Pen Drawing Part 3

Let us take another example. The photograph in Fig. 37 shows a moat-house in Normandy; and, except that the low tones of the foliage are exaggerated by the camera, the conditions are practically those which we would have to consider were we making a sketch on the spot.

First of all, then, does the subject, from the point of view at which the photograph is taken, compose well?* It cannot be said that it does. The vertical lines made by the two towers are unpleasantly emphasized by the trees behind them. The tree on the left were much better reduced in height and placed somewhat to the right, so that the top should fill out the awkward angles of the roof formed by the junction of the tower and the main building. The trees on the right might be lowered also, but otherwise permitted to retain their present relation. The growth of ivy on the tower takes an ugly outline, and might be made more interestingly irregular in form.

[Footnote *: The student is advised to consult "Composition," by Arthur W. Dow. [New York, 1898]]

[Ill.u.s.tration: FIG. 37 FROM A PHOTOGRAPH]

The next consideration is the disposition of the values. In the photograph the whites are confined to the roadway of the bridge and the bottom of the tower. This is evidently due, however, to local color rather than to the direction of the light, which strikes the nearer tower from the right, the rest of the walls being in shadow. While the black areas of the picture are large enough to carry a ma.s.s of gray without sacrificing the sunny look, such a scheme would be likely to produce a labored effect. Two alternative schemes readily suggest themselves: First, to make the archway the princ.i.p.al dark, the walls light, with a light half-tone for the roof, and a darker effect for the trees on the right. Or, second, to make these trees themselves the princ.i.p.al dark, as suggested by the photograph, allowing them to count against the gray of the roof and the ivy of the tower. This latter scheme is that which has been adopted in the sketch, Fig. 38.

[Ill.u.s.tration: FIG. 38 C. D. M.]

It will be noticed that the trees are not nearly so dark as in the photograph. If they were, they would be overpowering in so large an area of white. It was thought better, also, to change the direction of the light, so that the dark ivy, instead of acting contradictorily to the effect, might lend character to the shaded side. The lower portion of the nearer tower was toned in, partly to qualify the vertical line of the tower, which would have been unpleasant if the shading were uniform, and partly to carry the gray around to the entrance. It was thought advisable, also, to cut from the foreground, raising the upper limit of the picture correspondingly. (It is far from my intention, however, to convey the impression that any liberties may be taken with a subject in order to persuade it into a particular scheme of composition; and in this very instance an artistic photographer could probably have discovered a position for his camera which would have obviated the necessity for any change whatever;--a nearer view of the building, for one thing, would have considerably lowered the trees.)

[Ill.u.s.tration: FIG. 39 FROM A PHOTOGRAPH]

[Side note: _Third Problem_]

We will consider still another subject. The photograph, Fig. 39, shows a street in Holland. In this case, the first thing we have to determine is where the interest of the subject centres. In such a perspective the salient point of the picture often lies in a foreground building; or, if the street be merely a setting for the representation of some incident, in a group of foreground figures.

In either case the emphasis should be placed in the foreground, the distant vanis.h.i.+ng lines of the street being rendered more or less vaguely. In the present subject, however, the converging sky and street lines are broken by the quaint clock-tower. This and the buildings underneath it appeal to us at once as the most important elements of the picture. The nearer buildings present nothing intrinsically interesting, and therefore serve no better purpose than to lead the eye to the centre of interest. Whatever actual values these intermediate buildings have that will hinder their usefulness in this regard can, therefore, be changed or actually ignored without affecting the integrity of the sketch or causing any pangs of conscience.

The building on the extreme left shows very strong contrasts of color in the black shadow of the eaves and of the shop-front below.

These contrasts, coming as they do at the edge of the picture, are bad. They would act like a showy frame on a delicate drawing, keeping the eye from the real subject. It may be objected, however, that it is natural that the contrasts should be stronger in the foreground. Yes; but in looking straight at the clock-tower one does not see any such dark shadow at the top of the very uninteresting building in the left foreground. The camera saw it, because the camera with its hundred eyes sees everything, and does not interest itself about any one thing in particular. Besides, if the keeper of the shop had the bad taste to paint it dark we are not bound to make a record of the fact; nor need we a.s.sume that it was done out of regard to the pictorial possibilities of the street. We decide, therefore, to render, as faithfully as we may, the values of the clock-tower and its immediate surroundings, and to disregard the discordant elements; and we have no hesitation in selecting for princ.i.p.al emphasis in our drawing, Fig. 40, the shadow under the projecting building. This dark accent will count brilliantly against the foreground and the walls of the buildings, which we will treat broadly as if white, ignoring the slight differences in value shown in the photograph. We retain, however, the literal values of the clock-tower and the buildings underneath it, and express as nearly as we can their interesting variations of texture.

The buildings on the right are too black in the photograph, and these, as well as the shadow thrown across the street, we will considerably lighten. After some experiment, we find that the building on the extreme left is a nuisance, and we omit it. Even then, the one with the balcony next to it requires to be toned down in its strong values, and so the shadows here are made much lighter, the walls being kept white. It will be found that anything like a strong emphasis of the projecting eaves of the building would detract from the effect of the tower, so that the shadow under the eaves is, therefore, made grayer than in the photograph, while that of the balcony below is made stronger than the shadow of the eaves, but is lightened at the edge of the drawing to throw the emphasis toward the centre.

[Ill.u.s.tration: FIG. 40 C. D. M.]

To add interest to the picture, and more especially to give life to the shadows, several figures are introduced. It will be noticed that the cart is inserted at the focal point of the drawing to better a.s.sist the perspective.

CHAPTER VI

ARCHITECTURAL DRAWING

It is but a few years since architects' perspectives were "built up" (it would be a mistake to say "drawn") by means of a T-square and the ruling pen; and if architectural drawing has not quite kept pace with that for general ill.u.s.tration since, a backward glance over the professional magazines encourages a feeling of comparative complacency. That so high a standard or so artistic a character is not observable in architectural as in general ill.u.s.tration is, I think, not difficult to explain. Very few of the clever architectural draughtsmen are ill.u.s.trators by profession.

Few, even of those who are generally known as ill.u.s.trators, are anything more--I should perhaps say anything _less_--than versatile architects; and yet Mr. Pennell, who would appear to a.s.sume, in his book on drawing, that the point of view of the architect is normally pictorial, seems at a loss to explain why Mr. Robert Blum, for instance, can ill.u.s.trate an architectural subject more artistically than any of the draughtsmen in the profession. Without accepting his premises, it is remarkably creditable to architecture that it counts among its members in this country such men as Mr. B.

G. Goodhue and Mr. Wilson Eyre, Jr., and in England such thorough artists as Mr. Prentice and Mr. Ernest George--men known even to distinction for their skill along lines of purely architectural practice, yet any one of whom would, I venture to say, cause considerable displacement did he invade the ranks of magazine ill.u.s.trators. Moreover (and the suggestion is not unkindly offered), were the architects and the ill.u.s.trators to change places architecture would suffer most by the process.

[Side note: _The Architects' Case_]

That the average architect should be incapable of artistically ill.u.s.trating his own design, ought, I think, to be less an occasion for surprise than that few painters, whose point of view is essentially pictorial, can make even a tolerable interpretation in line of their own paintings. Be it remembered that the pictures made by the architect are seldom the records of actualities. The buildings themselves are merely contemplated, and the ill.u.s.trations are worked up from geometrical elevations in the office, very, very far from Nature.

Moreover, the subjects are not infrequently such as lend themselves with an ill grace to picturesque ill.u.s.tration. The structure to be depicted may, for instance, be a heavy cubical ma.s.s with a bald uninteresting sky-line; or it may be a tall office building, impossible to reconcile with natural accessories either in pictorial scale or in composition. These natural accessories, too, the draughtsman must, with an occasional recourse to his photograph alb.u.m, evolve out of his inner consciousness. When it is further considered that such structures, even when actualities, are uncompromisingly stiff and immaculate in their newness, presenting absolutely none of those interesting accidents so dear to the artist, and perhaps with nothing whatever about them of picturesque suggestion, we have a problem presented which is somewhat a.n.a.logous to that presented by the sculpturesque possibilities of "fas.h.i.+onable trousering." That, with such uninspiring conditions, architectural ill.u.s.tration does not develop so interesting a character nor attain to so high a standard as distinguishes general ill.u.s.tration is not to be wondered at. It is rather an occasion for surprise that it exhibits so little of the artificiality of the fas.h.i.+on-plate after all, and that the better part of it, at least, is not more unworthy than figure ill.u.s.tration would be were it denied the invaluable aid of the living model.

So much by way of apology.

[Side note: _The Architects' Point of View_]

The architectural perspective, however, is not to be regarded purely from the pictorial point of view. It is an ill.u.s.tration first, a picture afterwards, and almost invariably deals with an individual building, which is the essential subject. This building cannot, therefore, be made a mere foil for interesting "picturesqueries,"

nor subordinated to any scenic effect of landscape or chiaroscuro.

Natural accessories or interesting bits of street life may be added to give it an appropriate setting; but the result must clearly read "Building, with landscape," not "Landscape, with building."

Much suggestion for the sympathetic handling of particular subjects may be found in the character of the architecture itself. The ill.u.s.trator ought to enter into the spirit of the designer, ought to feel just what natural accessories lend themselves most harmoniously to this or that particular type. If the architecture be quaint and picturesque it must not have prosaic surroundings. If, on the other hand, it be formal or monumental, the character and scale of the accessories should be accordingly serious and dignified. The rendering ought also to vary with the subject,--a free picturesque manner for the one, a more studied and responsible handling for the other. Technique is the language of art, and a stiff pompous phraseology will accord ill with a story of quaint humor or pathos, while the homely diction that might answer very well would be sure to struggle at a disadvantage with the stately meanings and diplomatic subtleties of a state doc.u.ment.

[Side note: _Rendering of Detail_]

It would be well for the student, before venturing upon whole subjects, to learn to render details, such as windows, cornices, etc. Windows are a most important feature of the architectural drawing, and the beginner must study them carefully, experimenting for the method which will best represent their gla.s.sy surfaces. No material gives such play of light and shade as gla.s.s does. One window is never absolutely like another; so that while a certain uniformity in their value may be required for breadth of effect in the drawing of a building, there is plenty of opportunity for incidental variety in their treatment.

A few practical hints on the rendering of windows may prove serviceable.

Always emphasize the sash. Where there is no recess, as in wooden buildings, strengthen the inner line of sash, as in Fig. 41. In masonry buildings the frame and sash can be given their proper values, the area of wood being treated broadly, without regard to the individual members. The wood may, however, be left white if required, as would be the case in Colonial designs. In either case the dark shadow which the sash casts on the gla.s.s should be suggested, if the scale of the drawing be such as to permit of it.

Do not try to show too much. One is apt to make a fussy effect, if, for instance, one insists on always shading the soffit of the masonry opening, especially if the scale of the drawing be small.

Besides, a white soffit is not a false but merely a forced value, as in strong sunlight the reflected light is considerable. If the frame be left white, however, the soffit ought to be shaded, otherwise it will be difficult to keep the values distinct. In respect of wooden buildings there is no need to always complete the mouldings of the architrave. Notice in Fig. 41 that, in the window without the muntins, the mouldings have been carried round the top to give color, but that in the other they are merely suggested at the corners so as to avoid confusion. Care should be taken to avoid mechanical rendering of the muntins. For the gla.s.s itself, a uniformly flat tone is to be avoided. The tones should soften vaguely. It will be found, too, that it is not advisable to have a strong dark effect at the top of the window and another at the bottom; one should predominate.

[Ill.u.s.tration: FIG. 41 C. D. M.]

The student after careful study of Fig. 41 should make from it enlarged drawings, and afterwards, laying the book aside, proceed to render them in his own way. When he has done so, let him compare his work with the originals. This process ought to be repeated several times, the aim being always for _similarity_, not for _literalness_ of effect. If he can get equally good results with another method he need not be disconcerted at the lack of any further resemblance.

The cornice with its shadow is another salient feature. In short shadows, such as those cast by cornices, it is well, if a sunny effect be desired, to accent the bottom edge of the shadow. The shadow lines ought to be generally parallel, but with enough variation to obviate a mechanical effect. They need not be vertical lines,--in fact it is better that they should take the same slant as the light.

If they are not absolutely perpendicular, however, it is well to make them distinctly oblique, otherwise the effect will be unpleasant.

A clever sketch of a cornice by Mr. George F. Newton is shown in Fig. 42. Notice how well the texture of the brick is expressed by the looseness of the pen work. Some of the detail, too, is dexterously handled, notably the bead and b.u.t.ton moulding.

The strength of the cornice shadow should be determined by the tone of the roof above it. To obtain for this shadow the very distinct value which it ought to have, however, does not require that the roof be kept always much lighter than it. In the gable roof in Fig. 57, the tone of the roof is shaded lighter as it approaches the eaves, so that the shadow may count more emphatically. This order may be reversed, as in the case of a building with dark roof and light walls, in which case the shadow may be grayer than the lower portion of the roof, as in "B" in Fig. 44.

[Ill.u.s.tration: FIG. 42 GEORGE F. NEWTON]

But the beginner should not yet hurry on to whole subjects. A church porch, as in Fig. 35, or a dormer with its shadow cast on a roof, as in Fig. 43, will be just as beneficial a study for him as an entire building, and will afford quite as good an opportunity for testing his knowledge of the principles of pen drawing, with the added advantage that either of the subjects mentioned can be mapped out in a few minutes, and that a failure or two, therefore, will not prove so discouraging as if a more intricate subject had to be re-drawn. I have known promising beginners to give up pen and ink drawing in despair because they found themselves unequal to subjects which would have presented not a few difficulties to the experienced ill.u.s.trator. When the beginner grows faint-hearted, let him seek consolation and encouragement in the thought that were pen drawing something to be mastered in a week or a month there would be small merit in the accomplishment.

[Ill.u.s.tration: FIG. 43 C. D. M.]

[Side note: _A General System_]

It is a common fault of students to dive into the picture unthinkingly, beginning anywhere, without the vaguest plan of a general effect, whereas it is of the utmost importance that every stroke of the pen be made with intelligent regard to the ultimate result. The following general method will be found valuable.

Pencil the outline of the entire subject before beginning the pen work. It will not do to start on the rendering as soon as the building alone is pencilled out, leaving the accessories to be put in as one goes along. The adjacent buildings, the foliage, and even the figures must be drawn--carefully drawn--before the pen is taken up.

The whole subject from the very beginning should be under control, and to that end it becomes necessary to have all the elements of it pre-arranged.

[Side note: _Arrangement of the Values_]

Next scheme out the values. This is the time to do the thinking. Do not start out rashly as soon as everything is outlined in pencil, confident in the belief that all windows, for instance, are dark, and that you may as well make them so at once and be done with them. This will be only to court disaster. Besides, all windows are not dark; they may be very light indeed. The color value of nothing is absolute. A shadow may seem almost black till a figure pa.s.ses into it, when it may become quite gray by comparison. So a window with the sun s.h.i.+ning full upon it, or even one in shade, on which a reflected light is cast, may be brilliantly light until the next instant a cloud shadow is reflected in it, making it densely black. Arrange the values, therefore, with reference to one general effect, deciding first of all on the direction of the light. Should this be such as to throw large areas of shadow, these ma.s.ses of gray will be important elements in the color-scheme. An excellent way to study values is to make a tracing-paper copy of the line drawing and to experiment on this for the color with charcoal, making several sketches if necessary. After having determined on a satisfactory scheme, put fixatif on the rough sketch and keep it in sight. Otherwise, one is liable, especially if the subject is an intricate one, to be led astray by little opportunities for interesting effects here and there, only to discover, when too late, that these effects do not hang together and that the drawing has lost its breadth. The rough sketch is to the draughts man what ma.n.u.script notes are to the lecturer.

[Side note: _Treatment of Detail_]

Do not be over-conscious of detail. It is a common weakness of the architectural draughts man to be too sophisticated in his pictorial ill.u.s.tration. 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 a.s.sistance of a field-gla.s.s. He is conscious of the fact that there are just so many brick courses to the foot, that the clapboards are laid just so many inches to the weather, that there are just so many mouldings in the belt course,--that everything in general is very, very mathematical. This is not because his point of view is too big, but because it is too small. He who sees so much never by any chance sees the _whole building_. Let him try to think broadly of things. Even should he succeed in forgetting some of these fact.i.tious details, the result will still be stiff enough, so hard is it to re-adjust one's att.i.tude after manipulating the T-square. I strongly recommend, as an invaluable aid toward such a re-adjustment, the habit of sketching from Nature,--from the figure during the winter evenings, and out of doors in summer.

[Ill.u.s.tration: FIG. 44 C. D. M.]

The beginner is apt to find his effects at first rather hard and mechanical at the best, because he has not yet attained that freedom of handling which ignores unimportant details, suggests rather than states, gives interesting variations of line and tone, and differentiates textures. A good part of the unpleasantness of effect will undoubtedly be found to be due to a mistaken regard for accuracy of statement, individual mouldings being lined in as deliberately as in the geometrical office drawings, and not an egg nor a dart slighted. Take, for example, the case of an old Colonial building with its white cornice, or any building with white tr.i.m.m.i.n.gs. See the effect of such a one in an "elevation" where all the detail is drawn, as in "A," Fig. 44. Observe that the amount of ink necessary to express this detail has made the cornice darker than the rest of the drawing, and yet this is quite the reverse of the value which it would have in the actual building, see "B." To obtain the true value the different mouldings which make up the cornice should be merely suggested. Where it is not a question of local color, however, this matter of elimination is largely subject to the exigencies of reproduction; the more precisely and intimately one attempts to render detail, the smaller the scale of the technique requires to be, and the greater the difficulty. Consequently, the more the reduction which the drawing is likely to undergo in printing, the more one will be obliged to disregard the finer details. These finer details need not, however, be absolutely ignored. Notice, for instance, the clever suggestion of the sculpture in the admirable drawing by Mr. F. E. Wallis, Fig. 45. The conventional drawing of the facade, Fig. 46, is a fine ill.u.s.tration of the decorative effect of color obtainable by emphasizing the organic lines of the design.

[Ill.u.s.tration: FIG. 45 FRANK E. WALLIS]

[Side note: _Foliage and Figures_]