Free-Hand Drawing.

A free-hand drawing is executed with the unaided hand and eye, without guiding instruments or other artificial help. It is necessary to be known that all drawing required cannot possibly be done by rule and compass, but that some portions must be drawn “free-hand,” trusting to the eye alone.

Hence, it is important that the student should be able to sketch at sight from objects he may see, or to draw roughly, with a piece of chalk or a pencil, pieces of mechanism required to be represented.

Practice in free-hand should go along with mechanical drawing as progress is made, and thus cultivating both branches equally.

“A simple sketch will often,” as has been rather roughly said, “express more than yards of talk.”

Even a slight sketch refreshes the memory, and in the case of the preparation of a complete set of drawings, with a view to the making of a thoroughly finished mechanical drawing, the proper course to pursue is, to make a general sketch, letter the various parts for reference, and then prepare a series of detailed sketches, similarly lettered, and diffuse with dimensions.

Everyone, whatever his specialty, feels to-day that the ability to sketch rapidly and clearly is among the absolute necessities for correct and prompt transactions of business, in giving and executing orders and doing business with persons outside his profession.

Mistakes and misunderstandings may be averted by means of rough sketches taken at the time and shown for confirmation; this also saves assistants from getting into trouble, especially if they pin the sketch to the order, for reference, in case of the arising of any dispute. These are a few of the advantages of knowing how to sketch quickly and correctly.

In “free-hand” any sort of pencil is better than none, but there is a considerable advantage in having a good serviceable article—a pencil not too soft nor too hard, and one which will retain its point for some little time.

Fig. 55shows the approved position in which the pencil should be held while sketching. The pencil should be held firmly between the thumb and first finger of the right hand; press the second finger against the pencil at the opposite side to the thumb pressure, so that the pencil is firmly held by the contact of the thumb and two fingers—the third and fourth fingers just coming into easy reach of the paper surface—the wrist or ball of the hand resting lightly on the surface of the work—the arm resting on the desk or drawing-board for steadiness.

The motion of the pencil is produced from the movement of the fingers and thumb, principally in the vertical strokes, and the horizontal strokes are produced by fingers and thumb, combined with a wrist or elbow motion; the oblique lines and curves are produced with a free movement, with nothing cramped or confined about the finger joints.

It should be observed that nothing is more prejudicial to good execution than the habit of leaning over the paper, which ought to be placed on a surface sufficiently inclined to bring every portion equally under the eye, thus obviating the necessity of leaning forward. All support to the figure should be obtained by resting on the left arm, the right being left free for work. By attention to these rules that awkwardness of position,so detrimental to a good figure, will be avoided. It is better to have the light on the left hand, as in this direction the shadow of the pencil does not interfere with the view of the drawing.

Pencil sharpeningFig. 56.

Fig. 56.

Hold the pencil firmly in the left hand, as in the drawing, allowing about an inch to project beyond the fingers, and turn it gradually as the knife removes the wood. The knife should be held so that the blade alone projects beyond the fingers, and the part of it nearest the handle used for cutting. The pencil should be placed against the inside of the thumb of the right hand, as in the drawing (fig. 56), and the wood removed by slight shaving. The lead should not be cut at the same time as the wood, but rested on the thumb and pared gently afterwards; by attention to these directions the pencil will be economized.

Before a line is drawn, the point at which it is to commence and the point where it is to end, should be known; and let it be distinctly understood thatthis judgment of the eye, and placing of points, should invariably precede the drawing of every line.

The first effort should, therefore, be to produce a line of points exactly parallel with the upper edge of the paper, and at equal distances from each other. Commence with pointAand place the pointBcarefully level with it, now place a slip of paper against these points in the original, mark their distance apart, and see if the same proportion has been given in your copy; if not, make the necessary correction. Proceed with the next point, examine it, and so on to the end ofthe line. When this is complete, examine each point in succession, to try if it is at the same distance from the top of the paper; when this is correct, proceed to draw the first level line. Hold the pencil as in the drawing,fig. 57, keeping the elbow near the side; joinAtoBby one light, steady stroke, produced by a movement of the wrist, and add stroke upon stroke until the line is of the required depth. Continue this process to the end of the line of points. Now place the pointDat the right distance below theA, proceed with the points for another line as before, and continue the lines until the paper is covered. In producing the stroke the pencil should not be jerked, or any stop be made between the points, but the movement should be even throughout, and it is much better to produce each line by several soft strokes, asthe repetition of delicate lines induces lightness of touch and freedom of hand; and it is also no small advantage that lines thus produced are more easily removed by the India rubber, should they require correction.

Prepare three rows of points down the side of the paper, on the left hand; examine them to see that they are at equal distances from the side and from each other; hold the pencil as in the drawing,fig. 58, move the elbow a little from the side, and join the pointsAandBwith one light line, produced by a movement of the fingers and thumb, repeating the strokes until the line is of the requisite depth; proceed to joinBtoC, taking care previously to bring the hand a little down the paper, as the line fromAtoCis too long to be produced from one position. When the three rows of points are filled, make another set, examine them and proceed as before. By these means the paper will be covered with oblique lines, and if the points have been placed exactly, the sheet will have a neat and regular appearance.

Note.—The drawings of hands are introduced to show the positions for holding the pencil, and are not intended for copying.

Drawing linesFig. 57.

Fig. 57.

Drawing linesFig. 58.

Fig. 58.

It is a common, and at the same time highly injurious habit, to draw this line by a movement of the wrist, the fingers remaining rigid. This may be detected by watching the action of the thumb; if it bends as the line is produced, all is right; but if it does not the wrist is at work.

This line demands the greatest attention, and any care bestowed upon it will be amply repaid in the after studies.

Commence by placing a line of points down the side of the paper, examine them very carefully to see that they are all the same distance from its edge, hold the pencil as in the drawing,fig. 59, move the elbow well out from the side, and join the points by a movement of the fingers and thumb. When one line is complete, place the points for the next, and examine them from the edge of the paper, not from the line just drawn. Proceed in this manner until the paper is covered.

There is in most cases a tendency to place the points for this line in a slightly inclined direction, as in writing, though in some instances the tendency is the opposite, a thoroughly correct eye in this respect being a rare gift: and it may be useful to suggest that the paper be so placed that the line of points to be produced may be exactly in front of the eye.

Prepare three rows of points down the side of the paper, examine them for correctness of position, hold the pencil as in the drawing,fig. 60, remove the elbow as far as possible from the side, and join the points by a movement of the fingers and thumb, and continue the exercise until the paper is covered.

Drawing linesFig. 59.

Fig. 59.

Drawing linesFig. 60.

Fig. 60.

It will be noticed that each change in direction of the line to be drawn, has been accompanied with acorresponding change in the position of the elbow and wrist. The following simple rule will assist the memory when placing the hand for any given line; the pencil should be held so that it may form a T with the line to be drawn:

T-rule

For the horizontal line, elbow near the side.

T-rule

For the first oblique, elbow a little removed.

T-rule

For the perpendicular, elbow more removed.

T-rule

For the second oblique, elbow most removed.

Lines

It may also be interesting to notice, with regard to the movements by which lines are produced, that they are divided into two systems; the first is that of the wrist, which includes the horizontal, and lines in nearly the same direction; the second is that of the fingers and thumb, by which all other lines are formed. The following diagram exhibits the two systems and their various lines grouped, and it will be observed that there is a space marked (a) between the two sets, which may be considered neutral ground. Lines in this direction may be produced by either movement, as may be most convenient, but it will always be found that these lines are the most trying to the hand.

Before commencing this subject, let it be clearly understood that future success will, in a great measure, depend upon the amount of care bestowed upon it. The aim should be to obtain absolute accuracy, and for this end the copies should be tested by the most careful measurements, and corrected until they are true with the originals, but it should be distinctly understood that these measurements are only to be made after the eye and hand have done their best.

Note.—To some it may appear that too much time and care has been bestowed on mere lines, but let it be understood that a good system of line drawing is the basis of all education—the slightest outline by a hand thus trained has a bold, free and masterly character; and with regard to shading, which is simply an aggregation of good lines, it is only by such a practiced hand its most charming effects can be produced.

Fig. 66: Place the pointsA,B. Examine them to see that they are the same distance apart as in the original, and that they are level; place the pointCexactly underA, and makeA Cequal in distance toA B; now place the pointDoppositeCand underB; try the distances between each point to see that they are the same; divide each side by a point half way, and then draw the lines.

Fig. 67: Repeat the last figure and add the linesAandB, taking great care that the points for them are correctly placed.

Fig. 68: Commence with the square as before; then join the half-way points.

Fig. 69: After the square is drawn, place the pointsAandBat the right height above the half-way points, andC,Dat the proper distance from the corners, then draw the figure.

Fig. 70: The greatest care should be taken with the squares for this and the following figure, as the slightest error in them will destroy the symmetry of the drawing within; when the square is completed, join the opposite corners, and place on the crossed lines the pointsB,C,D,E; examine these to see that they are each at the same distance from the centreA, and that this distance is equal to the space fromAto the sides of the square; when all are proved to be correct, complete the figure.

FiguresFig. 66.Fig. 67.

Fig. 66.Fig. 67.

Fig. 66.

Fig. 67.

FiguresFig. 68.Fig. 69.

Fig. 68.Fig. 69.

Fig. 68.

Fig. 69.

FiguresFig. 70.Fig. 71.

Fig. 70.Fig. 71.

Fig. 70.

Fig. 71.

Fig. 71: Repeat the last drawing with, if possible, greater exactness, and outside the octagon place the pointsA,B,C,D, etc.; examine each of these points to see that they are all at the same distance from the centre, and then complete the figure.

Curves

The right position of the hand for drawing any curved line is that required for a straight line which would touch the extremities of the curve. The straight lines given in the exercises are valuable, not only as a guide to the position of the hand, but as an assistance to the eye when forming the curves or examining them after they are produced.

The direction given for drawing a straight line was to form it by one steady movement from point to point, without any jerk or stop by the way. This instruction requires to be changed for the curve,which is better produced by several short strokes, thus:

Curves

or by overlapping lines, any outside bits being cleared away with India rubber.

These exercises will test the drawing power and try the patience of the pupil, but they are worthy of all the care which can be bestowed, which in future efforts will meet with its full reward.

Fig. 76: Draw first the square as directed in the previous lesson, join the pointsA,B,Cand add the short lines atEandF, proceed with the curveA B, drawing it with faint lines at first, and adding stroke upon stroke until the required depth is obtained; the curveA Cis more difficult to produce, in consequence of the formation of the hand; it should, therefore, be drawn in shorter pieces, joining them together afterwards by over strokes.

DrawingsFig. 76.Fig. 77.

Fig. 76.Fig. 77.

Fig. 76.

Fig. 77.

Oval

Fig. 77: Draw the square and straight lines first, then add the curves, taking care to give the greatest fullness at the right place.

Fig. 78: Draw the square and straight lines, proceed with the curves, taking care to make each of the same proportion.

Figs. 79and80: The ovals contained in these figures are simply foreshortened circles, and as such forms are of frequent occurrence in sketching from objects, in bridges, wheels, ends of timber, etc., they should be carefully studied; the greatest difficulty is to turn the narrow ends, and prevent their looking like corners. For this purpose it is better to draw the short curves first, thus:

and then join the longer sides to them.

Fig. 81: If this figure can be drawn correctly, a great success has been achieved; the circle is a most difficult form to delineate, and without system could not be accomplished. Draw the square and straight lines within it with great care, examine each point of the octagon to see that it is at the same distance from the centre, and then draw the circle.

Several figures,83to96, representing more or less familiar parts of machines, utilities, etc., are introduced for practice in free-hand,but—

It must be noted that even in free-hand the wise student will occasionally use the straight edge and compasses, so as to make his first attempts fairly creditable. Many good draughtsmen have begun by simply copying such figures and illustrations as are used throughout this volume and other similar sources; perhaps there is nothing better for practice or training than the copying and reproducing of samples of good mechanical drawings, yet it must always be remembered that advancement in free-hand must be made in the line of less to greater efforts, and that the why and wherefore will be constantly asked by the aspiring student; that good and correct drawings are to be aimed for at all times in every line and dimension—never forgetting the law of proportion in the smallest outlines of objects to be represented.

FiguresFig. 78.Fig. 79.

Fig. 78.Fig. 79.

Fig. 78.

Fig. 79.

FiguresFig. 80.Fig. 81.

Fig. 80.Fig. 81.

Fig. 80.

Fig. 81.

Fig. 83is a section, or end view of a bar of angle iron; the student will find helpful practice in attempting this figure; he may be allowed to use a straight-edge in drawing the lines, but no measurements; the work should be tested on completion by a rule, or better by penciling from the original on tracing paper, and comparing the free-hand with the copy, when the defective proportions, if any, will be clearly exhibited.

Fig. 84is a section of tee iron, andfig. 85is a section of channel iron. These three figures onpage 75should be practiced alternately, although seeming similar in shape.

Fig. 86is a side and end view of an angle plate shaded.Fig. 87is a wrench shaded.

Examples of bolt ends are shown in the two next numbers;fig. 88exhibits the common square-head bolt, andfig. 89the hexagon or six-sided bolt-head; these are also examples ofstraight-line shading.Fig. 90is a lathe-dog, and shows an example ofcurved shading;fig. 92is an engine crank, and an example ofstraight and curved shading;fig. 91is a screw clamp.

Fig. 93is a section of boiler plates riveted together; a caulking tool is also shown.

In the example,fig. 94—a hand-wheel—the principal difficulty, even for the most advanced student in free-hand, will be in drawing the circles; a coin, if convenient, can be used to scribe about, in drawing these; the other parts can afterwards be filled in around the circle.Fig. 96is introduced for practice in penciling and shading; the figure represents a water-wheel on a stone pier.

The familiar oil can is shown infig. 95. These all are excellent objects for practice.

Fig. 83.—Fig. 84.—Fig. 85.

Fig. 86.Fig. 87.

Fig. 86.

Fig. 87.

DrawingsFig. 88.—Fig. 89.—Fig. 90.—Fig. 91.

Fig. 88.—Fig. 89.—Fig. 90.—Fig. 91.

DrawingsFig. 92.Fig. 93.

Fig. 92.Fig. 93.

Fig. 92.

Fig. 93.

Fig. 94.Fig. 95.

Fig. 94.

Fig. 95.

Water wheelFig. 96.

Fig. 96.

GEOMETRICAL DRAWING

Drawing tools

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