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.
ARRANGEMENT OF LIGHT.
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 floor
and 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 a table. 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 firmer and 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.
STRAIGHT LINES.
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 line _per se_, yet this early training of
the hand often gives firmness and surety of touch to the painter’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.
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
[Illustration: The 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. The outline 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 to elaborate 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.
PART SECOND.