pen & ink drawing

PEN&INKDRAWING

FRANKJ.LOHAN

DOVERPUBLICATIONS,INC.MINEOLA,NEWYORK

Copyright

BibliographicalNote

ThisDoveredition,firstpublishedin2013,isanunabridgedrepublicationoftheworkoriginallypublishedbyContemporaryBooks,Inc.,Chicago,in1981underthetitlePen&InkThemes.

LibraryofCongressCataloging-in-PublicationData

Lohan,Frank.[Pen&inkthemes]Pen&inkdrawing/FrankJ.Lohan.pagescm.ThisDoveredition,firstpublishedin2013,isanunabridgedrepublicationoftheworkoriginally

publishedbyContemporaryBooks,Inc.,Chicago,in1981underthetitlePen&InkThemes.Summary:“Aninspiringsourcebookforallskilllevels,thisguidehelpsartistsdiscoverawide

varietyofsubjectsandideasfortheirnextsketch.Morethan140oftheauthor’sowndrawingsincludepartiallyfinisheddetailsthatillustratehowtoachievethedesiredvisualeffects.Stimulatingtopicsincludenostalgicscenes,oldengravings,atmosphericeffects,photographs,landscapes,andlifeitself.”—Providedbypublisher.Includesbibliographicalreferences.ISBN-13:978-0-486-49715-0(pbk.)ISBN-10:0-486-49715-1(pbk.)1.Pendrawing—Themes,motives.2.Pendrawing—Technique.I.Title.II.Title:Penandink

drawing.

NC905.L632013741.2’;6—dc23

2012045736ManufacturedintheUnitedStatesbyCourierCorporation

497151012013www.doverpublications.com

Thisbookisdedicatedtoallthosewhoworktoacquireskillstheyadmireandwantfortheirown.

Contents

Foreword

Introduction

Chapter1:NostalgicSubjectsTheOldTimersOldRuralRouteTheOldHomeTownTheSteeleMillGrandRiverAvenueMcGeeHillBridgeTheOldSmithyOriginalBillboardGrandma’sHouseForgottenCoveredBridgesOldBuildingsYourFavoriteThingsProgress

Chapter2:SubjectsfromOldEngravingsLondonRiversideTheOldCheshireCheeseFromAlbrechtDurerAScratchboardBlizzardPortugueseFishermen

Chapter3:AtmosphericEffectsasSubjectsSundownEveningFoggyDay

Chapter4:SubjectsfromPhotographsBelowtheMillpondGreyfriarsChurchyardAbuSimbelColtPeopleintheNewspapersFogonCanneryRowCanadaGooseJuncoBodiamCastleStoneBarnThePastureAWordaboutPensMaineHarborBirchesElephantKinkaku-JiTempleMiyukiGateHighCountryCathedralRockNearSedonaJoshuaTreeYuccaPlantSaguaroCactusPanFishBleached

Chapter5:SubjectsfromLifeMilkweedPodsFieldGrassHemlockandJackPineFavoriteTreeChalet316FromthePorchRockyRiverSeedsandFlowersGargoyleWoodSpriteEarlySpringShrub

DownedTreeMushroomsandBoatMoorings

Chapter6:LandscapeSubjectsAroundtheLakeFoliageStepbyStepSunnyClearingBrookWithandWithoutFoliageEvergreenTypesBirdandFencePost

Chapter7:YourPointofDeparture

Bibliography

Foreword

Visualartisticexpressionisoneoftheoldestandmostenduringformsofcommunication.Constantchangesinsocialcustomsandcultureshavecoincidedwith—and,insomecases,followed—thetrendsofinnovativeartists.Fromthebeginning,theartisthasplayedanuniqueandindispensableroleinourlifestyles.Itisveryclearthatillustrativematerialandwrittencopyareextensivelyemployedinadvertisingtoproducesalesanduseofproductsandservices.Notsoreadilyapparent,however,isthefactthateachautomobile,appliance,fabric,carpet,andwall-coveringdesign,aswellasvirtuallyeveryproductweuse—evendowntotheplainlittlebuttononapieceofclothing—firstsawthelightofdayonanartist’sdrawingboard.Thosearethecommercialaspectsofart.Butwealsohaveavastarrayof

drawing,painting,andsculpturereflectingthepersonalartisticviewsofcountlessindividualswhoimmersethemselvesinthisuniversalformofexpression.Obviously,noteveryonedesirestoentertheartfieldonaprofessionaloroccupationallevel,butanyonecanlearntodraworpaintwithproperinstructionthatincludesfundamentallysoundgroundworkindrawingandtechniques.Fortunately,theknowledgeofmanyrecognizedartistshasbeenpreserved

throughinstructionalbooksdesignedtohelpthenovice,aswellasthemoreexperiencedartist,furtherdevelophisorhertalents.Itdoesnotholdtrue,however,thatallartistsaregoodteachers.Furthermore,notallteacherscanordowritebooks.FrankLohanisnotonlytechnicallyproficientwithpenandink,butalsoisa

metalsculptor,painter,engineer,and,veryimportantly,afineartteacher.Itisfortunate,indeed,thathehasfoundtimewithinhismostactivescheduletocalluponhisvariedexperienceanddisciplinestobecomeanauthor.Hisearlierbook,PenandInkTechniques,hasbecomeavaluableadditiontotheartlibraryasasourceofreferenceandinspiration.Convincedthatsharinghisideasinsuchamannercouldbenefitothers,hehas

beeninducedtowritethiscurrentvolume,PenandInkThemes.Init,FrankLohanagainuseshisexpertisetoguidethereadervisuallyandmethodically

throughyetanotherphaseofthatmostusefulandeffectivelinemedium,penandink.Healsoprovidesawealthofinformationonhisownapproachtolinearexpression,provingthatartisapersonalentitythatprovidesmanyavenuestoacommongoal.Enrichedbyinformative,concisetextandmorethanonehundredfortyofhis

illustrations,thebookreflectstheauthor’sphilosophythatdrawingcanandshouldbeamostpleasantactivity.Fromthestandpointofinstructionalvalue,PenandInkThemesexplainswith

claritythevariouswaystohandlesimpleaswellasmorecomplexsubjects.Someofthisinstructionstemsfrommaterialtheauthorhascompiledaslessons,demonstrations,andteachingaidsforhisstudents;theremainderwaspreparedspecificallyforthisbook.Underlyingeachinstructionalchapterarethebasicsofcompositionandthe

relationshipsofvalues,shapes,andthatall-importantwhitespace.Thereaderlearnswhattolookforandhowtochoosesubjectmatterfromtheenvironmentforinterestingtexturesandpictorialeffects.Thevalueofsketchnotesandtheuseofphotographsassupplementalreferencearediscussedfromseveralpointsofview.Thetechniquesdescribedinthisbookweretestedinactualclassroom

situationsandsurelywillbehelpfultostudent,experiencedartist,andartinstructoralike.Onpageafterpageofthisvolume,FrankLohan’sworkwillcaptureyour

imaginationsocompletelythatyouwilljusthavetoreachforthepen—andyouwillfinditdifficulttoputyourpenandpaperaside.Truly,PenandInkThemesisnotabookyouwillwanttoreadandplaceona

shelf.Rather,itwillbecomeafrequentlyusedsourceoflearningthatwillhelpyouimproveyourartisticskillsthroughpracticewithsubjectsitshowsyouhowtosee.FrankLohanusesaclear,concise,educationalpresentation.Hisenthusiasm

andloveforthecreativevisualartsclearlyshowthrough.

ArthurF.ChargoisBoyntonBeach,Florida1980

ProfessorChargoisformerlywasheadoftheCommercialArtDepartment,DuCretSchoolofArt

Introduction

”WhatshallIsketch?”Thisisaquestionmystudentsoftenaskaftertheyhavecompletedasemester

ortwoinoneofmyclasses,oncetheyhavelearnedthefundamentalsofworkinginpenandinkandbecomefamiliarwiththevarietyofimplementsandmaterialsavailable.Sourcesofinspirationforanyindividualartistareunlimited.InthisbookI

havetriedtopointtojustafewofmyowngeneralsourcesofinspiration—nostalgia,oldengravings,photographs,and,ofcourse,thatbestofallsources,lifeitself.WithintheselooselydefinedcategoriesIexhibitsomeofmypenwork;inmanycasessomepartiallyfinisheddetailsarealsodrawnsoyoucanseehowIproceededwiththesketch.Thisisatruehow-tobook,sinceIshowexactlyhowIdidit,therebyoffering

thereaderonewaytosketch.HowIdiditis,ofcourse,onlyoneofthemanywaysthesamethingcanbedonesuccessfully.AsIstatedintheintroductiontoPenandInkTechniques:

Yourtechnique,yourstyle,thatdistinctivewayyouhaveofmakingandarrangingthelines,dots,anddarkareasonthepaperwillevolveifyoureallyhavethedesireandifyoupersevere.

Someoneoncesaidthatnatureproduces,thatitisonlymanthatcategorizes.ThecategoriesaroundwhichIhaveorganizedthisbookarequitearbitraryand,ifanythoughtisgiventothem,rathermeaningless.Thisdoesnotmatteraslongastheyserveasacatalystbyplantingsomeseeds,someideasonwhereyoumightfindinspirationforsubjectmatter.Thesecategoriesaremeantsimplyasaframeworkonwhichtohangmyideasforyourconsideration.Whatshallyousketch?Idon’tknow.Butinthisbookareafewideasthat

mayhelpyouanswerthatquestion.Manytoolsandmaterialsareavailabletothepenandinkartist.Theyvary

widelyinpriceandconvenience.Ifyouareseriousaboutthemedium,youwilleventuallytrymostofthem.Manyofthesketchesinthisbookweredonewithseveraldifferentpens—aninexpensivecrowquillnibinanequallyinexpensiveholder,amoderatelyexpensiveartist’sfountainpen,andaslightlymoreexpensivetechnicalpen.ForsomeofthesketchesIusedjustoneofthesepens.

expensivetechnicalpen.ForsomeofthesketchesIusedjustoneofthesepens.Thesalespeopleinanywell-stockedartsupplystore(notyourcorner

drugstore)willbeabletoshowyouthevariouspens,inks,andpaperandadviseyouonwhatyouneedtobegin.Remember,ifyoureallybecomeinterestedinthismedium,youwillbebackforadditionalmaterial—sotheyareasinterestedinyoursuccessasyouare.Donotbeafraidtoaskforadviceandrecommendationsfromsalespeople.

Replaceablenibscomeinmanytypesanddegreesofstiffness.ThegoodoldcrowquillbyHuntorGillottorothermanufacturersisanexcellentcompromisebetweenstiffnessandflexibility.Itisquiteinexpensiveandyoushouldhaveseveraldifferentones,fromverysmallandsharptothosethatwilldrawawiderline.Usethemtopracticeandwork.Thesepointswillworkwithanyindiaink.Wipethemfrequentlyasyouusethemsotheinkdoesnotdryandcakeonthem.

Severalbrandsofartists’fountainpensareonthemarket.Thesepensspareyouthehassleofconstantlydippingthepointininkand,generally,theyhavereplaceablepoints.Theyaremoreexpensivethanthecrowquill,buttheconveniencemorethanmakesupfortheextracost.Artists’fountainpensusuallyrequireaninkmadespeciallyforthesepens.Itcostsjustafewcentsmorethantheotherinksbutwillnotdryupandclogyourpen.

Draftsmenusetechnicalpens,tubular-pointpensthathavenoflexibilityatallastolinethickness.Thesearefountainspensandareverywellsuitedforsketchingonceyoulearntoholdthemmoreperpendiculartothepaperthanyouwouldafountainpen.Theyalsorequirespecialinkthatismadeforthem.Myfavoritepointisa”000,”ortriplezero.Manyofthesketchesinthisbookweredoneusingonlythispoint.

Fine-pointfelt-tipornylon-tippenscanalsobeused,aswellasfinewatercolorbrushessuchasdoubleortriplezerosize.

Thereisawidevarietyofinks,somestrictlyforfountainpensandothersjustfornibpens.Therearewaterproofandnonwaterproofinks,aswellasinksofevery

nibpens.Therearewaterproofandnonwaterproofinks,aswellasinksofeveryimaginablecolor.ItisfunjusttolookthroughadisplayofcolorfulWinsorandNewtoninks.

Ninety-fivepercentofmyworkisdonewithblackink.Theremainingfivepercentisdonewithadarkbrownink(IlikeWinsorandNewton’speatbrown)onroughoff-whitewatercolorpapersuchas140-poundMorillaboard.

Notethatsomeinksaremadefor“film,”thatis,forsketchingonclearacetateormylarfilm.

Bristolboardisthecustomarypaperforink.Itisavailableinpadsorsheetsandinavarietyoffinishes.Iliketwo-plykidfinish.Watercolorpaperalsotakesinkwell.Iliketheinterestthataroughwatercolorpaperaddstocertainsubjects.

Youcansketchonvellum,aragtracingpaperthatisgreatforplacingdirectlyoveryourpencilsketchandgoingdirectlytoworkwiththeink.Youcanalsodothiswithclearacetate,butbesuretouseaninkthatismadeforworkingonfilm.Sincetheacetateisnotporous,theinkneedsadditivesthatpreventitfromeasilyrubbingoffthesurface.

Scratchboardisaspecialpaperwithaclaycoatingononeside.Youdoyourinkworkonthisside,drawingtheusualblacklinesonawhitesurface.Then,however,youcanuseascratchboardtoolthatfitsintoanib-penholdertoscratchthroughsomeoftheblackinkmarksandproducewhitelinesormarksontheblack.Severalofthesketchesinthisbookweredoneonscratchboard.

PenStrokes

Hatchingindicatesparallelinklinesthatareusedtocreateadarktoneonthepaper.Crosshatchingisthetonecreatedbyhatchinganarea,thendoingthesamethingontopofthatbutinadifferentdirection.Stippleorstipplingreferstotoninganareabyusingdotsratherthanlines.

Basics

Formoredetailsonthebasics—enlargingorreducingasketchbythegridsystem;mattingandframingyourwork;hatching,crosshatching,andgradedtonepracticeexercises;stippling;andsoon—seePartIinmyearlierbook,PenandInkTechniques.

1:NostalgicSubjects

Thingsandplacesofthepastaretheingredientsofmanyafavoritepainting,sketch,poem,andstory.Awistfuloversimplificationalmostalwaysgoeshandinhandwithanostalgicpieceinanyartform.Onetemporarilysetsasideallunpleasantaspectsofrealityandfocusesontheremembered—orimagined—beautyandpeacefulnessoflongpastmoments.Onebasicallyprovidesanemotionalglanceatsomethingthatwas,orthatmighthavebeenif...Nostalgiaimpliespleasantmemoriesoforfantasiesaboutthingsthatwill

neveragainbe;forinstance,thesecurityandwarmthofahappychildhoodrememberedonlyasahazyoverallfeelingwhentoysofthateraareseen,ortheimaginedcomfortsofafarlesshurriedlifewhenold-timephotographsarerediscovered,ortherosyimageofaplacestilllovedbutunlikelytobevisitedagain.Ifyoutravel—eithernearorfar—youhaveawealthofsketchingmaterial

storedinyourmemory.Placesthatareimposing,modest,ordownrightdingybutstillholdaspecialplaceinyourlife’sexperiencearegreatsubjects.Theyaregoodchoicesbecausetheyhavespokentoyou,touchedyou,sothatyourrenditionofthemcantrulybeyourstatementaboutsomethingofvaluetoyou.Thewayyoucapturesuchscenesbecomesyourpersonalnostalgia.Itmaywelltouchsomeoneelseinasimilarmanner.Thisiswhatallartshouldbe.Interpretationsbycriticsarerelativelymeaningless;theimportantelementiswhattheartistfeltasheorsheexecutedtheworkandhowwellheorshefeelsthestatementwasmade.Ifseeingtheworktouchesaviewer’sheart,thentheworkisevenmoresuccessful.Thisaddedsuccessshouldbeconsideredonlyabonus,however,sincethebasicsuccessisdeterminedsolelybytheartist.

Nostalgiacanencompassavarietyofsubjectsaswideasyourownimaginationwhentappedasasourceforsketchideas.So,onceuponatime...

TheOld-Timers

Thisisasketchofasmallcollectionoftoysthatprobablypredatesmostofus.Itwashandledwithafinepenand,forthemostpart,delicatelineworkinordertocarryouttheideaofsoftnessinthedoll’sclothingandthebear’sfur.Boldpenworkwouldhavecreatedavalidbutentirelydifferentfeeling.

Noticethatthedoll’shairwascreatedwithrelativelyfewstrandsactuallybeingdrawn.Thefuronthebearwassuggestedwithaveryfewfurindications,thefuzzyoutlineofthebearcarryingmostoftheidea.Comparethebearwiththedoll’sfeet,whicharecomparativelysmooth,asisthewoodentoysoldier.

Otherold-timersubjectswouldincludesomeoldbooks,anoldTiffanylamp,asteamertrunklayingopen,awellbucket,ahorsecollarandothertack,andsoon.

TheOldRuralRoute

TheOldRuralRouteincludesanumberofold-timers—mailboxesthathaveseenbetterdays,milkcansofabygoneagewhenpeoplewerelessconcernedwithhealthhazards(andprobablyworkedtoohardtobesick),arailfencelongpast

healthhazards(andprobablyworkedtoohardtobesick),arailfencelongpastperforminganyfunction,andatreestillexhibitingarugged,massivedignity,evenindeath.

Thecompositionisbasedonaseriesofoverlappingtrianglesofdifferentsizes,asshownintheauxiliarysketch.

Thepredominanceofoldweatheredwoodinthecompositiondictatedabold,roughapproachtoboththeoutliningandthetexturinglines.Aheavierpenwas

usedherethanthatintheprecedingcollectionoftoys.

WhenIsketchajumbleofweedsandgrasses,asaroundthemailboxesandthemilkstand,Iindicatejustenoughtocarrytheideaofmixedvegetation.Toomanystrokesmakeitlookdarkandshadowedinwhatshouldbethesunlitareas.

Thefoursketchesonthefollowingpages1900inFarmington,Michigan,nowaarebasedonoldphotographstakenaboutDetroitsuburb.

TheOldHomeTown

Correctperspectiveisvitaltosuccessfulrenderingofstructures.Whatevermethodyouuse,becertainthatyoueliminateallperspectiveproblemsinyourpencilsketchpriortostartingwiththeink.ThebestwayIhavefoundtocatchmistakesinperspectiveistolookattheworkingpencildrawinginamirror.Thisseemstomagnifysuchproblemsandletsyouspotthemmoreeasily.

Ifyouarelikeme,youareneverquitesatisfiedwiththeexactviewpresentedbyaphotograph.AlmostwithoutexceptionIchangetheangle,movethe“eye”toapositiondifferentfromthatofthecameralens—perhapshigherorlower,and

positiondifferentfromthatofthecameralens—perhapshigherorlower,andoftenconsiderablyfarthertotheleftorright.Thisisdonetoincludemoreofsomeelementoranotherandoftentominimizeoreliminatetherelativemonotonyofaparticularfeature.Artisticlicenseisthereforyou,theartist,touse.

Successfullychangingthepointofviewrequiresatleastalittleknowledgeofperspectivedrawingsothatyoucanreconstructtheobjectinthecorrectproportionandrelationshipofdetail.Oneofthebestsummaryexplanationsofperspectivebasics—allanyoneneedstoknowaboutthesubjecttosketchreasonablywell—iscontainedintheWalterFosterbookPerspectiveDrawingbyErnestNorling,whichisavailableinartist’ssupplystoresthatcarrytheWalterFosterseries.

ThissketchofTownHallTowerwastakenfromaphotographthatshowedmuchmoreofthebuilding,andshoweditfromgroundlevel.ThepatternoftheMansardroof,decorativebrickwork,andwindowsofthetowercaughtmyfancy.IimaginedIwasupina“cherrypicker”,closetothesecondfloorlevel.ThenIcreatedmyowncomposition,usingthephotographasareferenceforplacementandproportionofdetails.

Iusedafinepointforthelineworkinthesunshineandamediumonefortheshadedwork.

TheSteeleMill

TheSteeleMillsketchwasdoneasifIwaslookingacrossthecreekatthebuildingonabright,hotsummerday.

IhavelearnedthatwhenIsketchgrassy,weedypatches,lessisgenerallybetterthanmore.Itrytoputalittlevarietyintotheindicationsofvegetationandlettheviewer’simaginationsupplytherest.WhenshowingthebrightfoliageofabushorgrassthatiscatchingfullsunlightItrytojuxtaposeitwithacooldarktonetoworksomedramaticcontrastsintomysketch.Itriedthisinthelowerleft-handcornerofthisdrawing.

Theshadedsideofthebuildinghasjustonedoorandtwowindows.Thisbroadexpanseofclapboardisrelativelymonotonous,sowhenthesketchwasfinishedIbrokeuptheshadebygoingoveritwithsomeirregularlyshapeddarkpatches,ratherthancreatingafairlyuniformtone.

Ifrequentlymentionthatoutlinesshouldbeminimizedinyourwork.BythisImeanyoushouldeliminateoutlinesininkonyourfinalproduct.Bynomeansskimponpenciloutlinesofalldetailwork,whichareerasedwhenyoursketchiscompleted.Thebetteryourinitialsketchinpencil,thebetteryourcompletedinkversionwillbe.

GrandRiverAvenue

GrandRiverAvenuewasthemainroadfromDetroittoLansing,Michigan,untiltheinterstatehighwaysystemblossomed.Inthe1870s,aspicturedinthissketch,itwasunpavedandFarmingtonresembledatownfromalmostanymotionpictureabouttheOldWest.

Theroaditselfmusthavebeenunbelievableduringarainyspring.Iusedafinepentoshowthebumpy,rutteddirtsurface.Extremelyunevensurfaceslikethisrequireapatchytextureofhatchworkwiththehatchlineslyingalmosthorizontally.Thewhitespacesbetweenthepatchesindicatewheresunlightisglaringofftheirregularraisedspots.Theimpressionofirregularityisenhancedifinsomeofthegroupsofhatchedpatchesthelinestiltslightlytotherightandothersslightlytotheleft.Thissimulatestheundulatingsurfaceofaroughdirtroad.

Wherebricks,stonework,etc.,areintheshadow,Iindicatethedetailsfirst,then

Wherebricks,stonework,etc.,areintheshadow,Iindicatethedetailsfirst,thenhatchoveritalltorepresenttheshadedsurface.

McGeeHillBridge

AtthiswritingtheMcGeeHillBridgeisstillinexistence,althoughwellovertwodecadeshaveelapsedsinceitwaslastusedbyregulartraffic.Theroadhaslongsincebeenreroutedtoavoidthesteepestpartofthehill.

Ipicturethisasawarmdayinlatesummerwiththenarrowriverquietlyflowingunderthecooldarknessofthebridge.

WhenIshowbrightweedsandbranchesintheforegroundagainstadarkbackground,asatthelowerleft-handcornerofthissketch,Iworkthebackgroundlines(inthiscase,thewater)betweencarefullyoutlinedweeds.Then,havingleftamplewhitespacefortheweedleaves,Iemphasizethedarkundersidesoftheleavesandstems.Onestroketoomanyandtheweeddisappearsintothebackground.

Aimforvarietyinthesizeandshapeofrocksinyoursketchesthatshowthem.

Aimforvarietyinthesizeandshapeofrocksinyoursketchesthatshowthem.Don’tmakethemlooklikealoadofpotatoes.

TheOldSmithy

Thisisanimaginarynostalgicscene.Ilikebarns,oldwood,andsomeoftheclutterIassociatewithabandonedoldruralstructures.ThiswasarainydayexerciseinwhichIusedthesamebasiccompositionasthatonpage73ofmyearlierbook,PenandInkTechniques.Inthissketch,however,Irearrangedsomeofthetreesandredesignedpartsofthebarn,butIretainedthesamegenerallayout.Idon’tknowjustwhatI’mlookingforwhenIdothis,butthereareseveralbasicsettingsinvolvingoldbuildingsthatIsketchfromtimetotimewithsomevariationsinthedetails—justformyownpleasureandrelaxation.

Thisisanotherexampleofrough,undulatinggroundthatcallsforpatchy,horizontalhatchwork.Thebarnwoodinthiscasewasrenderedwithbold,deliberatelinesusingamediumpen.Thesameappliestoallofthefoliage,whichisindicatedhereprimarilyinoutlineorsilhouettewithastylethatismoredecorativethanrealistic.

AnOriginalBillboard

Beforehighwayswereconstructedtoconveytrafficonabeelinefromheretothere,travelwasmuchslowerandmorescenic.Ourbillboardblightofthe1940sthroughthe1960swasanoutgrowthofthesignsadvertisingtobacco,circuses,andDoctorso-and-so’spillsthatwerepastedorpaintedonoldroadsidebarnsandshedsliketheoneshownhere.

Suchpracticaloldstructuresarenotmereruralcuriositiesbutrather,asEricSloane,masterpenman,painter,andauthor,said,“..theshrinesofagoodlife....”Ashepointsout,fewstructuresbuilttodaywilloutlasttheirbuildersasthefarmstructuresofahundredormoreyearsagohavedone.

farmstructuresofahundredormoreyearsagohavedone.

Grandma’sHouse

Manyoldfarmhousesweresmallbytoday’sstandards.Thiswasapracticalmovedictatedbythepoorinsulationandheatingsystemsoftheera.Smallandpracticalhadtobethethingtominimizewinterdiscomfort.

Grandma’sHouseshowsanalternativemethodofdepictingwoodwhenithasnotweathereddeeplyliketheprecedingbarnsorthecoveredbridgesthatfollow.

Generally,ifthestructureislightincolor,theshadowswillnotbeasdeepasthoseassociatedwithadarkstructure.Afinepenratherthanamediumoneservesbestinthiscase.

Thisisnotmygrandmother’shouse;however,itcouldhavebeen.

Forgotten

Thiscemeteryscene—withitsricketypicketfence,tombstonesbrokenandwornbytheweather,gravelpath,andbirchtrees—couldbetypicalofanyofthousandsofsuchruralburialgrounds.

Itisinterestingtowalkthroughsuchacemeteryonapleasantspringorsummerday.Manytombstoneinscriptionsarestilllegibleafterahundredormoreyears.TheybringtomindsadstoriesofCivilWarcasualtiesand,evensadder,theypointtotheterriblyhighinfantmortalityrateofthatera.Inmanywaysthe“goodolddays”arebetterinourimaginationthantheyeverwereinfact.

CoveredBridges

Theseareourmostrapidlydisappearinglinkswithatrulyruralpast.IhadthepleasureoflivingandworkinginVermontduringthelate1960s.InmythreeyearsthereIsawthreecoveredbridgesburnedandonedestroyedbecauseofdamconstruction.TheolderlocalVermontersstillcalledthemkissingbridges,alwayssmilingastheirthoughtswentbackintime.

Insomeareashistoricalsocietiesdowhattheycantopreserveorrestorethesebridges,butfewofthemanythousandsthatwerebuiltstillexist.Soifyouarefortunateenoughtolivenearacoveredbridgeortocomeupononewhentraveling,takeasecondlookatatrulynostalgicelementthatisalmostcertaintobelostforeverinthenearfuture.Suchstructuresmakemarveloussubjectsforanyartist,butsomehowtheyareideallysuitedtopenandink.

Thedarkinteriorinthelargestsubjectherewasdoneusingasmallwatercolorbrush,blendingtheinkintothetextureddarkareasdonewithpen.

OldBuildings

Ofthethreebuildingsshownhere,thestoneoneisEuropeanandtheothertwoAmerican.Iindicatedthatthedarksectionsofonecoveredbridgesketchweredonewithabrushandink.Thesametechniquewasusedonthestonebuildingshownhere.

Althoughthisstonebuildingwasrenderedwithbothpenandbrush,youcansimulatethefinestpenlinesbycarefuluseofa000watercolorbrushandindiaink.Thesamebrushcanalsogiveyoutheheavy,soliddarkareasofthisstone

ink.Thesamebrushcanalsogiveyoutheheavy,soliddarkareasofthisstonebuilding.Ialwayskeepcoupleofsmallwatercolorbrusheshandywithmypens.

YourFavoriteThings

Oldbuildingsarealwaysfavoritenostalgicthemes,butdonotoverlookotherthings,suchasafavoriterock,fence,ortree.Suchanelementcouldholdamemorythatisdeartoyouandyoualone,oritcouldremindyouofsomefondincidentfromlongago.

Neveroverlookyourfavoritethingswhenlookingforsomethingtosketch.

Progress

AnancientChineseTaoistpoemstates“...allthingsalikedotheirworkandthenweseethemsubside....”Soitiswiththeruralstructuresthatstandinthewayoflanddevelopment.Soonerorlaterthewaymustbemadeforprogressandthe

landdevelopment.Soonerorlaterthewaymustbemadeforprogressandtheenduringoldremovedtomakeroomfortheoftentransientnew.Nowhereisthismoreapparentthanintheruralsuburbsoftwentyorthirtyyearsagothathavebecome“developed.”Thismeansthatstreetshavebeenpaved,homesbuilt,andshoppingcenterserected;andthatservicestationsandtrafficsignalshaveappearedoneveryprimecorner.Italsomeansmanyotherthings,whichcanonlyleadthinkingpeopletoquestiontherealqualityofallthisprogress.

Itissadtowatchaonceproudandusefulbarn,liketheoneshownhere,beingdemolished.Ifyouhappenonsuchadismembermentinprogress,youwillhaveaninterestingsubjecttosketch.

2:SubjectsfromOldEngravings

Mostpre-1900magazinesliberallyusedengravedillustrations.Manyofthesearesuperblittledrawingsthatrepresentsomeofthebestexamplesofengravingcraftsmanship.Suchfineexamplesoflineworkcanprovideyouwithendlessthemesfor

practiceifyoutakeasmalldetailinanengravingthatattractsyoureyeandenlargeonit.Additionally,engravingscanbeveryusefulasstudiesofhowtalentedprofessionalshandledjuxtapositionoflightanddark,howtheyledtheeyeintotheirdrawing,and—amostimportantthingtolearn—howthey“gotoutof”theirdrawing.Thislatterpointislearnedonlyafteragreatdealoftrialanderror.Justhowandwheretostopafteryouhavesurroundedyourcenterofinterestwithenoughdetailtoestablishthesettingisasimportantaconsiderationasthebasiccomposition.Someofthestudiesinthissectionwerebasedonsomepre-1890engravingsI

happenedupon.Asusual,Itooklibertieswithcompositionandcontentaftersomethingintheengravingscaughtmyeyeandgotmegoingonthesketch.

LondonRiverside

ThereproductionoftheengravingIusedasinspirationforthissketchwasmanytimessmallerthanmyinterpretation.IeliminatednumerousotherboatsandanumberoffigureswhenImademysketch.Iwasattractedbythemanydifferent

numberoffigureswhenImademysketch.Iwasattractedbythemanydifferenttexturescontainedinthescene—stucco,brick,smoothstoneinthebuildings,mud,water,roughwoodenpilingsandherringbarrels,aswellasthepaintedboats.

Whenbrowsingforinspiration,donotfeelobligatedtocopythesourcematerialfaithfully.Thatisnottheobjective.Rather,theprimaryfunctionofsuchsourcematerialistoprovideyouwithpracticesubjects.Itssecondpurposeistopointoutsurfacetreatmentsthatyoumightprofitablyworkintoyourownsubjects.

Thefulltonalrange—fromsolidblacktostarkwhitepaper—isusedhere.Thedarkportionswerebuiltupcarefullyaftertheunderlyingdetailwasestablishedinink.

TheOldCheshireCheese

ThisfamousLondonpubandrestaurantisjustafewyardsoffFleetStreet.Untilthemid-1970sithadbeenopentomenonlyandwasfrequentedbynewspaperwriters.Oneeveninginthe1960sDavidWard,anotedoperasinger,returnedfromanextendedstayinRomeandburstboisterouslyintothepubtogreetsomeofhismanyfriends.Iwasthereatthetimeandhadthepleasureofsharingapintofbittersandsomelightconversationwiththishuge,gregariousmanintheunimposing,historicmen’spub.

Wardtoldme,“Oh,thisisthenewOldCheshireCheese—originalburned,youknow—thefire...rebuiltimmediatelyafter.”

“Whatfire,WorldWarII?”

“Why,theGreatFire—1666,youknow—destroyedmostofLondon...”

Oldandnewarereallyquiterelative.

LaterIfoundan1890engravingofthedingylittlecourtonwhichtheOldCheshireCheesefronts.FleetStreetisjustunderthearch,indicatedbytheglareinthesketch.TheentrancetothepubisunderoneofthelargestlanternsIhaveeverseen.

Thelocationhadnotchangedintheseventy-oddyearsbetweenthetimeoftheengravingandmyvisit.Neitherhadtheancienttraditionbarringwomenfromthetinypubchanged.Thepublicantoldmethateventhequeenherselfwouldbedeniedentrance.Sincemyvisit,however,thistraditionhascrumbledalongwithmanycherishedrelicsofthepast.

Inspiteofmyfrequentadmonitiontoavoidoutlining,thissketchutilizesquitea

Inspiteofmyfrequentadmonitiontoavoidoutlining,thissketchutilizesquiteabitofit,asyoucanseeinthepartlycompleteddetails.However,notehowtheeffectoftheglarefromFleetStreetisenhancedbyomittingahardedgeonthewallsthatframethiswhitearea.Ahard-lineedgewouldbetotallyinappropriatehere.Outlinewasalsoavoidedonthebrightpartsofthetwoverticalrainpipes.

Asketchlikethiscallsforestablishmentofdetailsfirst,followedbyacarefulbuildupofthedarkshadesoverthesedetails.Alsonotehowrelativelyfewindividualbricksrequiredelineationtogetacrosstheideaofabrickwall.

Thematterof“gettingoutofasketch”frequentlyarises—justwhereandhowtostopafteryourcenterofinterestissurroundedwithadequatedetail.Thetopandrightsideofthissketchshowhowarchitecturaldetailssuchaswindowscanjustsortoffadeoutwithoutlookingatallincomplete.Theviewer’seyewillfillindetailsthatareobviousbyimplication,suchasthestepsthatmustexistatthelowerright.Thereisnoneedtoshowtheminthiscase.

FromAlbrechtDurer

AlbrechtDurerwasbornabouttwentyyearspriortoColumbus’sdiscoveryofAmericaandwasacknowledgedinhisowntimeasasupremetechnicianofwoodcutandengraving.Anyoneinterestedinfinelineartmuststudyhisworksandcarefullyexaminehistechniques.

BrowsethroughavolumeofDurer’sworksandyouwillfindcountlessdetails

BrowsethroughavolumeofDurer’sworksandyouwillfindcountlessdetailsthatcanactasinspirationforsmallstudies.Again,anythingthatpromptsyoutosketchislegitimatepracticematerial.Inacaselikethis,firsttrytoduplicatethelinetechnique.Thentrythesamedetailbuttreatitdifferently—yourway.StudyhowDurercreatedtheformsofvarioussurfaces,howhetreatedlightsanddarks,howhefrequentlystylizedhistreestofitintoandenhancehisbasiccomposition.

ThethreesketchesherearebasedondetailsfromthreedifferentworksbyDurer—SaintJerome,SaintEustace,andtheNativity.Theyarenotexactcopiesofhiswork;rather,theyrepresentpentechniquebasedonhistreatmentofthesurfacesandtexturesinvolved.HistreatmentoftreetrunkswasappliedtosomeofmyowncompositionsinChapter6:LandscapeSubjects.Examinethoselandscapes,eachofwhichillustratesadifferenttreatmentoftrees,andcomparetheeffectsproducedbyeachtreatment.

InhisNativityDurer’srenderingofthethatchedroofpost-and-beambuildingisalsoveryuseful.Notethattheartistdidnotoverdothethatchandthathegave

interesttothebuildingbyindicatingcrackedanderodedstuccowithbrickworkshowingthrough.Thesetechniquescanalsobeappliedtosuitablesubjectsinyourownsketches.

Takeasimple,smallpillow,tossitintoachair,anduseitasasketchsubject.YoucangetsomeideasonhowtodepictsuchasurfacefromthetwopillowsintheSaintJeromedetail.AlsonotehowDurertreatedthewornandchippededgeofthewindowsillinthesamesubject.

IstronglyrecommendcarefulandthoughtfulstudyofmasterworkssuchasDurer’s.Itdoesn’tmatterthathisworkisseldomseenexceptinmuseums.Lookatthemyriaddetails,bothforegroundandbackground,andyouwillbecertaintofindmanyinstructivetreatmentsthatyoucanapplytoyourownwork.AsIsaidinmypreviousbook,thissortofthing“becomesyourinventoryofingredientsfromwhichyouselectthoseyouneedtocreateyourownoriginalworks.”

AScratchboardBlizzard

Scratchboardwasanaturalforthisstudyforseveralreasons.Theconvenienceofbeingabletoputwhiteoverblackaswellasblackoverwhitewasjustwhatwasneededforthissnow-coveredbuildingfromaCivilWar-eramagazineillustration.Also,Iwantedtheabilitytosoftentheinklinesthatrepresentedtheshadinginthesnow.Ididthisbyscratchingacrosstheinkedshadinglines.Inthedetailstudy,whichshowspartofthesketchinearlystages,youcanseelinesinthesnowontheroofbeforeandafterscratching.

Forthosenotfamiliarwithscratchboard,itisaheavyclay-coatedpaper.Youpaintordrawtheinklinesontheclaycoating.Whentheinkisdryyoucanscratchthroughittomakewhitelines.Scratchboardtoolsareveryinexpensive(aboutadimeapiece)andcanscratchveryfinedetailsintheblack.SeethesmallillustrationinwhichIshowthetwopaintedareas,oneofthemwithmysignaturescratchedthroughinveryfinelines.

ThesmallerstudiesshowpartiallycompleteddetailstogiveyouabetterideaofhowIproceededonthissketch.Asusual,Ipaintedinthesolidblackareasafterdoingatightpencildrawing,butImadethepencillinesasfaintaspossibleonthescratchboard.ThenIputthelineworkinwithapen.Awordofcaution:Donotuseyourtechnicalorrapidograph-typepenonscratchboard—thecoatingcancausethepointtoclogsincethemoistinksoftensit.Also,itisnotagoodideatodomucherasingonthescratchboardaftertheinkhasbeenapplied.Thiscaneasilyremoveorlightentheinkinareasyoudonotwantaffected.

Afteryourinkworkisdone,youcanlendemphasistosomeelementswiththescratchboardtool,asIdidtothebranchesinthedetailstudybyscratchingawhitelineononesideoftheblacklines.Thisworkswellforriggingonshipsaswellasforbrancheswhenyouuseadark-linedsky.

ThelastthingIdidinthissketchwastoscratchinthesnowflakes.OnthisexerciseIfoundthatIhadoverdonethesnowflakes,soIwentbackinwithabrushandpaintedsomeofthemout.Scratchboardmakesitfuntogofromwhitetoblacktowhiteagain,bringingoutthepreciseeffectyouwant.

ThissketchwasbasedonanillustrationfromaCivilWar-eraengravingorwoodcut.Itshowedcannonandmeninablizzardwiththiswreckofabarnofftotheside.Ilikedthebarninthesnowwiththedarktreetrunksbehindit,soIeliminatedthemen,armaments,andotherelementsoftheoriginal.

PortugueseFisherman

3:AtmosphericEffectsasSubjects

“HowdoIshowthesky?”isaquestionmystudentssometimesask.Myanswerisalways,“Unlesstheskyisyoursubject,yourprincipalfocus,Irecommendyoudon’tsketchit.”Mostofmystudentsarenotprofessionalartists.Theyhaveacreativedrive,

whichattractsthemtoartforavarietyofpersonalreasons.Theyarefrequentlyworkingpeople.Theyarelookingforanavocation—anoutletthroughwhichtheycanachievewhateverlevelofproficiencytheirtimeanddedicationwillallow.Some,ofcourse,haveambitionsfarbeyondtheircapability.Othershaveaninherenttalentforthemedium.“Why,”Iaskthem,“takeonsomethingthatatbestisratherdifficulttocarryoff,evenforprofessionals?”Itellthem,“Inmostcases,theadditionofskyandcloudeffects,unlessyoudothemverydelicately,willtendtoclutteryoursketch.Achievingtherequireddelicacyoftouchtakespractice—lotsofpractice—andlotsofmistakes.”Thisisquiteachallengetotossatagroupofstudents.Someofthemreact

with,“Well,Iguessyouareright,”andtheyapplythemselvestootherthings.Afew,however,reactinapositivemannertomychallenge.Theythink,“Whatdoeshemean,Ican’tdoit!”WheneverItossthischallengeoutIknowthatlaterinthecourseIwillbeshownasketchortwoincorporatingskyandcloudtexture.Thispermitsagooddiscussionofthesubjectwiththestudentsthemselvestellingtheclasshowmanytimestheyhadtotrydifferentthingsbeforetheyachievedaneffectthatsatisfiedthem.

Workingwithatmosphericeffectscanbefunbutrequiresalotofpractice,trial,anderror.

Sundown

Thereisnoskytextureinthesesketches.Thedazzling,bright,colorfulskyisthereonlybyimplication,thebrightskyandbrightwatersurfaceimplyingduskbecauseofthestrongsilhouettes.Thisisoneformofatmosphericeffect.

Thisapproach—darksilhouetteagainstbrightsky—canbeparticularlyeffectivewithpalmtreesinatropicalscene.Windmillsalsomakeunusuallyattractive

withpalmtreesinatropicalscene.Windmillsalsomakeunusuallyattractivesilhouetteswhenproperlyhandled.Howaboutsomeofyourownsubjects?

Thesketchwiththehousewasdoneusingonlyapen;thepalmtreesweredrawnusingonlyabrush.ForthewindmillIusedpen,brush,andtheedgeofaman-madekitchensponge.Thespongeistheonlytoolthatwillcreatesuchlacyfoliagesilhouettes.

Evening

Thecenterofinterestinthissketchisthebanksofmultilayeredclouds.Thehillsandtreesaresubsidiaryelementsintheoverallsetting.Inthissketchsomeofthecloudsarehighenoughtocatchthelastglareofthesettingsun.Othercloudsareinshadowandappearasdarkersilhouettesagainstthesestillbrightclouds.

Thereisnothingtrickyaboutthepenworkinthissketch.Virtuallyallofthelinesarehorizontalexceptwherecross-hatchingwasusedtoestablishdarkertones.Acarefulpencildrawingofthetreeswasdonefirst.Thebackgroundwasthendoneinink,withthetreesdonelastsothatthebrightareasrepresentingthesunlighthittingthefoliagecouldretaintheirprominence.Examinethedetailstudytoseehowthewhiteareaswereleftforlatercompletionofthesetrees.

FoggyDay

Fogtendstomakeallobjectsappearasflatmonotonesilhouettes.Onlytheclosestobjectsshowanygradationoftoneduetodeepshadowsandsurfacesthatreceivenoreflectedlight.

Forthissketchthestructure,rocks,boats,andseagullshapeswerefirstsketchedinpencil.Thenthedensepatchesofwhitefogtowardthelowerleftforegroundwereindicatedinpencil.Therestwasamatterofusinghorizontalinkstrokesexclusively,emphasizingadeepshadedareahereandtheretogiveformtothe

closerrocksandtoshowalittleshadeunderthetwoplatformsonthewharfstructure.Thefinalstepwasaseriesofrapidhorizontalstrokesacrosstheentiresketch,blackandwhiteareas,tosuggestthegeneraloverallfog.

AlsolookatFogonCanneryRowinChapter4,SubjectsfromPhotographs,forothertreatmentsoffog.

Hazyglareinthemiddaysuncausesthesamevisualeffectasfog—distant

objectsbecomeflatmonotones.ThiseffectisusedinSunnyClearing(seepage98)togivetheimpressionofabrighthazysummerdayinaforest.

4:SubjectsfromPhotographs

Nowwecometothesecondmostplentifulsourceofsketchideas—photographs.Mypersonalphilosophyontheuseofphotographsassourcematerialislessconservativethanthatofsomeofmyartistfriends.Somewhohavemasteredamedium,suchasoilorwatercolor,holdthataphotographshouldbeusedasasourceonlyiftherealthingistotallyinaccessible,andthenonlyiftheartisthimselftookthatphotograph.Theseartistsdo,however,usephotographsforthestudyofdetailthatmightotherwisebeimpossibletodiscernortolearnmoreaboutthestructureofasubject.Thissecondpoint—usingphotographsforstudyingandclarifyingdetails—

representsanextremelyvalidcourseofaction.Seriousartistswhoareconfidentlycompetenthavenoneedforcopying.Theydoindeed,however,knowthevalueofstudyingasubjectfromallaspectsbeforetheycreatetheirowncompositionandtheirownrenditionofthatsubject.Asanexampleofthispoint,ArthurChargois,whowrotetheforewordtothis

book,recentlyshowedmehisveryeffectiveoilpaintingofaherdofzebrasgallopingacrossahot,dustyAfricanplain.Hetoldmethathehadfirstresearchedandstudiedallinformationhecouldobtain,includingillustrations,concerningthezebra.HelearnedthedifferencebetweenChapman’szebraandGrevy’szebra(theformerhasbroadstripeswithshadowstripesbetweenthemwhilethelatterhaslongearsandnumerousnarrowstripes).HefoundoutthatwhileinoneSouthAfricansubspeciesthestripesdonotextendtothelowerlimbs,theEastAfricanzebradoesindeedhavethelowerlimbsstripedandlackstheshadowstripes...

Enough!Thisisnotatreatiseonthezebra.Mypointisthatheisathoroughlyaccomplishedartistofexcellentmerit,havingbeenprofessorofartandheadofthecommercialartdepartmentofDuCretSchoolofArt.Hedidnotwanttoportrayjusttheideaofthezebraasastripedquadruped.Hewantedtoknowthathiszebrasweretruetolifeintheirconfiguration,coloration,andinthehabitatinwhichheportrayedthem.Hecaredaboutcreatingabeautifulpaintingthatwasalsotechnicallyaccurate.Hedidnotpainthisanimalsfromoneofhisreferencephotographs,yeteveryphotographhestudiedcontributedtohispainting.Thisistheproperuseofphotographsfortheaccomplishedartist.Thefirstpointintheinitialparagraphofthissectionconcernstheuseof

photographsformorethanjustreferenceaboutconfigurationorforclarificationofdetail.Itconcernsactuallysittingdownanddoingapaintingorasketchmoreorlesscomposedjustasthephotographiscomposed.Ifoneisgoingtosellhisorherworkasoriginalart,thenthelackofrespectexpressedbyaccomplishedartistsforthiskindofbehavioriswelljustified.However,aspiringstudentsofanyvisualartmediumshouldnothesitatetouseappropriatephotographsforpracticeorstudiesofcompositionifthephotographinspiresthem.Iholdthatanyinspirationforpracticeworkisvalidinspirationbecauseproficiencyinanymediumrequirespracticeandpracticeandthenmorepractice.Whatevergetsyougoingisgreat!Istatedabovethatmyviewontheuseofphotographsislessconservative

thansome.IguessIfeelthiswaybecause,althoughIhavesometimesstartedout

thansome.IguessIfeelthiswaybecause,althoughIhavesometimesstartedouttocopysomephotograph,Ialmostalwayshavefeltthatadifferentangleorelevation,oraconsiderablerearrangementofelements,wouldcreateacompositionmoresuitabletomygoals.Soinreality,formeanyway,aphotographreallyactsasageneralconceptforthecompositionthatrapidlytendstobecomemine.Ifeelthisisavaliduseofphotographsthatmaynothavebeentakenbytheartist.Suchlicense,however,requiresafairlygoodgraspoffundamentalperspectivedrawinginordertoaltertheviewpointfromthatwhichthephotographerused,especiallyifstructuresareinvolved.AsecondpointIwanttomakeisthatitisusuallyaparticulardetailinaphotographthatattractsmyattentionratherthanthetotalcomposition.Again,thephotographactsasacatalystratherthanasaready-madecomposition.Theavailabilityofphotographicworkislimitlessifyoureadnewspapersand

magazinesorhaveaccesstoalibrary.Inincreasingyourproficiencywiththepen,donothesitatetousethisalmostuniversalsourceofsubjectmatter.Istartedthischapterbyindicatingthatphotographyisthesecondmost

plentifulsourceofsketchideas.Themostplentifulandbestsource,ofcourse,willalwaysbetherealthing.

BelowtheMillpond

Thissketchwasbasedonaphotographthatwasprintedinamagazine.Thephotographshowedmuchmoreofthesurroundingforestonbothsidesofthemill.Ireallywantedthewatercascadingdownthesteppeddamtobethecenterofinterest,soIeliminatedquiteabitoftheforestandsimplifiedalotofthevisibledetailonthemillitself.

Iusedafinepentodothissketch,withgoodpencilguidelinesthatwerelatererased.Itookspecialcareinplacingthefewstrokesinthewhitewatercascade,sincetherewasarealpossibilityofoverdoingitandspoilingtheeffect.

GreyfriarsChurchyard,Edinburgh

ThiselaboratelycarvedmausoleumwaspartofaphotographinabookonScotland.Thephotographshowedmuchmoreoftheburialgroundandincludedagoodbitofthecitybeyond;Ichosetoignorethesedetails.

Theivy-coveredstoneworkofthisoneelementofthephotographattractedme.Youtooshouldlookforsomeelement,somedetail,whichyoucanabstractfromaphoto.Thisselectionprocessissimilartowhatyoumustdowhensketchingonlocationanywhere—youmustzeroinonasinglesubjectandeliminateallelse.Onlocation,ofcourse,youhavefullvisioninalldirectionssoselectingasinglesubjectisperhapsabitmorecomplicatedthanwhenlookingataphotograph.Still,aphotowillgenerallyshowmuchmorethanyouneedforasketch,thusofferingyouanopportunitytopracticebeingselective.

offeringyouanopportunitytopracticebeingselective.

Inthisphotographamassofintricatedetailwaspresentedtotheeye:thethousandsofivyleaves,theflutedcolumns,thehighreliefpanelsonthebaseofthemausoleum,thecarvedletteringanddraperybetweenthecolumns.Adequatesuggestionofsuchdetailisallthatisrequiredtoguidethementalprocessoftheviewertocompletethem.Donotattempttoincludetoomuchdetailinyoursketch.Afterall,youreallyareonlytryingtoputforthasuggestion.Youshouldnottrytoimpartthesamedetailthataphotographwould.

AbuSimbel

ThismagnificenttemplealongtheNilereceivedconsiderablepublicitysomeyearsagowhentheproposedAswanDamthreatenedtoinundateit.But,through

yearsagowhentheproposedAswanDamthreatenedtoinundateit.But,throughoneofthemostchallengingengineeringfeatsever,thehugecliffthathousedthetempleanditsgiganticseateddeitieswascutintosections,raised,andreassembledabovetheproposedwaterlevel.Thissketchcamefromoneofthemyriadphotographstakenatthattime.

Basicallythisisafour-tonesketch—solidblackdonewithabrush,twograytonesusingthepen,andfinallythewhitepaper.Lotsofdotsandsquiggles,aswellasirregularoutlinesrepresentingthechippedrock,wereusedtohelpindicatethetexture.Bytheway,justaseveryrulehasitsexception,myfrequentadmonitiontoavoidoutliningdoesnotholdhere.Thisisanoutlinesketchenhancedbythefourtonesmentionedabove.

Thisfuzzylittlefellowwassketchedfromasmallphotograph.IenlargeditbyfirstlayingagridofsquaresdrawnonanacetatesheetoverthephotographanddrawinglargersquaresonmypapersothatIhadaneasyreferenceforobtaininganenlargedoutline.

JustaswiththebearinTheOldTimers(seepage2),thefuzzytextureofthiscoltissuggestedprimarilybythebroken,fuzzyoutlinetreatment,whichisdonefirst.Afterdepictingthelips,eye,andnostril,Ibeganshowingtheshadows.ThenIputjustenoughtexturemarksonhisfaceandneck,takingcarenottomakethecoltlooktoodark.

Smallsquaresontranwparentoverlay.

Largersquaresonsketchpapertoenlargefromthephotograph.

PeopleintheNewspapers

Bothofthesesketcheswereenlargedfromnewspaperphotographs.Suchphotos

Bothofthesesketcheswereenlargedfromnewspaperphotographs.Suchphotosoftenhavehighcontrastandlackdetail.Thiscanbebeneficialifyouareusingthemassubjects,sinceyouhavetosimplifyphotographsandeliminatealotofdetailanywaywhenyousketchfromthem.

Thehornplayerwasaveryhigh-contrastreproduction—virtuallyjustsolidblacksandstarkwhites.Itwasanaturalfortreatmentwithabrushratherthanwithapen,sinceIwantedtousethistwo-toneapproachinmysketch.Theexclusionofdetailonthehornplayer’sfacehelpsgivetheimpressionofabrightspotlightfloodinghimwithlight.

Thissketchrequiredacarefulpenciloutlineofthehornandthencarefullyexecutedsmoothlineswiththebrush.Thefigurewasdonelooselyandquicklywiththebrushandink.Theoutlinesofthefigureandshadowshapesweredoneusinga000watercolorbrush;tofillinIuseda0brush.

ThetelephonelinemanandutilitypoleformedasimplebutinterestingV-shapedcomposition.InthiscaseIchosetodothesketchwithapen,althoughitwouldalsocomeoffwellasathree-tonesketchdonewithabrush—solidblack,hatchworkwiththebrushforgray,andsolidwhite.Whydon’tyoutrythatwiththiscomposition?Justabouteverythinginthissketchismerelysuggestedbyafewstrokes—lookatthelineman’sfaceandthewireshangingoutofthejunctionbox.Thisisanoutlinedrawingcreatedwithacontinuousback-and-forthsquigglelineformostofthedarktones.

FogonCanneryRow

Ididthislittlesketchabouttwoyearsago.ItshowsoneoftheoldbuildingsonCanneryRowinMonterey,California.Ihadbeenthereearlier,butIdidnosketchingonthattrip.Later,athome,IsawaphotographshowingfingersoffogcreepinginfromtheseaandgraspingoneofthebuildingsIhadseennotlongbefore.Thissketchillustratesmyattempttosuggestthatkindoffog.Iwasnottotallysatisfiedwiththeresult,butIkeptthesketchtoshowstudentsatleastonewayofattemptingtosketchfog.

WhenassemblingmaterialforthisbookIdecidedtoincludethissketchandtocarrytheexperimentastepfurther.Iwantedtoshowhowyoucanmovefromonetreatmenttoanotherinpursuitofanidea.Ire-createdaportionoftheoriginalsketchonscratchboardwiththeideaofcreatingabetterfogrepresentationthanIhadonordinarypaper.Mythoughtwastosoftentheedgesofthefogfingersbyusingscratchboardinsteadofpaper,scratchingintotheinkedareasaroundthefog.Ialsoeliminatedthedrawninklinesinthefog.Theresultwasjustmediocre,asyoucanseeinthesketchdated1980.ThenItriedscratchingoverthehighwoodenstructureatwatersideandachievedtheresultyouseeinthesamesketch.Itlooksfoggy.

TheeffectofthisscratchingledmetoimaginethatifIscratchedoverthewholesketchitwouldcertainlylookmorelikethefoghadmovedincompletely.SoIagainre-createdaportionofthesketchonapieceofscratchboardandscratchedalloverit.Theresultwasinteresting,asyoucanseeinthesmallestsketch.

Scratchboardisalotoffuntoworkwith.ComparethisuseofitwiththeScratchboardBlizzard(page34).Inthatsketchtheabilitytoalternateblackon

whiteandwhiteonblackwasalsousedtoachieveaneffectthatwouldberatherdifficultonplainpaper.

CanadaGoose

ThephotographIusedasamodelforthesketchofthisgoosewaslargeandhadenoughdetailtoshowthestructureofthefeathersonthebird’sback.Imadeacarefulpencilsketch,placingeachfeatheronthebirdandshowingthequillrunningdownthelengthofsomeofthelargerones.

Thefirstinkworkwasdoneasshownonthebird’sheadandbeakinthedetailsketch.ThenIdidtheneckandthefirstlayerofinkworkonthelargebackandwingfeathersasshownatA.Thesecondtimeoverthesefeathers,Iusedstrokesinthesamedirectionasthefirst.YoucanseethisatB.Thethirdtimeoverthesefeathers,Iplacedjustafewstrokesofcrosshatching,asshownatC.

Whenbuildingupdarktones,suchasontheheadandneckofthegoose,itisbesttofollowtheprinciplegenerallyusedwithwatercolors—proceedfromlighttodark.Therefore,Ifirstmadeasinglelayerofhatchingoverthegoose’sneck—thissetthelightesttoneinthisblackarea.ThenIusedcrosshatchingtobuildupthedarkertones,beingcarefultoleavesomeofthefirst,singlehatchworkforthehighlightthatrunsfromtheheadtothebody.Thedarkestareasontheneckwereachievedwiththreesuperimposedlayersofink.

ThesesketcheswerenotdonefromphotographsbutareincludedheretosupplementtheprecedingdiscussiononthemuchlargerCanadagoose.

Thelittlejunco,orsnowbird,isafrequentwintervisitoratourbirdfeeders.The

Thelittlejunco,orsnowbird,isafrequentwintervisitoratourbirdfeeders.Thebeak,undersides,andoutertailfeathersarewhite,whiletherestofthebirdisadarkslategraywithsomeofthewingfeathersandtailbeingevendarker.

Ididthelightcolorsinthissketchwithonelayeroffairlyloosehatching.Ididtheoverallgraywithtwolayersoftightercrosshatch.Thedarksreceivedathirdand,insomeplaces,afourthlayerofink.Theshapesofthedarkwingfeathersweredrawnfirstwiththeoverallgrayhatchingandcrosshatchingsuperimposedovertheselines,asyoucanseeinthepartiallycompleteddetail.

Theamountofdetailyouincludeinanysketchdependsonthesizeofthesketch.Thesmalleroneherethatshowsabluejayhasalmostnofinedetailinthewingandtailareasotherthansuggestionsofblackbarsandwhitefeathers.

BodiamCastle

ThesesketchesandthestonebarnsketchesthatfollowshowhowItreatrelativelysmoothstone—justafewindicationsofthecracksbetweenthestoneblocksonthesunlitsurface.Forcontrast,lookatthesketchcalledProgress(seepage26).Thissubjecthadrough,irregularstonesformingthebarnfoundationandrequiredmoretexturingtoindicatetheroughness.

ThesketchofBodiamCastlewasdonewithaHunt104point—averyfine,inexpensivereplaceablenib.Ididthesmalldetailusingamuchheavierfountainpenpointtoshowthevariouseffectsthatdifferentpointsizeshaveandtodemonstratehowaboldpenstrokecanalsoindicatetextureandshadeveryeffectively.

StoneBarn

Thisgreatstonebarn,reproducedhereinblackandwhite,wasdonetotestanewpenandbrowninkonroughoff-whitewatercolorpaper.Imadetheshadowedsideofthebarndarktoenhancetheimpressionofaverybrightsunnydaywiththeviewer’seyesconstrictedbythebrilliantglarefromthefrontofthebarn.

Asshowninthepartiallycompletedsketch(sketchA),Ifirstindicatedsomeofthestoneworkonboththesunnysideandtheshadysideofthebarn.ThenIbuiltupcrosshatchesovertheseindicationsontheshadyside.OnthesunnysideIsimplydarkenedsomeofthestoneshereandthere.

Isimplydarkenedsomeofthestoneshereandthere.

Ileftthewoodstandingandlyingunderthesmallroofontheleftuntextured(sketchB)untiltheshadewascompletedaroundit.ThenIcouldtelljusthowmuchtodarkenitwithhatchingwithoutlosingitinthesurroundingdarkarea.

ThePasture

Thissketchisacompositebasedononephotographthatshowedthehorseinapastureandanotherthatsuggestedthetreewiththeshrubberyatthebase.Thebankandwatercamefrommyimagination.

Theoriginalsketchwasdoneonarough140-poundoff-whitewatercolorpapercalledMorillaboard.Thispaper,usedwithWinsorandNewtonpeatbrownink,isoneofmyfavoritecombinations.Theverydarkbrowninkgivesanextremelyrichlooktosketchesontheslightlybuffpaper,whiletheroughtextureofthepaperitselflendsoverallinteresttothesketch.Trythiscombinationsometime.

AWordAboutPens

Itmaybebeneficialtostopamomentandlookatsomeofthemanyinkeffectsthatcanbeproducedwithdifferenttools.Thesubjectofhorseswillbeusedforthisdiscussion.

Thefullsketchshownherewasdoneusingatechnicalpen,aMars700,equippedwitha000point.Thisproducesa0.25-millimeterline.Forthoseofyounotfamiliarwiththenomenclature,thisisafairlyfineline.Whenproperlyused,itproduceslinessuchasyouseeinthehorse’sface.IuseditproperlyonthefacesinceIwantedtheviewer’sattentiontobedrawntothatarea—hencesomeofthegreatestcontrastsareontheface.Whenthepenisbarelytouchedtothepaper(improperuse),however,thelittlewire,whichcomesthroughthetubethatactuallyisthepoint,depositstheinkratherthanthetube.Whenrapidstrokesareused,thismakesaninterestingbrokenline,whichIusedtoshadethehorse’sneck,bodyandlegs.

SketchAwasdonewiththefinestpointIhave—aPelikanGraphosstyleS,whichmakesalineabout0.10millimeterwide.Notehowyoucanbuildupdarktonestowhateverdegreeyouneedwiththisdelicatetool.Whenyoureallywantdetailandareinthemoodtospendtimedevelopingit,anextremelyfinepointlikethisisjustthething.

ForsketchBIusedaPelikanGraphosround-pointletteringpen,witha0.5-millimeterpoint.Thereisnoflexibilitytothispoint,soitmakesalineofjustonethickness.

SketchCwastheproductofmyfavoritesketchingfountainpen,aPelikan120.Thishasinterchangeablepoints.TheoneIusedherewascalled“extrafine.”Whenyouapplypressuretothispenitdeliversawiderinkline.Iusedthis

Whenyouapplypressuretothispenitdeliversawiderinkline.IusedthisvariablelinewidthfeatureinsketchC.

Iuseda0watercolorbrushforsketchD;forsketchEIusedasquare-pointletteringpenthatmadealineaboutonesixteenthofaninchwide.ForthethinlineshereIusedthepenedgewise.

Noneofthesepens—nor,forthatmatter,anyoftheinfinitevarietyofothertoolsyoumightuse—ismorecorrectthananyother.Italldependsonwhatyourpurposeisandwhatyourtastetellsyouisrighttoservethatpurpose.

MaineHarbor

Thissketchrepresentsatremendousamountofsimplificationfromthephotographthatpromptedit.Ieliminatedliterallyhundredsofhousesonthebackgroundhillside,dozensofcraftintheharbor,dozensofpeople,andhalftheNewEnglandpopulationofgulls.

Myinterestwasfocusedonthestrongtensionbroughtonbytheperpendicularmastsandthehorizontalhullsofthetwoshipsthatformthecenterofinterest.IbelieveIevenexaggeratedtheheightofthemaststoenhancethisfeeling.

Thebeautifulorderlyclutterofriggingonthetwoshipsrequiredverycarefulhandling.Naturally,thefirststepwasaverytightpencildrawing.ThenIproceededbyinkingtherigging,whichallowedmetostartoverwithoutabandoningtoomanyhoursofdrawingifIdidnotachievetheeffectIwanted.Oneproblemwastoachievetheeffectofdimensionwiththefineweblikelinesofrigging.Ihadtomakeitvisuallyobviousthatsomeoftheselineswereclosertotheviewer,withotherspassingbehindthem.Thekeytothiswastostartwiththeclosestrigginganddepictthemthroughveryfinebrokenlines.ThenIdecidedwhatwasjustbehindtheselinesandverycarefullyindicatedthis,makingcertainthatIleftclearuninkedpaperonbothsidesoftheriggingthatwasclosertotheeye.Thisdoesnotlookunnaturalinthecompletedsketch,yetitdefinitelygivesthethree-dimensionaleffectIwanted.Look,forinstance,atthenearestboat,justtotherightofthedockwheretheratlinescomedownfromthetopofthemaststothesideoftheship.Thereisnodetailshownbehindtheselinesattheirlowerend.Theslightestdetail,evenadotortwo,wouldhavevisuallydestroyedtheeffect.Thesameholdstruewheretheprowofthewhiteshipliesinfrontofthedarkership.Inthiscaseitiswhatisleftoutofthesketchthattellsalotofthestory.

Birches

Anyonewhodoesmuchsketchinginpenandinkfeelsanoccasionalurgetotackleaclumpofbirches.SoitwaswithmeasIwasselectingmaterialforthisbook.IhadnobirchesthatIwantedtoinclude,soIdidthissketch.

Thissnowsceneallowsmetopointoutoncemorethatyoushouldalwaysbeonthelookoutforopportunitiestoeliminateoutlines.Inthiscase,exceptforacoupleofthebranches,therearenooutlinesatall.Itisonlyyourimaginationthatseesanedgeontheleft-handsidesofthetreeswherethesunlightstrikesthem.Iusedmorepenworktodefinetheright-handedgesofthetreessincetheywereinshadow,butstillthereisnooutlineperse.Stripedorspottedsubjectsalsoofferanopportunitytoeliminateoutlines.

Isn’tthereahillsidebehindthebirchesthatslopesdownwardtotheright?Again,itisonlyyourimaginationthatseesit,becauseitissimplysuggestedby

Again,itisonlyyourimaginationthatseesit,becauseitissimplysuggestedbytheweedsandbareshrubsthatappeartoshowjustoverthecrest.

Itookthesethreebirchesfromaphotographofagrovecontainingaboutfifteenvisibletrees.Iselectedthesefortheirinterestingshapesand“replanted”themintomyowngrouping.Iusedmyfinestpenpointtorenderthesebirches.

Elephant

Theinspirationforthissketchwasabeautifulphotographthatshowedagreatdealofthestructureofthewrinklesintheanimal.Itwasquiteobviousthatthephotographerwastheobjectoftheelephant’scuriosity.

Thiskindoftextureisnotdifficulttorender.Ifirstindicatedthepatternofwrinklesallovertheanimal,thenstartedbuildingupthedarkareasoverthese.Asthewrinklefeaturesbegantodisappearintothedarkareas,IreemphasizedthemasIwentalong.ThedarktoneswereamatterofpilingoncrosshatchesuntilIwassatisfied.

Kinkaku-JiTemple

ThistempleiscalledtheGoldenPavilioninJapan.ManyJapanesefeelitisthemoststrikingofthemanytemplesandshrinesthataboundinthatbeautifulcountry.

IvisitedKinkaku-JiandnumerousothershrinesinKyotoonatripthattookmemorethanathousandmilessouthwestfromTokyoandbackagain.

Thistempleisontheedgeofaman-madelakeconstructedmorethanathousandyearsago.Visitorsfollowapatharoundtheperimeterofthislakeandgetaviewofthetemplefromallangles.Theviewshownhereisoneofthetwomostpopularthataregenerallyseeninphotographs.

ThestronggeometricsymmetryofthisstructurerequiredcarefulandaccurateperspectivedrawingbeforeIstartedtoapplyink.Naturallyasymmetricsubjects

perspectivedrawingbeforeIstartedtoapplyink.Naturallyasymmetricsubjectsallowforallsortsofvariationinproportionandlinewithoutlookingunnatural.Thisdoesnotholdwithbuildingsandfaces,however.Herethestructureisprimarilybuiltupofseveralboxesorcubesofdifferentsizesandshapespiledontopofoneanother.Thisisillustratedbythedetailsketch.MyinitialpencilsketchlookedlikethisbeforeIbegantoplaceanddefinethedetails.

Frommypersonalexperience,thissketchcouldjustaseasilybeplacedinthenostalgiacategory.ImadealengthyvisittoJapanandsoakedupmuchofthecountry’sculturalcharm,asevidencedbytemples,shrines,andgardens.Theseaboundinallcitiesandsuburbanareas.IdonotknowifIwilleverbeabletoreturntoseemoreofJapan.ButIdidseeenoughthatIamabletoappreciatethebeautyofmanylocationsIdidnotseethroughphotographsanddescriptionsofthem.Icamebackwithenoughphotographs,sketches,andawealthofreferencematerialtokeepmebusyovertheyearsmakingsmallsketchesandvignettesofthemanythingsofincrediblebeautythatexistinJapan.Don’tyouhavememoriesyoucanrenewbysketchingthemnow?

Thevignetteoftheprettygirlalsocamefromaphotograph.

MiyukiGate

EarlyintheseventeenthcenturytheImperialVillaatKatsura(nearKyoto,Japan)wascreated.TheMiyukiGatepicturedherewasbuiltin1658atthevilla.

IdidnotvisitKatsuraVillawhenIwasinJapan,butIwasgivenabeautifullywrittenandillustratedguidebookbyafriendthere.Thesesketchesarebasedonphotographsfromthatguidebook.

SomuchofthebeautyofthingsJapaneseisbasedonbothsymmetryandasymmetry.Thisgateissymmetrical,justasKinkaku-Jiontheprecedingpagesisbasicallysymmetrical.However,asymmetricalspacecanbesubdividedasymmetricallywithtaste—thisisthebasisofallgooddesign.Asanexampleofsuchsubdivisionofspace,IhavesketchedthepatternofShinWalk,oneofseveralcut-stonepathwaysegmentsontheKatsuragrounds.Theprincipleof

graceful,interestingdivisionofspaceisseennotonlyinfabric,rug,andwallpaperdesignsbutinallwell-composedvisualartworks.Anygoodpaintingordrawingstartsasanabstractdivisionofthespacewiththeartist’sinitialconsiderationoftheproperplacementandrelationshipofthecompositionalelements.

Thebasicdesignofanywell-composedpainting—thatis,howthespaceisdivided—wouldprovideagoodcompositionalbase,regardlessofthesubjectmatterofthatpainting.

HighCountry

ThephotographIusedheredepictedabeautifullakesomewhereintheArizonaWhiteMountainarea.Thesuccessivebanksoftreesstretchingoffintothedistanceledmetodothissketch.Iwantedanexampletoshowmyclasseshowtone(andtexture)alternationscanbeusedtoindicatesuccessivemassesof

tone(andtexture)alternationscanbeusedtoindicatesuccessivemassesoffoliage—toseparatethesemassesandgettheeffectofvaryingdistances.Mypointinthissketchwastoexaggeratethetonedifferencessomewhat,startingfromthelight,thenshadow,areasofgrassonthefarsideofthelake.Indicationsofsomedarkerunderbrushappearinfrontofalineofverylighttrees,whichinturnareframedbythemostdistantlineoffairlydarktrees.Startingwiththelightwater,andthedark-reflectedshoreinthiswater,Isimplymadeasuccessionofalternatinglightsanddarkstoobtaintheimpressionofobjectsinfrontofotherobjects.

Imovedtheelkinfromanotherphotograph.

CathedralRock,Sedona

NextonlytotheEiffelTower,CathedralRock,nearSedona,Arizona,isoneofthemostfrequentlypaintedandphotographedandthereforemostrecognizedshapes.

SedonaislocatedbetweenFlagstaffonthehighplateauandPhoenixatdesertlevel.Itgetsneithertheseverewintersoftheonenortheovenlikesummerheatoftheother.Itistomeoneofthemostbeautifulplacesinourcountry.AfterseveralvisitstoSedona’sRedRockCountry,thishasbecomeoneofmyfavoritesketchsubjects.

CathedralRockwasafamiliarbackdropforWesternmoviesmadeinthe1930sand1940s.Theclassicviewistheoneshownhere,closetoashallowfordinOakCreek.

Inthissketchandtheonethatfollows,economyofinkwasvital.Everydotandlinehadtoworkformebecausetherewassomuchtosuggestonthesmallpieceofwhitepaper.Afewwell-placedrowsofdotsestablishthattherockmassesarestratifiedhorizontally.Lessregularlittleclumpsofdotsanddashessuggestthescrubgrowththatsparselycoverstheslopes.Thencarefulshadowindication,

scrubgrowththatsparselycoverstheslopes.Thencarefulshadowindication,followedbyaonce-overtostrengthenanylostfeatures,andIwasfinishedwiththesketch.

NearSedona

Asintheprevioussketch,thereissomuchillusiontocreateherethatnotadotoralinecouldbewasted.Inadditiontothehorizontalrockstrataindicatedbydots,thescrubgrowthisalsoindicatedbyclumpylittledotsandshortdashes.Bysketchingthesehorizontallyinsomeplacesandtiltinguptotheleftorrightinothers,Iincorporatedtheideaofthehillycontourofthelandleadinguptothebackgroundmountains.

Inthissketchthecenterofinterestistheforeground—thefencelineandthereddirtroadway.Thethinwireofthefenceinthissketchcouldeasilyhavedisappearedintotheotherinkwork.TopreventthisIleftwhitespaceabovethewires(thisismostapparentwherethewirescrossadarkfeature)andmadesurethewirelineandthelinesrepresentingthesparsegrassdidnottoucheachother.Noticethisonthebottomwireonthefencewherethetallergrassbladescrossinfrontofit.

Iestablishedthemainrutsoftheroadwayfirst,thenputthehorizontalshadowlinesoverthem.Finally,Iaddedthedotsandsquigglesindicatingpebbles.

JoshuaTree

ThereissolittlelifeinthedesertsofourSouthwestthatwhatistherereallystandsout.Thisallowsanappreciationoftheindividualbeautyofplants,forinstance,whichmightbelosttotheeyeifthisplantlifeexistedincrowdedprofusionasitdoesinthetropicsoreveninpartofthedensegrowthofour

forestedareas.

TheJosuatreeisonlyoneofthemanyspeciesofdesertplantlife,anditpresentsauniquechallengetotheartist.Thissketchisoneapproachtothatchallenge.

TheJoshuatree’sleavesgrowinporcupinefashioninclumpsattheendsofbranches.Inordertoshowthis,Iindicatedeachclumpofleaveswithlinesaimedinthedirectionofthegrowth.Someoftheclumpsareinprofileandsomefacetheviewerhead-on.Thehead-onclumpsareindicatedbylineworkthatradiatesfromthecenteroftheclumpinalldirections.Oncethebasiclineworkanddirectionsoftheseclumpswereestablished,IdidthetrunkandthenwentovertodarkenhereandtheretogetthedefinitionIwantedforeachclump.Finally,Iputtheshadowsonthetrunkandbranches.

YuccaPlant

Hereisoneofthedesertbeauties—theyucca.Itisfamiliarasagardenplanttohomeownersallacrossthecountrybecauseofitstoleranceforcoldweather.TherearemanyyuccaplantsinmyMichiganneighborhood.

Theprimarychallengewiththissketchwasthespinyballofleaves.Asyoucanseeintheauxiliarysketch,Istartedbydefiningtheoutlineofthisball.ThenIestablishedafewoftheleavesinthecenterinfulloutline.Thiscentralcoreofleavesincludedthosecomingstraightoutatthereaderaswellassomethat

leavesincludedthosecomingstraightoutatthereaderaswellassomethatradiatedinotherdirectionsasIprogressedawayfromthecenter.AtthesametimeIoutlinedjustafewoftheleavesthatformedthebootbelowtheball.Theremainderofthelowerportionofthesketchwascreatedbymakingthedarktoneswithlinesthatshowedthedirectioninwhichthefoliagegrew.

SaguaroCactus

ThissymbolofArizona,thetall,deeplyribbedsaguaro,isactuallyatree.Theoutlineofthistreeissimpleenough;creatingtheribbedeffectrequiredonlymytechnicalpen,aseriesofverticallinestostartwith,andsomepatience.

Aftergettingmypenciloutlinedown,Isharpenedthepencilanddrewaseriesoflinesaboutonesixteenthofaninchapartonthesaguaro.ThenIinkedabrokenlineontheseguidelines—asyoucanseeintheauxiliarysketch.Ithendrewthe

lineontheseguidelines—asyoucanseeintheauxiliarysketch.Ithendrewthelittlehatchmarksliketeethonacomb,touchingonesideofthebrokenlinesandbeingcertaintoleaveapurewhiteareabetweenthemandtheadjacentline.Thispatterncreatedtheflutedorribbedimpression.Whenthiswasfinished,thelastthingIdidwastohatchovertheareasIwantedshadedinordertohelpachievethefeelingofroundnessinthecactus.

Panfish

Thebluegillandcrappiesketchesshownherearebasedonnumerousphotographs(allIcouldfindinthelocallibrary)andotherillustrationsofbothpanfish.IstudiedthemostaccuratedetailsIcouldfindofthestructureandshapeofthesetwofish.Iwantedtoshowmystudentswhatahighlyaccuratelineportrayalinvolved.

Beforestartingtoink,Idrewtheentirefishclearlyinpencil—everyfacialfeature,agridforthescalepattern,everylightspotinthedarkfinsandtail,everyribinthefins,andthelaterallightstripe.

IndrawingthescalesIfollowedagridpattern,whichIfirstdrewlightlyinpencil,asshownintheauxiliarysketchofthecrappie.

ForeachfishIstartedwiththehead,asshownbythepartiallyfinishedcrappie,makingsureIdefinedeveryfeatureinink.AtthisstageIerasedthepencillinesintheheadareatoeliminatetheclutterandtoallowmetoseebetterforthenextstep—thatofaddingthescalesintheheadareaandbuildingupthedarktones.Ibroughttheheadtoabout90-percentcompletionbeforeImovedoverandstartedonthescales.

IninkingthescalepatternImadeafirstpassovertheentirebody,prettymuchasyouseeoneachoftheauxiliarysketches.WiththebluegillImadesurethedarkfingerlikepatternwasestablishedandeachlightscaleindicated,notintheirfinaltonesbutapproximatelyasyouseeintheunfinisheddetails.ThenIerasedthepencilguidelinesfromthescaleareaandproceededtodevelopwhatIfeltwouldbethefinaldarkvaluesoneachscale.Noticethatthecrappiehasthreescaletonesandthebluegilljusttwo.

ThenImovedtothefinandtailareaswherethelightanddarkpatternswerestillcarefullyoutlinedinpencil.Whenthesefeaturesweredevelopedtotheextentshowninthedetailsketches,thepencillineswereerasedandthefinaltonesestablishedandbalanced.

IdidthebluegillsketchfirstanddecidedwhenIstartedthecrappietotryfora

IdidthebluegillsketchfirstanddecidedwhenIstartedthecrappietotryforamoreroundedimpressionbyincorporatingthebrighthighlightbetweentheheadandthedorsalfin.

Bleached

Thisisanexampleofanothercharacteristicelementofthesouthwesterndesert.Thedriedcowskullsketchstartedasanoutlinedrawing,asyouseeintheauxiliarydetail.Ifirstlocatedthemajordarkareas,cracks,andlargerholesintheoutline.ThenIstartedtoindicatetheformoftheskullthroughhatchmarkswithwhichImoldedthesurface—curvingthemappropriatelytoindicateconcaveorconvexsurfacesandmakingthemstraightforflatsurfaces.ThenIplacedthefinedots,orstippling,toputthefinishingtouchesonthemoresubtle

placedthefinedots,orstippling,toputthefinishingtouchesonthemoresubtlesurfaceindications.Ifinishedupwiththelargerdotsthatindicatesmallholesintheboneandthehorns.

5:SubjectsfromLife

Whetherstrollingthroughyourbackyardorsight-seeingthousandsofmilesfromhome,youwillfindcountlesssubjects—somepanoramic,someinsignificant—thatarenaturalsforyoursketchingrepertoire.ThissectioncontainssomeofthesubjectsIhavesketchedfromlife.They

mayprovidesomehelpforyoushouldyourtravelsnearorfargiveyoutheurgetosketchsomethingthathasaparticularappealforyou.Donotunderestimatetheproblemsofsketchingafeatherysprigofgrass.The

matteroforganizingthesketchsothatthespaceonyourpaperisusedinapleasingmanneristhesameforsuchasimplesubjectasitisforariverwithamillionrocksinview.Everysubjectyouselecttosketchmustbesimplifiedandsomeportionofitcomposedonyourpaperbeforeyoucanbegintodraworpaintit.Thisisthepointatwhich,consciouslyorunconsciously,youdecidehowtoorganizethatspaceonyourpaper.

MilkweedPods

Hardbrownmilkweedpodsspillingtheirloadsofseedsintotheairareasuresignthatsummerisgone.Thesepodsarefavoritesindriedflowerarrangements.Theinterestingtextureoftheshellandthesilkysoftnessoftheseedsmakethemagoodsubjectforsketching.Thepodsoftengroupthemselvesinbeautifulclustersontheircurvedandtwistedstemsandgiveyoumanyexcellentready-madecompositions.

Ifirstorganizedthiscompositionbyselectingtwostalksofopenedmilkweedpods.ThenIlightlydrewthestalkpatternandroughlyindicatedthepods.ForthenextstepImoreorlessoutlinedthewholesketchinink,placingafewseedshereandthere.IhadtoknowwheretheseedsandtheirwhitefuzzweretobesothatIcoulddevelopthedarkshellaroundthewhitesthatIwantedtohighlight.Afterputtinginthelittlegroupsofhatchmarkstoindicatetheroughnessofthe

Afterputtinginthelittlegroupsofhatchmarkstoindicatetheroughnessoftheshell,Ihatchedoverthewholeshelltodarkenitandtherebyemphasizethewhiteseedfuzz.

FieldGrass

WhenIsketchedthissimplelittlesprigofgrass,Ifirstmadeafewindicationsofthestemstructurewiththepencil,pinpointingthewaythelittlebranchesradiatedingroupsfromthestem.ThenIputinthearrangementoftheleaves.Iproceededwiththeinkworkbyfirstdoingthosefeaturesthatwereinfront,thatis,closertomyeye.Imadesurethatanyfeaturethatpassedbehinddidnot

is,closertomyeye.Imadesurethatanyfeaturethatpassedbehinddidnottouchthefeatureinfront.Withaveryfine,delicatesubjectsuchasthis,theillusionofdepthwouldhavebeenlostifalltheelementscrisscrossedandtouchedoneanother.Leavingthatlittlespacewhereonethingpassesbehindsomethingelsemakesitquiteobvioustotheeyewhichofthefeaturesisinfront.Thesewhitespacesarenotapparentthroughacasuallookatthissketch.Inanyevent,theillusionisalwayseffective.

HemlockandJackPine

Hereareadditionalitemsfromlifethatdonotrequirevacationtripstosee—justatriptoyourbackyard.

Ahemlocksprigisagoodlifesubjectbecauseitappearssocomplexasyoulookatitwithpencilinhandandwhitepaperbeforeyou.Aswithanysubject,simplificationtobasicshapeandstructureshouldbeyourstartingpoint.Ifirstputsomepencillinesdowntorepresentthevisiblebranchlets,thendrewlightlinesshowingtheenvelopecreatedbytheneedles.OnlythendidIstartdrawingindividualneedles—thoseIcouldseefully.Thefirsttimeover,thewholesketchlookedliketheunfinishedportiontotheright,withjustthebranchletsandafewneedlesshowing.AfterthisIflesheditoutbydrawingneedlesbehindthese.

Thejackpineconewaslessfussy.FirstIestablishedthebasicoutlineoftheconeandtheendsofthevisibleopenparts.ThenItookthepartsoneatatime,asyouseeinthepartlyfinishedsketch,andbroughtthemtocompletiononebyone.

AFavoriteTree

ForyearsIdrovetoworkeachmorningalongfivemilesofruralroad.Severaltreesalongthewaycontinuallycaughtmyattention—theybecamefavoritetrees,sotospeak.Theirshape,thewaytheystoodbythemselves—whateveritwas,IfeltpleasureeverytimeIsawthemregardlessoftheseason.

Thetreesketchedhererepresentsoneofthesefavorites.Itstoodquitealonesothatthesmallbranchesgrowingfromthetrunkcreatedtheirownleafymassesinspringtime,partiallyblockingoutthetrunk.Itriedtocapturethatfeeling—notbysittingatthesideoftheroadandsketching,butbyusingthoseyearsofmentalnotestodothesketchinmystudio.

Ifirstsketchedthetrunkandbasicplacementoftheleafmassesandbranchesinpencil.ThenIstartedtodevelopthecrownshapewithlittlecirclesandpartialcircles.Iworkedfromthetopofthetreedown,doingafoliagemassfirst,thenthebranchindication,andonlythenputtinginaportionofthetrunk.AsthelaststepIwentovereachofthefoliagemassestoplacesomelargercirclesandsmallerdotshereandtheretobreakupthemonotony.AtthispointIalsomadesureIaddedleafindicationsattheedgesofthemassestogetthatlooseleafyeffect.

Chalet316

Ihaveseveralfavoriteplacesintheworld.OneofthemisGatlinburg,Tennessee,whereourverygoodfriendshaveabeautifulchalet.MywifeandIspentaweektherewiththemonespring,duringwhichtimeImadeseveralon-locationsketches.Keepinmindhoweasyitistotakeyourfountainpen,pencil,andsomebristolboard(orevenlargeindexcards)withyouonyourvacations—youcancapturelittleessencesofamemorabletripinsketchesthatmaymeanfarmoretoyouovertheyearsthanfullydetailedphotographs.

Chalet316hereis,asareallchaletsinthatarea,builtonahillside.ThesketchthatshowsjustpartofthebuildingwasdonewhileIperchedcomfortablyonthefenderofmycar,shirtoff,gettingsomesunshine.Aswithallstructures,theproportionmustbeestablishedproperlybeforebeginningtoinkthetextures.Ididthissketchinloosemanner,notaimingforadetailedarchitectural-likerenderingbutratheranicelittlereminderofamemorableplace.

renderingbutratheranicelittlereminderofamemorableplace.

Iinkedthebuildingfirst,thenIdidtheleaves,fence,porchrailing,andbackgroundtreessothatIcouldbetterseewhattooveremphasizeandwhattounderemphasizeinordertokeepthebuildingasthecenterofinterest.

FromthePorch

Ontheopposite,downhillsideofChalet316isaporchthatoverlooksthevalleyinwhichGatlinburgwasbuilt.Therearemanytreesonthissideofthechalet,withpartofonethatisclosetotheporchbeingshownhere.

Whatattractedmetothissubjectwerethecurveinthetrunk,theknotholes,andthefine-patterned,deeplyruttedbark.Iusedmytechnicalpenonthissketch(000point),barelytouchingittothepaperinsomeplacestogetthefinestlineIcould.

Whendoingasketchlikethis,exerciserestraint.Itissoeasytotrytoincludesomuchthatthefeelinggetslostinclutter.

RockyRiver

NearGatlinburgthereisapicnicareacalledTheChimneys.Itrunsalongonebankofabeautifulrock-filledriver.Thisstretchofriverhasbeenthesubjectofanumberofmysketchesandpaintings.Iamnotaloneinusingthisvariedand

anumberofmysketchesandpaintings.Iamnotaloneinusingthisvariedandbeautifulsubject.

IsatonalargerockintheriverwhileIdidthissketchdirectlyinink,skippingtheusualpreliminarypencillayout.Myfirststepwastolocatetherocksinoutline.ThenIcompletedthedarkareasofthewaterandindicatedwherethelittlecascadesandthewhitewaterwere.ThenIbegantodeveloptherocks,usingpenstrokesthatshowedthesurfaceplanesoftherocks.Lastly,Ididthebackgroundforestandtheoverallhatchingtodarkensomeoftherocks.

SeedsandFlowers

Yourownbackyardcanproduceatremendousvarietyofsubjectsforpracticesketches.Ididtheselittlevignettesfromitemsonhandwithinfiftyfeetofmybackpatio.Youmaynotbesatisfiedwiththeresultsthefirstfewtimesyousketchsimplelittlethingslikethese.Youwillprobablytrytoshowtoomuchdetailatfirst.Keepatit—itispleasanttospendafewminutesonalittlesketch,perhapsofacoupleofacorns,thentryafewdifferentwaystoshowthesametextures.

Gargoyle

Thissketchwasstartedasaclassroomdemonstrationindrawingfromtherealthing.Ilaterfinisheditathome.Thesubjectwasalittleplasterstatueofagargoylethatwasaboutfiveinchestall.Istartedwithaquickpencildrawingdonepriortotheclassandmovedimmediatelyintocreatingtheformandsurfacetextureswiththepen.Thiswasdonerapidlyandloosely,primarilyasanexerciseinestablishingacomplex,roundedformthroughuseofshadows.Thepitsandthescaleindicationswereaddedathomelater.

ThislittlestatueisoneofahalfdozenIbroughtbackfromatriptoParis.Whatsouvenirsdoyouhavethatwouldmakegoodsketchsubjects?

WoodSprite

Thissketchisofanothersouvenir—onebroughtbackfromGermanybyfriends.Itisafacecarvedintoabranchofwood,withthenatural,uncarvedwoodportionsactingasthehatandhair.Ihaveoftensaidthatwoodisoneofthebesttrulynaturalmaterialsforthepenartisttodepictbecauseitsgrain,bark,cracks,andfoldsareeasilyshowninarealisticmanner.Itgivesmegreatsatisfactiontocreatetheillusionoftexturessuchasthis.

ThefirstthingIdidwastodrawtheoveralloutlineandfacialfeatures,thenIconcentratedonthewoodgraintexturearoundandoverthesefeatures.

EarlySpringShrub

Ifyoutakethetimetolook,yourgardencanprovideyouwithmoreelaboratesubjectmatterthanseeds.TherearetwothingsIlikeaboutthissketchofalittleshrubasitappearedearlyinspring—first,thebeautifullytwistedbranchesand,second,theinterestingshapeandarrangementofthenegativespaces(the“holes”betweenthebranches).Theauxiliarysketchshowsthesenegativespacesemphasizedratherthanthebranches.Onecantakesuchanorganizationofspacefromnatureandcreateacompositionofanysubjectmatterbasedonit.Thisonesuggestsafloralarrangementtome.

Asusual,Idrewthistreecarefullyinpencilbeforestartingwithink.Havingselectedmylightsources(fromtheright)IknewwherethebrighthighlightswouldbeandcarefullyleftthemuninkedasIwentalong.NoticethatIbasedthemethodofshowingthetrunkandbranchesonAlbrechtDurer’streatmentoftreetrunks,shownearlier(seepage32).

DownedTree

Anexpansionprogramatanearbycommunitycollegerequiredthatsomesizabletreesberemoved.Beforebeingcutintosmallerpieces,anumberofthesegiantswereleftlyingaboutforsometimeafterbeingfelled.Ononeofourcustomarywalks(mywife,dog,andIfrequentlyusedtowalkthegrounds)itoccurredtomethatthepatternsofroughbarkonthedownedtreetrunkswouldmakeagoodtextureforstudentexercises.SoafteracoupleofmentalnotesIdidthislittlesketchtoindicateamethodofhandlingthebark.

Tomakeamorecompletecomposition,bothphilosophicallyandvisually,Iaddedtherottedstumpthatwaslongdeadtoindicatethefateofalltrees,whethertheirendisbroughtaboutbymanornature.Lifedoesnottotallysuccumbtodeath,however,soIaddedtheyoungsaplingatthelefttobringthisthoughtofnewlifeintothesketch.

Iachievedthetextureonthetrunkbymakingaonce-overseriesofirregularlongitudinallines,dots,andsquiggles;thenIaddedsomesmall“combs”bydrawingaseriesofshorthatchmarks.Afinaloverallcrosshatchingproducedtheshadedareas.TheverylastthingIdidwastotonedowntheupperedgesofthe

shadedareas.TheverylastthingIdidwastotonedowntheupperedgesofthedeadstumpclosesttotheviewer.Ihadlefttheseedgesplainwhite,astheyareinthepartiallyfinishedsketch,soIcoulddetermineattheendhowmuchtotonethemtobarelyputthembackintothepicture.

MushroomsandBoatMoorings

Thesetwosimplesketches,basedonobjectsfromlife,weredoneforsomenotepaperIhadprintedformywife.Tipsonhowtohandleyoursketch,choosepaper,andsoon,toprepareyourownnotepaperorgreetingcardsforaprinterarecoveredinmyearlierbook,PenandInkTechniques,pages38and39.

Forthesesketches,Ifirstdrewthemainfeaturesofthewoodenpilingsinink,thenIcrosshatchedoverthemtocompletethedarkareas.ThelastthingIdidwastoputthelittledotsandmarksoverallthepilingstogivethemapittedlook.

Themushroomsarebasicallyanoutlinesketchwiththedarkfeaturesbuiltupbyoverlayingstrokesinthesamedirectionratherthanusingcrosshatches(exceptforthestems).

6:LandscapeSubjects

Trees,withallthevariousspecies,shapes,varieties,sizes,andvariationsoffoliage,areoneofthemostvariableelementsofnature.Thisistotheartist’sadvantage.Whendrawingorpaintingtrees,youhavethewidestlatitudeimaginabletofitthiselementtoyourcompositionalneedswithoutlosingrealism.Alandscapesketchcanhaveoneortwotreeformsasthecenterofinterest

andlittleornothingelse.Oritcanhavethirty-twovisibletreeformsplusnumeroussmallshrubs.ThislatterisatreecountfromthesketchSunnyClearing(page98)inthissection,whiletheformerdescribesthesketchBirchesinChapter4.Eachofthesesketchesisproperlycalledalandscape.Thechallengeofcreatingsuccessfullandscapesketchesliesinrealistic

handlingoffoliage.Icannotsaythatsuchrealistichandlingalwaysrequiresonetoignoreindividualleavesandconcentrateonshowingonlythemassesofleaves,althoughthisisgenerallyagoodruletofollow.Asanexceptiontothisrule,seeFavoriteTree(page83)inChapter5.Inthisexampleonlyindividualleavesareindicated,yetinthiscaseitworks.Still,Iwouldnotwanttorepresenttreesthiswayingeneralsinceitwouldgetmonotonousbothtoexecuteandtolookat.

Althoughtherearenohardandfasttabusintreatingthematteroflandscapesandlandscapeelements,IwilldescribeinthischapterafewthingsIdothatseemtobeeffective.

AroundtheLake

Thissketchofapathcurvingaroundalakeisbasedonasketchbyanotherartistinwhichalargecountrybuildingwasthemainsubject.Toshowmystudentsyetanotherwaytodrawtrees,Itookoneedgeofthatsketchandmadethetreeandforegroundpathacenterofinterest,addingsomedetailtothebackground.

Earlier,inChapter4,SubjectsfromPhotographs,IusedthesketchHighCountrytoillustratethealternationoflightanddarkvaluesincreatingsuccessivelyrecedinglayersofgrowth.Youcanseethesameprincipleisappliedhere.

AuxiliarysketchesA,B,andCindicatehowIprogressedfromtheinitialpencilsketchandthefirsttoneofthefarthesttrees(A)throughdevelopmentofthedarklittletreetrunksandtheprominenttrees(B)tocompletionoftheshrubberyat

littletreetrunksandtheprominenttrees(B)tocompletionoftheshrubberyatthebaseofthesetrees(C).

Inthisinstancethetreefoliageisdonetotallywithhatchmarksandcrosshatchestoindicatetheleafmasses.Theshrubberyandlowergrowthatthebaseofthistreelineisdoneprimarilywithstipple(dots),whicharebuiltuptoasolidblackatthebottom(C),againstwhichthelightergrassiscontrasted.

FoliageStepbyStep

Moreoftenthannot,mylandscapesketchescontaindeciduoustreesthatIwanttorepresentinarealisticmanner.ThistakessomeinitialplanningfollowedbyasuccessionofstepsthatIhavefoundproducetheeffectIwant.

Theillustrativesketchherecontainstwobasicparts:theclumpofthreetreesintheforegroundandtreesandshrubberyinthebackground.Takingthebackgroundfirst,theauxiliarysketch(A)showshoweverythingwascarefullyoutlinedininkbeforethemostdistanttreesandthedarkareaundertheshrubs(B)werestarted.Nextthedarkareawascompleted(C),andthenthefarthesttreesmodulatedalittleintone,theundergrowthshrubberytrunkshatchedtotonethemdownalittleandtheshrubberyleafindicationsadded(D).

Ifollowsixbasicstepswhensketchingleafyfoliage.FirstImakeatightpencildrawingoutliningthelightanddarkleafmassesandthevisibletrunksandmainbranches(E).ThenIoutlinethesefeaturesinink(F)andproceedtoinkinthedarkfoliage(G).Atthispoint,whentheinkisdry,Ieraseallthepencillines.BeforebringingthedarkfoliagetoitsfinalvalueIdarkenthetrunkandmainbranches,whichwillappearasdarksilhouettesthroughtheholesinfoliage,andIshowtheshadowonthelighttrunks(H).NowIbringthedarkfoliagetoitsfinalvalueandaddthelittlebitsofadditionaldarktones(I).Finally,Itouchup

thedarksidesofthetrunks,addthesmallbranches,andloosenupthefoliagebyshowingsomesingleleaves,bothlightanddark,justoutsideofthemainleafmasses(J).

SunnyClearing

ThisisanimaginaryscenethroughwhichIwantedtoaccomplishtwoprimarygoals.Onewastogettheeffectofaveryhazysummerdaywithbrilliantsunlight.Theotherwastoenhancethiseffectbymakingitseemasiftheviewerwereemergingfromathick,darkforest.Iwantedtoshowthecontrastofdarktoverybright.

Haze,likefog,tendstoobliteratedetail,makingdistantobjectsappearasflatmonotones.ThefarthesttreeswerethefirstthingsIinked,asyoucanseeinthedetailsketch.ThenIcompletedthefoliageclumpsandstartedonthetreetrunks.ThesetreetrunksaredoneinthestyleofAlbrechtDurer(seeChapter2),withrelativelysmoothbutundulatingbark.Inextcompletedthewater,thenstartedthegrassyareasintheforeground.

Myfirstintentionwastohavethetriangularpieceoflandtotherightofthewaterfallbathedinsunlight,withthedarkshadowedstripbehindit.However,thisdominated,andtheeffectIwantedwiththebrilliantlysunnyclearingtoward

thisdominated,andtheeffectIwantedwiththebrilliantlysunnyclearingtowardthebackgroundwasalmostlost.Ithenputthistriangularareabackintotheshade,leavingjustthelittlepatchofsunlightatthebaseofthenearesttreeacrossthestreamasbrightrelieffortheforeground.

Thedistant,brightlylitclearinggavemeanexcellentopportunitytoshowundergrowthandweedsstronglysilhouettedagainstit.

ThisforestscenediffersinseveralwaysfromthesketchSunnyClearinginthischapter(page98).First,thehazeillusionisnotused—thebackgroundshowsdetailratherthancreatingaflatmonotone.Second,thetreetrunksaretexturedto

representtheroughbarkyouwouldfindonanoak,elm,orhickoryratherthanthesmootherbarkofabeech.

ThesequenceofstepsIfollowedherewasaboutthesameasthosedescribedforSunnyClearing:first,atightpencilsketch,theninkingofthebackground.Ifinddoingthebackgroundfirstagoodidea.Itimprovesmyjudgmentofjusthowdarkandhowlighttomakethetrunksandleafmassesinthenearertrees.

WithandWithoutFoliage

Tosketchrealistictrees,youshouldfirstsketcharealisticstructureoftrunkandbranchesinpencil.Youshouldthenplacethemassesoffoliageonthisstructurewheretheywilldoyourcompositionthemostgoodandinanatural-lookingmanner,dependingonwhichbranchescometowardtheviewerandwhichrecedeontheothersideofthetree.Youhaveconsiderablelatitudewithtrees,sincetheylacktheprecisesymmetryoffacesandbuildings.

EvergreenTypes

Evergreensarebestdepictedbyastrokethatistotallydifferentfromtheonethatisappropriatefordeciduousortropicaltrees.Thechallengeistosuggesttheneedlesbysketchingclumpsorbydistributingthemmoreorlessuniformly,dependingonthenatureofthetree.Shortchoppylinesinthecorrectdirectionwilldothejob.

Thecloserthetreeorshrubtotheviewer,themoredetailthatmustbeshownand,therefore,themorecarefullythepencildrawingmustbeexecuted.Thetwoauxiliarysketcheshereshowhowthefoliageinthesecases,whichIwantedtoremainwhite,wasfirstoutlined,withthedarktonescarefullyaddedaroundthisoutline.

BirdandFencePost

Theoriginalofthisminilandscape,shownhereinblackandwhite,wasanexperimentIdidwithanewbrowninkonscratchboard.Iwantedtotesttheink’sbehaviorwhenthescratchboardtoolcutthroughthesoliddarkareas.

ink’sbehaviorwhenthescratchboardtoolcutthroughthesoliddarkareas.Sometimestheinkwillchipoffinflakesratherthanallowingthescratchboardtooltocutfinelinesintheink.

Inthiscasetheinkworkedverywell.Finelyincisedlinesinthebird’shead,underparts,andwingtipscontributetothefeatheryfeeling.Thiswouldhavebeenimpossibletoachievewithouttheabilitytoscratchthroughtheinktoobtainwhitemarksontheblackareas.Theleftsideofthenearfencepostwasalsotexturedbyscratchingthroughthesoliddarkink.

7:YourPointofDeparture

Fromthispointonitisalluptoyou.InthisbookIsharewithyousomeofthepentechniquesthatIfinduseful.Itismyhopethatyouwillalsofindthemusefulaspointsofdepartureforyourownefforts.Manysubjectsinthisbookwillservewellaspracticepiecesinanymedium—ink,watercolor,oil,oracrylic—althoughmyemphasisherehasbeenonpenandink.Asanartist,youbelongtoaselectgroupofveryhighlyself-

motivatedindividuals.Ihopethatmythoughtsgiveyourmotivationsomeadditionaldirectionsforinquiry.Ihopethatyouwillnowlookforsubjectmatterthatwasalwaystherebutwhichyoumayhaveoverlooked.Whatshallyousketch?Istilldon’tknow,butperhapsnowyou

cananswerthatquestionmoreeasilyforyourself.

Bibliography

Borgman,Harry.DrawinginInk.NewYork:Watson-Guptill,1977.Guptill, Arthur L. Rendering in Pen and Ink. New York: Watson-Guptill,1976.

Lohan, Frank. Pen and Ink Techniques. Chicago: ContemporaryBooks,1978.

Norling,Ernest.PerspectiveDrawing.Tustin,CA:WalterFosterArtBooks.

Pitz,HenryC. InkDrawingTechniques.NewYork:Watson-Guptill,1957.

———.HowtoDrawTrees.NewYork:Watson-Guptill,1972.Sloane,Eric.AnAgeofBarns.NewYork:Funk&Wagnalls,1967.

Note:EricSloanehaswrittenandillustratedanumberofbooksonAmericana.Hispensketchesinanyofthemareworthyofstudy.

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