CHAPTER III.ELEMENTARY PRACTICE.
To those who have never had any experience whatever in drawing, it is best to begin with straight lines. This is especially necessary in the case of children, who must first be taught to control the hand before proceeding further.
The next step is to draw curved lines representing half of a circle.
From this proceed to draw angles, circles, squares, and other such simple forms in outline, until the muscles of the hand have learned to obey the will.
The system we wish to teach is first to begin in this way, then to advance gradually by copying some simple drawings, executed in the modern method, until the use of charcoal and crayon is thoroughly understood.
These drawings should be progressive, commencing with the features in different positions, and leading gradually to the full head, feet, hands, torso, etc., until the full length figure is reached.
By this time sufficient proficiency will have been attained to enable the student to put aside copying and proceed to drawing from the cast, when the same progressive studies should be observed until a sufficiently thorough foundation in drawing is acquired to warrant the final step of drawing from life, which is the most difficult though the most interesting of all.
In view of these necessities, a series of studies in charcoal and crayon have been prepared to accompany this volume. These should be carefully copied, according to the directions given.
Before beginning to draw, whether from copies, from the cast, or from life,it is most important that the room be properly lighted.
If possible a north light should be selected, although that is not absolutely necessary, it is, however, most generally preferred by artists, as the light is more steady, and less influenced by the direct rays of the sun. There should be no cross light, the light coming from one direction only; therefore, if there are several windows on different sides of a room, all should be darkened while working except those on one side.
This light should so be arranged as to come from above rather than from below, and if the window is a long one, curtain off the lower part, so that the light begins about six feet from the floor. If more than one person is working in the same room, several windows on the same side are admissible. If, however, a studio were being built expressly for the purpose, the ideal light would be one large, high side window, extending from six to ten feet along the wall, beginning at the floorand reaching to the ceiling, where it is joined by a skylight, which is arranged with an adjustable curtain, so that it may only be uncovered when needed. In the same way the lower half of the window should be curtained off up to a height of six feet for ordinary purposes. The whole length of the window is sometimes useful in simulating an out-of-door effect of light.
Some famous painters have had studios built entirely of glass, so that they could have all the advantages of working in the open air without the exposure. Adjustable curtains would turn the glass-house into an ordinary in-door studio, with conventional light. Few of us are so fortunate as to command these conveniences, and truth compels us to admit that they are not strictly necessary to good work.
As we have already stated, the easel is now universally adopted for drawing, as well as painting, instead of the old methods, which necessitated leaning over atable. The plate to be copied is also placed upright, in the same upright position that would be occupied by a cast or live model, so that, even in this elementary training, the eye becomes accustomed to look naturally from the object or study being copied to the paper on the easel.
When preparing to draw, the easel should be placed in front of the window and so arranged that the light will come from behind, and fall over the left shoulder of the worker.
Two or three sheets of charcoal paper are now firmly fastened to the portfolio or drawing-board, which should in no case be smaller than the paper, but even larger, projecting at least half an inch beyond the regular-sized “Lalanne” or “Michelet” sheets.
To fasten the paper use ordinary flat brass-headed paper tacks, putting one in each corner, and one on each side between, making six in all. The two sheets of paper underneath the one used for drawing are so placed in order to make a firmerand smoother foundation than could be obtained by spreading a single sheet directly upon the hard surface of the wooden board or portfolio, where any crack, knot, wrinkle, or other imperfection would show through when rubbed with the stump.
This arrangement is of great importance, and should never be neglected.
For the benefit of the actual beginners, we will commence with the drawing of straight lines, which is not nearly so easy as might be supposed.
The foundation of technical skill in drawing of many kinds, notably the charcoal and crayon point, pen and ink, and pencil, depends upon the power of making lines with correctness and dexterity; and though later on, in drawing and painting, we learn to see only by form, almost entirely discarding the lineper se, yet this early training of the hand often gives firmness and surety of touch to thepainter’s brush which might otherwise be wanting, and is in many ways felt to be valuable.
To begin the practice of drawing straight lines, first make two dots of several inches apart, let us say, about three inches from one point to the other. Let these dots at first be perpendicular, one being directly above the other.
Sharpen the charcoal to a point and draw it slowly from the upper to the lower point several times, at first without actually touching the paper, to accustom the eye to the distance; then make the actual line between the two, bearing lightly upon the paper and making a line of uniform thickness.
Make these lines in rows parallel to each other and about an inch apart, continuing the exercise until you are able to make perfectly straight upright lines.
The next exercise consists of drawing horizontal lines in the same manner. After this, oblique lines should be practiced, inclining in different directions.
Remember that no ruling, measuring or mechanical aids of any kind are to be made use of, the object being to train eye and hand.
Curved lines are of course more difficult than straight for those who are entirely untrained. Begin to draw these by making the two dots at first as for the straight line; connect these dots with a very light line, and then through the center draw another line at right angles, dividing the first exactly in two. This line, projecting from one side only, must be exactly the same length as half the first line thus
Realisation of the instructions
Now connect the extremity of these lines with a curved line extending from one end to the middle and thence to the other end. When practice has enabled the student to draw these curves correctly, the straight lines are omitted and the curves drawn only from point to point.
Let this simple exercise be repeated by drawing the curves in every direction. When the pupil is able to draw both straight and curved lines thus with ease he has already gained an important step.
After this, simple forms should be drawn in outline, using such copies as 120 studies in freehand, called “How to Draw,” by Chas. Ryan, costing 25 cents, published by Cassell & Company.
A box of blocks should next be procured, which are sold by art dealers for the purpose, and the student should begin with the simplest forms and draw them from nature, in outline at first, progressing gradually to more complicated forms.
The next step is shading, which is done at first in the simplest manner. Theoutline sketched in, the proportions are ascertained to be correct and the shadow and light are divided into two great masses without detail and blocked in as broadly as possible, according to the method given in the following pages.
Learn to begin a drawing properly and the finishing will be easy enough, being merely a matter of practice when once the manner of working is understood. How often we see exposed for sale and on exhibition drawings and paintings elaborately finished of which the drawing is so faulty as to render them worthless.
Students, therefore, who are thoroughly in earnest must be content to postpone all idea of finishing at first, occupying themselves in the preliminary studies with correctness of outline and proportion only. For this reason when the shadows are blocked in broadly and the drawing appears to be as nearly right as you can make it, put it aside and take up something a little more difficult and carry it on to the same stage without endeavoring toelaborate it. Thus continue your practice, always progressing until you feel fitted to begin the study of the human face and form, which is, as we have said, the most difficult thing in art.