawrence, Lord, portrait of, 250 Lead pencil, 192, 274 Lecoq de Boisbaudran, M., 260 Lehmann, R., portraits by, 250 Leonardo da Vinci, 51, 206, 227 Light, 38 Light and shade, principles of, 51, 95 Lighting and light effects, 202 Likeness, catching the, 240 Line and the circle, the, 137 Line drawing and mass drawing, 48, 50 Lines expressing repose or energy, 163 Line, the power of the, 50, 80 Lines, value of, in...

Lines Accentuates The Sharpnesses Of The Features

ILLttBTQATiSa thk I'Ji'KkCT US 'l1 kLb- HaiIK tVrh ah Diagiiam XXI, OP riminii THK HAIH j,OTV AT THB BACK. Hutv TJIJi KULLRIt LlSKS THL'H CIVKIf ACCENTL'ATK THK FdtUiXt& B OF TIIK PthTtflUB iLLttBTQATiSa thk I'Ji'KkCT US 'l1 kLb- HaiIK tVrh ah Diagiiam XXI, OP riminii THK HAIH j,OTV AT THB BACK. Hutv TJIJi KULLRIt LlSKS THL'H CIVKIf ACCENTL'ATK THK FdtUiXt& B OF TIIK PthTtflUB ILLUSTRATING THE EFFECT ON THE SAME FACE AS DIAGRAM XXI, OF PUTTING THE HAIR LOW AT THE BACK. HOW THE FULLER...

List Of Pla

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES II. DRAWING BY LEONARDO DA VINCI III. STUDY FOR APRIL IV. STUDY FOR THE FIGURE OF BOREAS VII. STUDY FOR THE FIGURE OF APOLLO X. EXAMPLE OF XVTH CENTURY CHINESE WORK XII. STUDY ATTRIBUTED TO MICHAEL ANGELO XV. FROM A PENCIL DRAWING BY INGRES XVII. A DEMONSTRATION DRAWING AT THE GOLDSMITHS' COLLEGE XVIII. STUDY ILLUSTRATING METHOD OF DRAWING XIX. ILLUSTRATING CURVED LINES xiii XX. STUDY FOR THE FIGURE OF LOVE XXI....

Opposite Page Is Arranged

1 Ktnn h ' i v k t un (iniii.Hr WiTTiili LowmO H rih . h .4 IB dl i hdUilrri it lu rr Sf- rill' - ' r ' EP 1 Ktnn h ' i v k t un (iniii.Hr WiTTiili LowmO H rih . h .4 IB dl i hdUilrri it lu rr Sf- rill' - ' r ' EP L'EMBARQUEMENT POUR CYTH RE. WATTEAU (LOUVRE) A typical example of composition founded on gradated tones. (See analysis on opposite page.) But Watteau's great accomplishment was in doing this without degenerating into feeble prettiness, and this he did by an insistence on character in...

Please Read This Before You Distribute Or Use This Work

To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase Project Gutenberg), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http gutenberg.net license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project...

Position Of Points

In measuring comparative distances the needle should always be held arm's length and the eye kept in one position during the operation and, whether held vertically or horizontally, always kept in a vertical plane, that is, either straight up and down, or across at right angles to the line of your vision. If these things are not carefully observed, your comparisons will not be true. The method employed is to run the thumb-nail up the needle until the distance from the point so reached to the top...

Rhythm Proportion

Rules and canons of proportion designed to reduce to a mathematical formula the things that move us in beautiful objects, have not been a great success the beautiful will always defy such clumsy analysis. But however true it is that beauty of proportion must ever be the result of the finer senses of the artist, it is possible that canons of proportion, such as those of the human body, may be of service to the artist by offering some standard from which he can depart at the dictates of his...

Rhythm Unity Of Line

Unity of line is a bigger quality than variety, and as it requires a larger mental grasp, is more rarely met with. The bigger things in drawing and design come under its consideration, including, as it does, the relation of the parts to the whole. Its proper consideration would take us into the whole field of Composition, a subject needing far more consideration than it can be given in this book. In almost all compositions a rhythmic flow of lines can be traced. Not necessarily a flow of actual...

Showing The Clash Of Lines In Sympathy With The Martial Nature Of This Subject

R.Vd t llf St 1' IMIIHi I'.WhAi LV .U XAliife4AliUAlJ.KIIVJ Mluilrflllni hH I il JtrhlHri lihr* in cumpOklLh* ( diiftBtfi uU nppaiJIr ii(P > R.Vd t llf St 1' IMIIHi I'.WhAi LV .U XAliife4AliUAlJ.KIIVJ Mluilrflllni hH I il JtrhlHri lihr* in cumpOklLh* ( diiftBtfi uU nppaiJIr ii(P > BATTLE OF ST. EGIDIO. PAOLO UCCELLO (NATIONAL GALLERY) Illustrating the effect of jarring lines in composition. (See diagram on opposite page.) Lines radiating in smooth curves from a common centre are another...

The Study Of Drawing

We have seen that there are two extreme points of view from which the representation of form can be approached, that of outline directly related to the mental idea of form with its touch association on the one hand, and that of mass connected directly with the visual picture on the retina on the other. Now, between these two extreme points of view there are an infinite variety of styles combining them both and leaning more to the one side or the other, as the case may be. But it is advisable...

Variety Of Mass

The masses that go to make up a picture have variety in their shape, their tone values, their edges, in texture or quality, and in gradation. Quite a formidable list, but each of these particulars has some rhythmic quality of its own about which it will be necessary to say a word. Variety of Shapo. variety of shape, many things that were said about lines apply equally to the spaces enclosed by them. It is impossible to write of the rhythmic possibilities that the infinite variety of shapes...

Unity Of Mass

What has been said about unity of line applies obviously to the outlines bounding the masses, so that we need not say anything further on that subject. The particular quality of which something should be said, is the unity that is given to a picture by means of a well-arranged and rhythmically considered scheme of tone values. The modifications in the relative tone values of objects seen under different aspects of light and atmosphere are infinite and ever varying and this is quite a special...

Portrait Drawing

There is something in every individual that is likely for a long time to defy the analysis of science. When you have summed up the total of atoms or electrons or whatever it is that goes to the making of the tissues and also the innumerable complex functions performed by the different parts, you have not yet got on the track of the individual that governs the whole performance. The effect of this personality on the outward form, and the influence it has in modifying the aspect of body and...

The Visual Memory

The memory is the great storehouse of artistic material, the treasures of which the artist may know little about until a chance association lights up some of its dark recesses. From early years the mind of the young artist has been storing up impressions in these mysterious chambers, collected from nature's aspects, works of art, and anything that comes within the field of vision. It is from this store that the imagination draws its material, however fantastic and remote from natural...

Materials

The materials in which the artist works are of the greatest importance 2i7n2determining what qualities in the infinite complexity of nature he selects for expression. And the good draughtsman will find out the particular ones that belong to whatever medium he selects for his drawing, and be careful never to attempt more than it is capable of doing. Every material he works with possesses certain vital qualities peculiar to itself, and it is his business to find out what these are and use them to...

Line Drawing Practical

Seeing that the first condition of your drawing is that it has to be made on a flat surface, no matter whether it is to be in line or mass you intend to draw, it is obvious that appearances must be reduced to terms of a flat surface before they can be expressed on paper. And this is the first difficulty that confronts the student in attempting to draw a solid object. He has so acquired the habit of perceiving the solidity of things, as was explained in an earlier chapter, that no little...

Illustrating Curved Links Suggesting Fullness And Foreshortening

I should not have troubled the reader with this tedious diagram were it not that certain facts about light and shade can be learned from it. The first is that the high lights come much more within the edge of the object than you would have expected. With the light directly opposite point 7, one might have thought the highest light would have come there, and that is where many students put it, until the loss of roundness in the appearance of their work makes them look more carefully for its...

Line Drawing

Most of the earliest forms of drawing known to us in history, like those of the child we were discussing in the last chapter, are largely in the nature of outline drawings. This is a remarkable fact considering the somewhat remote relation lines have to the complete phenomena of vision. Outlines can only be said to exist in appearances as the boundaries of masses. But even here a line seems a poor thing from the visual point of view as the boundaries are not always clearly defined, but are...

Study Illustrating Method Of Drawing

Centre line and transverse lines for settling position of salient points. 2nd. Blocking in, as shown in further leg. 3rd. Drawing in the forms and shading, as shown in front leg. 4th. Rubbing with fingers (giving a faint middle tone over the whole), and picking out high lights with bread, as shown on back and arms. A drawing being blocked out in such a state as the further leg and foo9 2)f our demonstration drawing (page 90 Transcribers Note Plate XVIII ), it is...

The Academic And Conventional

The terms Academic and Conventional are much used in criticism and greatly feared by the criticised, often without either party appearing to have much idea of what is meant. New so-called schools of painting seem to arrive annually with the spring fashions, and sooner or later the one of last year gets called out of date, if not conventional and academic. And as students, for fear of having their work called by one or other of these dread terms, are inclined to rush into any new extravagance...

Egg And Dart Moulding From One Of The Caryatides From The Erechtheum In The British Museum

Erechtheum

The line of a profile is often one of great beauty, only here the variety1i4s01apt to overbalance the unity or run of the line. The most beautiful profiles are usually those in which variety is subordinated to the unity of the contour. I fancy the Greeks felt this when they did away with the hollow above the nose, making the line of the forehead run, with but little interruption, to the tip of the nose. The unity of line is increased, and the variety made more interesting. The idea that this...

Love And Death By Gf Watts

Homosexual Science Space From 1888

A noble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy. In these diagrams of the anatomy of compositions the lines selected are not always very obvious in the originals and are justly much broken into by truths of natural appearance. But an emotional significance...

Illustrating The Flow Of Lines On Which The Rhythmic Unity Of This Picture Depends

It,irrnt i_ . KUiWfljfrui A tatLLirul rftblldilt Of B LI r III nriupd Imp Aplim . brt dlfepiH Ufl Hll P Ji f- T Thlir Umlvk lir VhJM h,. It,irrnt i_ . KUiWfljfrui A tatLLirul rftblldilt Of B LI r III nriupd Imp Aplim . brt dlfepiH Ufl Hll P Ji f- T Plate XXXVII. THE BIRTH OF VENUS. BOTTICELLI FLORENCE A beautiful example of Botticelli's refined line rhythm. See diagram on opposite page for analysis. In both cases note the way the lines lead up to the principal subject,...