OUTLINE—BIRDS.
Having made the principles of figure piping as plain as I can to the
reader, I think it is time that I take him by the hand, so to speak, and
proceeded with something practical. It is to be assumed that he already
knows the simple method of mixing his glacé Royal, and the making of his
paper cornets, for, if he is an absolute beginner in piping, I would not
advise him to commence on figures; but make himself, under tuition, a
fairly skilled hand in the regulation work, as he will then be thorough
master of the cornet, and be able to put on his fine strokes and heavy
strokes, according to his will.
I think the easiest things to pipe in the figure line are birds, so we
will take a couple for a start, and begin as I began many years ago, by
doing plenty of outlines. I have already noted the great difference in
birds, not only in size and shape, but in characteristic attitudes as
well, and our first subject may as well be that familiar little
harbinger of Christmas time—the robin. I have not the model of our
little favourite by me at the present time, but I can see him in my
“mind’s eye,” and commence thus, with a fine line from the paper cornet
(Fig. 1). Commence at back of the head; carry the line carefully down
over the forehead, along the beak, under the lower mandible, down the
breast to the point under the breast-bone, where the thighs commence,
which must not be too far back in this instance, or it will upset the
natural balance of a bird in this position. Leave off at this point, and
take your cornet back to the starting point; now carry your fine line
down the back to the root of the tail, and when your judgment will tell
you that it is far enough for the body, make the tail with an upward
tendency, which will do much to establish the bird’s identity. Now
recommence at the top of the thigh to meet the line under the tail.
Although as yet the bird has no legs, you will plainly see if the body
is in proportion, and, if so, you can add the legs—as in the
illustration—the eye, and the wing also.
[Illustration: Plate 1.—ROBINS.]
This outline, when in the reproduction, will probably appear as if it
were done with a fine white crayon; but in reality it is a line in glacé
Royal, and, unless otherwise stated, it is my intention to do all the
subsequent designs in this medium, and originality will be another point
aimed at.
In Fig. 2 we have the same bird, but in a different attitude—_i.e._, in
the act of singing, and sitting the reverse way. A great many people
find it somewhat difficult to do objects of this kind—looking from left
to right; but this difficulty soon disappears with practice.
The method to be adopted in Fig. 2 is somewhat similar to the other—that
is, to take your line from the back of the head over to the beak, and
then after making a slight swelling in the throat, down the breast to
the thigh. Indeed, the general instructions for No. 1 will do for No. 2;
but it will be noticed at a glance how different are the positions of
the two birds; and yet the reader has doubtless noticed them in these
attitudes many a time and oft. Fig. 2 will almost answer for any bird in
the act of singing. Something similar to it is adopted for the thrush,
bullfinch, canary, &c.; but it must always be borne in mind that the two
last named have a much thicker beak than the robin, and there is a great
disparity in the bulk as well.
I must here remark that the majority of intending figure pipers are too
impatient; they want, and expect, satisfactory results to appear at the
first or second attempt, and if these results do not come at the third,
fourth, or fifth attempt, they come to the conclusion that it is “a
gift”; but they have not got that “gift,” and thereupon give up further
efforts. This is a great mistake, for persistent practice, I contend,
will accomplish wonders, and I have individuals in my mind, even now,
who very nearly came to the above-mentioned stage of despair; but after
sticking to it still further, the reward came to them eventually for
their dogged perseverance, so that they can not only accomplish figures
“for the shop window,” but even for exhibition work as well. So I say to
the pupil—for whom these instructions are intended—“Go at it with a
determination to succeed, for I can assure you that I have been most
agreeably surprised at the headway some young fellows of my acquaintance
have made.”
We have seen how the robin and other birds may be done in outline while
in a standing position. It will be as well to now give some idea as to
the methods adopted for those when on the wing. Of course, the head is
held much more forward, and the legs and feet doubled up under the lower
part of the breast-bone.
The wings although appearing very natural in the finished study of a
bird, will seem rather flat in the outline process; but still it will
convey the idea forcibly enough. Just the same that expression may be
given in black outline drawing by a few strokes of the artist’s pen: for
be it remembered, we are but drawing—the glacé Royal taking the place of
the ink, and the paper cornet taking the place of the pen, both have to
go according to the will and skill of the operator; and to accentuate
still further the analogy between the two forms of artistic work, both
are essentially started in the same way, namely, by a thorough knowledge
of freehand, outline work, as a forerunner of “filling-in” in the case
of sugar, or light and shadow in the case of pen and pencil drawing.
While on the subject of birds, it will be as well to say something about
the branches of trees and shrubs on which they sit. There is no hard and
fast rule as to the correctness of outline in regard to the branch of a
tree; for, as the reader knows well enough, they vary so much that no
one pretends to say they have a true form, but twist and turn in a most
wayward and eccentric fashion. Still, whatever their form or thickness,
the feathered denizens of the wood will pose on those twigs and branches
in a way that Nature has taught them to be the best way. It, therefore,
behoves the piping student to get these branches at the proper angle,
and by judiciously narrowing it at the farther end he may give a good
idea of perspective. Although it may seem to be, at the first glance, an
unnecessary detail to attempt to make a distinction in trees as far as
piping is concerned, still, it is an easy matter to copy Nature to some
extent even in this respect, as it is generally well known that the
beech and horse-chestnut trees have a comparatively smooth bark, while
that of the elm and oak is very rough, with a kind of mottled appearance
at a distance. And as the majority of birds always have been and always
will be associated with trees and their branches, it is as well to study
them for the sake of making everything look in harmony when it comes to
grouping, as we are but in the elementary stage yet, and I take it that
the student is proceeding with those outlines, for the art of figure
piping cannot be accomplished in the same off-hand manner as the
ingredients of a pudding could be weighed out—put in a basin, mixed, and
steamed for two hours; that would be an accomplished fact, and
eventually an eaten pudding probably. But the subject we have in hand
cannot be done in that way, so that it is no use dashing at it, but
rather let the mind be steadily trained up to a pitch of enthusiasm, so
that it is a pleasure to persevere, and thus no telling what excellent
ideas will come in its train. It is this enthusiasm that brings on
inspiration, to a great extent, in my opinion, and in this way our most
eminent men—artists, novelists, poets—ah! and even confectioners, have
at some time or other arrived at that pitch of excellence in handiwork
which has caused the critics to declare, “Why, that is his masterpiece.”
In the management of leaves for ordinary piping—say, for the branches of
the trees we have been describing—a small leaf tube might be used for
some, while the plain paper cornet will answer the purpose for others.
More elaborate leaf effects may be obtained by piping leaves on a
slightly greased and bent surface, such as a piece of tin or a glass
bottle, which leaves, when dry, are taken off in the bent state and
added to the work; but, as our elementary designs are still on the
outline principle, it will be sufficient to do them as indicated on the
reproduction, while some instruction as to the more elaborate form of
grouping will be given later on.
There is a diversity of opinion, however, among experts and critics,
especially in the exhibitions, as to the “piping off” process; for the
ingenious “piper off,” with his mechanical contrivances, can often get a
more “taking” effect than the first-class “piper on,” who depends solely
on his skill as a piper to get his effects, and most judges take this
into consideration, and rightly award the prize where they see the most
artistic merit without mechanical aid.
[Illustration: Plate 2.—ROBINS.]
In Figs. 3 and 4 of these outline piping sketches, it will be seen that
the position of the birds is entirely different to those preceding them;
and in the case of No. 3 the idea of flying is entirely conveyed by the
management of the wings, and the balance of the bird is dependent on
them, whereas in the other three it depends on the legs. As before
stated, if we get these too far forward or backward, the most inartistic
observer can see there is something wrong with it, although he or she
cannot for a moment guess the cause.
In Fig. 4 I have gone a stage further in outline work by introducing the
frame or “skeleton,” of a nest just to show why the bird is in that
position with a small twig in its beak preparatory to the resumption of
nest-building operations. All these birds may be piped according to the
directions given for Fig. 1, and each, in turn, may be completed before
the branch of the tree is introduced, for this reason:—if you do the
branch of the tree first, you have to fit the bird to it; and in
endeavouring to do this you may get its feet a little too much to the
right or left, or the legs too long or too short; whereas, the bough on
which you intend it to perch can very easily be brought up to the feet,
and to get it in the right place, soon becomes an easy matter. The nest
is easily managed, as it is but a bunch of irregular lines laid one over
the other till proper formation is arrived at, always bearing in mind
that the farther side of it must be made with rather faint streaks,
while the part which is at the front must be in a rather bold and
intertwining lines, which, if done too mathematically, does away with
the natural appearance of the structure.
The few leaves which are represented are easily accomplished, and can be
made with serrated edges or otherwise. As most of us who live in large
cities are within easy distance of trees and shrubs of all kinds, a
collection of leaves suitable for copying purposes, is always easily
attainable, while those who live in the country will have them blowing
in their backdoor; so there is no need to draw much on the imagination
in this respect. Indeed, the all-round figure piper would do well to
make himself tolerably well acquainted with forestry and botany, as well
as natural history; so that in a case of emergency, where copying
studies are not available, he could make up a design by drawing on his
knowledge of the above-mentioned subjects.
Making further advances in the subject we have in hand, it will be as
well to form an outline group; and this may be managed by bringing
isolated birds in various attitudes together. We will take as our
design, on this occasion, a group of pheasants.
Now, pheasants—as the reader is probably aware—are of the gallinaceous
order of birds, and in shape somewhat resemble the domestic fowl. I
think they are slightly more difficult to “reproduce in sugar” than the
average singing bird, but not much; and, although it is just possible
that some of my readers have never seen one in the life, I can assure
them that, the pheasant, when viewed in his natural surroundings at the
corner of a wood, or walking with stately tread over the adjoining
meadow, is a most magnificent bird; his inanimate remains, which may
hang in the poulterer’s shop, convey no idea of his beautiful
proportions and plumage while in the life. It is for this reason that I
take him as a subject; moreover, it has the advantage of being
comparatively rare “in sugar.” Swans, doves, and storks are becoming
fairly plentiful, so let as try our hand on something for a change.
Supposing that we decide on a group of four birds. I will take them
according to the way I have seen them, and trust to memory for the
accuracy of details. This method is adopted for three reasons:—First is,
because the nearest lot of live pheasants I know of is not within seven
miles from where I am writing; the second is because—leaving the
copyright question out of it altogether—it is not my intention to copy
from anybody; and, thirdly, because originality will always stand out
conspicuously in whatever branch of art you may take up.
[Illustration: Plate 3.—PHEASANTS.]
Take a fine-pointed paper cornet first of all for the bird marked A,
which is represented as a running pheasant. Start piping a fine line in
a similar manner to that described in a previous chapter on small birds;
but carry the breast line and left thigh further back, and the right
thigh and leg more forward, as seen in outline above, as this conveys
the idea of running; for all game birds run in this way, which is a
distinctive feature as compared with the mode of progression called
hopping, as adopted by the jackdaw, the rook, and others of their kind.
In Fig. B we have a pheasant in the act of flying; the position is
almost a repetition of a preceding outline sketch, but the shape of the
body is different—the neck is longer, the head smaller in proportion to
the general bulk, while the length of tail alters the general outline
considerably. This may also be piped in the manner described for small
birds, and may be repeated time after time, until the student gets the
“balance” and general appearance to his own satisfaction. In Fig. C we
have a very characteristic position adopted by the pheasant. With an
upright and alert appearance he turns his head half round, as if on the
look-out for some expected danger. Fig. D is another characteristic
attitude, and with the last-named we have completed the details which
will make up a group of pheasants. It would be as well for the student
to make himself master of each and everyone of these “units” separately
before grouping, as he may perhaps find that one or two positions will
be comparatively easy of execution to him, while the remainder will be
difficult, and the result indifferent. In this case, if one bird, which
is sadly out of proportion, were grouped with three good ones, it would
upset the “arrangement,” altogether, and the average looker-on, although
he may not be an artist, is generally quite capable of picking out a
flaw of this kind.
[Illustration: Plate 4.—GROUP OF PHEASANTS.]
Taking it for granted, then, that the student can with confidence pipe
any and every one of these elementary outlined pheasants separately, he
may proceed to group them, as shown in Plate 4, and, by introducing a
small indication of a bird in the distant horizon, it is easy to imagine
that it may be a bird of prey, and that the pheasants are in a state of
alarm in consequence; and this, of course, constitutes the subject.
Mention has been made of the wood-pigeon on the elm tree branch
overlooking Piccadilly. Let us see what we can do with that. It will
serve as a useful lesson as showing the difference in shape of a pigeon
and a bird of the thrush tribe, for in the absence of colour, or light
and shadow, we have only got our outline to depend on. It is not a very
elaborate subject, it is true, but it would do for variety’s sake to go
across a birthday or Christmas cake, and may take the fancy of somebody,
for the wants of cake purchasers are extremely diversified. A case in
point came to my knowledge quite recently, when a gentleman wanted
cockroaches piped on a Christmas cake. This special request had to be
executed in dark chocolate-coloured glacé Royal, and the effect may be
imagined; but the purchaser was greatly pleased, simply because his
wishes were carried out, and the “counterfeit presentment” of these
culinary terrors had a life-like appearance.
Taking, then, the wood-pigeons and nest for a subject, we have got to
bear in mind one or two facts in connection with these birds which may
have escaped the notice of the average Metropolitan piper, although of
late years (many thanks to the County Council and other bodies for it)
these and other somewhat shy “Provincials” have made themselves quite at
home in the parks; they have learned to know that they are treated with
forbearance and kindness, and even protection, that they are perfectly
safe from the pothunter’s gun and the wildfowler’s snare, the result
being that the parks of London to-day can boast a greater variety of
bird life than probably any other city in the world; and this fact gives
the artistic student splendid chances, whether the medium employed is
sugar, paint, or pencil.
[Illustration: Plate 5.—WOOD-PIGEON AND NEST.]
The wild wood-pigeon, like its domesticated _confrère_, never lays more
than two eggs for a sitting, but differs in his ideas of nest building,
using a mere platform of twigs for the nest and a forked branch or stump
of a tree for its support. The nest in Piccadilly was typical of this,
and as there were a pair of strong-looking squeakers in it, which could
be distinctly seen from the top of a Putney ’bus, the piping subject
should make up quite a little family party. We will take his nest first,
with a rather fine pointed paper cornet, and the glacé rather stiff.
Some rather irregular cross lines may be made, which may form a somewhat
flattened platform sort of nest, with no more depth than there would be
in an ordinary flower-pot saucer. Projecting from the interior of this
may be piped in outline the head and shoulders of the young pigeons.
These always have a very squabby appearance at whatever age, and are
never associated with the word “pretty” as is the case with a brood of
young chickens or ducks. The bough of the tree may now be introduced on
which the nest is built, with sundry branches spreading out therefrom,
which can be brought under the nest. The old bird can be piped on the
bough, with little fear of a mistake as to distance, as the legs of a
pigeon being comparatively short, so much measurement is not required as
with the long-legged variety of birds, and the pupil will find, as he
still further advances, his eye and judgment will become so trained that
his proper distances will come to him with almost unerring certainty.
While our subject lies in the vicinity of the Green Park, suppose
we—mentally—take a walk across it, cross the Mall, and see what we can
find in way of a subject or two in the lake beyond. There are waterfowl
in plenty, and many a little “tit-bit” for the purposes of a piping
picture here. As if the London County Council had not provided
sufficient variety in the shape of ducks, there may be found also a very
large contingent of seagulls, which, free and unfettered though they be,
make it their business of coming all the way from the briny ocean to
share in the safety and the good things which are provided for them, not
only by the authorities, but by philanthropic individuals as well—so
that object lessons may be found in plenty, almost within the shadow of
Buckingham Palace.
[Illustration: Plate 6.—DUCKS AND SWANS.]
Now, ducks and swans being so much associated with the water, they are
nearly always represented in their natural element, nearly half the body
being submerged, and legs and feet, to all intents and purposes,
invisible; but still, they “come on shore” sometimes, and perhaps it
will be as well to practise a few outlines, both in and out, as it will
give a better idea as to proportions, for it will be noticed that the
body of nearly all the aquatic birds is rather long in comparison with
other members of the feathered tribe, while the legs of nearly
everything in the duck line are much shorter in proportion to the body
they have to carry.
In getting the effect of water for a piping sketch, it will be necessary
to pipe a series of straight lines horizontally on your ground work, the
distant part of the water being represented by short fine lines—not too
numerous—while those in the foreground should be longer and thicker.
This gives the idea of perspective, and although it is in sugar, it has
the same effect as if it were done in pen-and-ink line drawing. The
land, of course, should rise from the water at an angle more or less
acute, according to the nature of the bank, which is to be represented,
and, in the finished article, much more solid in appearance. But of
that, more anon, as we are but in the outline stage at present, and
these continued outlines will do more to foster a knowledge of bird and
animal anatomy in the mind of a student than any other process I can
think of, and plenty of practice will get the proper proportions so
fixed on the operator’s mind that he will wipe out his subject with the
greatest confidence and ease, so that the correctness of outline can be
made apparent when viewed from the breadth of an ordinary room.
[Illustration]