...
CHAPTER III
EARLY PRACTICE IN PEN HANDLING
DescribingSome Preliminary Exercises in the Making of Individual Pen Strokes
N ow comes the time for starting the first
actual work in pen drawing; work of the
very simplest sort, designed to give one an ac-
quaintance with his instruments and to provide
for him a logical starting point from which to
advance gradually and consistently, as broader
perception and increased manual dexterity are
gained.
The beginner must be cautioned not to try to
rush a'head too fast; he must be content to mas-
ter each step as he goes. Just as the student
of the piano would find it impossible to render
even the simplest composition completely
and correctly until thoroughly drilled in the
proper preliminary steps, so the student of
drawing would find obstacles equally great if
he allowed his impatience to lead him to an at-
tempt at a finished drawing of any but the
simplest of subjects until such rudimentary ex-
ercises as we have provided here had been
fairly well mastered. First of all he must ac-
quire considerable facility in the manipulation
of the pen itself, for without such facility satis-
factory drawings cannot possibly be made.
It is easier for most of us to handle a pen
than to manipulate a brush or a stick of charcoal
or crayon, mainly because we are accustomed to
its use in writing. Every bit of practice which
19
-
one may have had in penmanship, or in writing
with the pencil, for that DJatter, either in or out
'
of 'school, will be of sedfice. Drawing, how-
,,
ever, requires a far greater free,dom of move-
ment than does writing. In writing the pen is
held in very much the same position constantly;
in drawing the position is frequently varied. In
writing a comparatively small number of
standardized curves and straight lines are com-
bined in a methodical and oft repeated manner;
in drawing there is almost no end to the variety
in length and direction and character of the lines
used or to the methods of combining them. The
penman, then, seeks a certain monotonous per-'
fection of stroke; the artist, on the other hand,
must acquire the greatest possible versatility in '
the command of his instrument. He must be
abIe to draw long, sweeping strokes, bold vig-
orous lines, crisp dashes and delicate dots. He
must be able to draw reasonably straight lines
and pleasingly curved lines, singly or in com-
bination. And he must have the skill to draw
all of these when and where he pleases on his
paper, vertically, horizontally or slantwise. He
must do so, too, with little conscious effort, so
he can have his attention free to give to the
development of his composition as 'a whole.
 20 DRAWING WITH PEN AND INK

This does not mean that one must never at- the better of the two. Sometimes the paper,
tempt finished pen drawings until he has ab- especially if it is a stiff Bristol, is laid on a
solute control of his pen-a stage which he will smooth table top with nothing else under it.
doubtless fail to reach anyway. After what When a"drawing board is employed its size is
seems a reasonable amount of practice in draw- optional, though it is recommended that one
ing individual lines and in building simple tones not smaller than 16" x 23" be used; this is not
(this amount depending on the natural aptitude only large enough for a half sheet of Bristol
and previous experience), the student should go (about IS" x 22") but permits one to work on
directly to the making of drawings; in these he the quarter sheet without cramping.
should continue his pen practice by varying his When ready to draw, sit in a natural posi-
handling from time to time. He should also tion. It is usually best to sit facing a table with
experiment with different pens and different the drawing board on top of it or resting against
, papers, and with drawings of varioussizes,in the the edge, and so tipped as to permit the eye to
meanwhile keeping up additional pen exercises view the entire paper easily. Be sure the sheet
at spare moments, scratching a few lines or is weli lighted, with the light falling from the
building tones whenever opportunity offers, left if possible. If the paper surface is shiny'
, until a really worth while degree of pro- care should be taken that no harmful and dis-
ficiency has been arrived at. And do not forget turbing reflection of light is thrown back into
that just as trained musicians run their scales the eyes. Place the ink bottle in a convenient
and otherwise work to keep in practice, many position, usually to the right so"as to have it
artists employ some of their leisure hours within easy reach, but not too near the edge of
sketching in order to retain the skill which is the table whei.e it might be pushed off onto the
already theirs. floor. Next place a pencil or two and the pens
Now just a word as to the materiais for this and erasers nearby ana a blotter or rag handy
first work. Not all of those described in the for emergency) and you are ready to begin.
previous chapter are needed; the following are " Try to hold the pen
. '" naturally, much the same
really essential. ' as for writing (thQugh, as we have already said,
1. Several sheets of smooth white paper or it will be necessary to vary its position to some
Bristol board of convenient size. extent for different types and directions of line,
2. A medium pen lr two such as the Gillott having it sometimes twisted or turned, some-
303 and 404. times almost vertical, and again more nearly
3. A penholder and a wiper. horizontal). Keep the fingers far enough back
4. A bottle of black drawing ink. from the point to prevent them from becoming
5. Drawing board or other suitable support. daubed with ink. Above all do not cramp the
6. A few pencils, thumbtacks and one or fingers tightly onto the penholder.
two erasers. Before starting the first lines place an extra
Most of the drawing Bristols are sold in paper (any clean sheet will do) under the hand
sheets 22" x 30" or 22" x 28" or 23" x 29" , so to protect the surface of the drawing paper
each sheet, cut in quarters, gives four sheets from dirt and moisture. Get the habit of work-
about 11" x 14" or 15", a good size and propor- ing in this way from the start, seldom allowing
tion for most work of a preliminary ch<l:racter. the hand to touch the surface of the drawing. '
We advise, too, that all paper used be cut to a Now dip your pen and confidently begin prac-
uniform size, so far as possible, so the student ticing the simplest types of lines. This does not
will gradually form a collection of drawings mean to work hastily or carelessly; on the other
which will fit well together either in exhibition hand an attempt should be made to have each
or in a folio used for their protection. Above line a thing of real feeling and beauty. Too
all, one should not try to economize by using often the beginner is misled by what seem to be
too cheap a paper. carelessly drawn line5 made by well-known
Thumbtack a sheet of your paper to a draw- artists. Lines of this sort are often the result
ing board or, as a substitute, lay it on a stiff, firm of years of practice and usually very hard to
book or similar support; the board is much imitate successfully. And remember ~t some

"---
 EARLY PRACTICE IN PEN HANDLING 21

well-known artists are famous ,in spite of their /~' </ ~", - Z;,
I -«5', technique rather than because of it. ,', ///', ///', /
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Straight lines offer a natural starting point / "/'ij ',/~','

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for this practice. Turn to Plate 2 which shows
a few practical straight line exercises. As this
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plate and those immediately following it have
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~ I been reproduced at the size of the original draw- Do 'S~ .J0-7~
ings, and have not been corrected or touched up -~ Ch'"
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-l9. in any way, each stroke appears almost exactly p~cJ~~'
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as drawn.
Copy these exercises, starting with the hori-
,
I ..24-
zontal strokes shown at (CA." The arrows in-

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i dicate the directions in which the original
i strokes were drawn, and the pen points show ---
about the angles at which the pen. was held. ....
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to
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It is possible and proper to draw strokes like
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those at "C" in either of the directions indicated.
~~ ~ ~~ If you are left-handed you will naturally
reverse mosLof these exercises, not only on this
,
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~20. page but throughout the whole book. Left- :~ ~c-J- TL--. :
~-------- handedness, by the way, is seldom a 'handicap o~~s~'
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._-------- in freehand drawing; some of our best arti,s'Cs JL;.L p~'

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are left-handed and at least one of our masters
,
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--------- of the pen, Danier Vierge, was forced, because ~ , , ,. , -'" . , -
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-.._------ of a stroke of paralysis, to change from his
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right hand to his left rather late in life and did """0"""""" """""0'"
1'~1~ ~ CA"'/'.. so with little detriment to his style; ohce the -,.., " ~~ . . - -, - ,...........
~ ~r. ~ adjustment was made.
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~o-d~ ~ 'Draw many strokes similar to those at "A,"
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(CB," (CC," and "D." Vary their length and I~ (1. ~

,2 1" direction. Draw some slowly; some swiftly. ~i~-
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'-"
Fill several sheets with them. Try different
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ways of holding the pen. Try different pens
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As you do these you will probably be able to

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, may have a tej~dency to run the lines which are
intended to be horizontal up or down hill, or to ~-

J)~ ~cJ ~ tip your verticals. Yau may find it hard to

start and stop your st','okes just where you wish,
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or to keep them parallel. If these first troubles
are yours it is perhaps because your paper is not
422. directly in front of you, for if you do not look
fairly at it you are almost sure to have difficulty- ~~,
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IIIIIIIIJ'I)I}} Get it right and then try again. If unable to
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start and stop your strokes where you wish, try
the exercises shown in the accompanying Mar-
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111111111111111 ginal Sketches. Suppose, for instance, you are ~'~-'
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j i i i j 1.i ii j j jijj practicing horizontal lines. First rule, with ~ .!J.A-AA.~",
your pencil, two vertical lines, as in Marginal
rA4.f~ cxdt~ Sketch 18, as guides for the ends of the hori- ~-r ~ ~ r....

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22 DRAWING WITH PEN AND INK

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PLATE 3.
ILLUSTRATING TYPICAL CURVED LINE PRACTICE STROKES IN PEN HANDLING

The student should invent numerous similar exercises of his own. See text on pages 23 and 28....
 EARLY PRACTICE IN PEN HANDLING
zontallines. Next practice doing the horizon-
tals, starting and stopping them exactly on the.
pencilled verticals, as in Marginal Sketch 19.
Try some longer ones and some shorter ones in
the same way and then do likewise with vertical
and slanted strokes. As a further exercise of
advantage at this time, practice dot and dash
lines of the type shown in Marginal Sketch 20,
trying to space the dashes in even vertical rows,
one above the other. Draw pencil guide lines,
if necessary, as in Marginal Sketch 21. Try
also some <;lotand dash lines drawn vertically
and in tipped positions as in Marginal Sketches
22 and 23. Here again if you have tr:ouble
getting your lines parallel or evenl y spaced
there is no harm at first in laying out some pen-
cil guide lines with your ruler, one for each line
if necessary, later going over them freehand in
ink. Do little of this measuring or ruling, how-
ever, as it is of small help in educating the eye
and hand. A better exercise for training one
to draw in any desired direction is' shown in
. Marginal Sketch 24. Here. pencil dots were
carefully spaced for the beginning and ending
of each line; then the lines were drawn. These
in this sketch are rather short; try drawing
similar dots five or six inches apart so it becomes
necessary for you to draw very long lines. If
you practice this you will soon find yourself able
to carry a line way across a sheet of paper to
any desired spot with only slight variations in
direction.
Following all of these exercises, done with
comparatively even pressure of the pen, turn
23
back to Plate 2 and make strokes such as those
shown from "E" to "P," tapering or shading
each from dark to light or from light to dark.
Work with care but do not expect too much
mechanical perfection; notice that the ruled
lines at "Q" are tQOstraight and perfect to be
interesting. Exercises like these will teach you
some of the real capabilities of your pen, so
they are most important.
Sometimes an evident shake or tremor to a ,
line is highly desirable, so make also irregular
lines such as those at "R ," "S "" "T " and "D ,"
straight in general direction, some long and
some short, some with even and some with
varied pressure, and at different slants as well
as vertical and horizontal. Marginal Ske~ches
25, 26, and 27 offer additional suggestions of a
similar nature. -
Now turn to Plate 3, which shows a variety
of curved lines. This page speaks for itself.
Here again, copy these exercises and then de-
vise others of your own. These were drawn
slowly; draw wme similar strokes quickly. Copy
other strokes from pen reproductions, too; hunt
and see how many types you can find.
\Vhen you have made many kinds of individ-
ual lines, over and over again, and think you
are getting the "feel" of your pen, you are
ready to turn to the next chapter, dealing with
.the combination of strokes into tones.
In leaving this chapter, however, keep the
thought in mind that whenever you get the op-
portunity you should come back to practice the
sort of thing which is suggested here.
~
 1

:..

Used by permission of Dodd, Mead & Company, Inc., Publishers of "The Later Work of Aubrey Beardsley"

"SAINT ROSE OF LIMA," DRAWN BY AUBREY BEARDSLEY ..

A highly decorative drawing making an interesting use of the silhouette principle described on page 367.
See text on page 399
 "

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Drawn by W. D. Teague, for Schumacher & Co.,
through J. WaIter Thompson Company.
,
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CHAPTER IV .

.«11
THE ESSENTIALS OF TONE BUILDING
Rudimentary Exercises in the GrouPing of Various Individual LiTJesto Form Tones
.
M ANY pen drawings are done in outline Before practice is started let us turn to the
alone, and the student is qualified to illustration5'"for a moment.
turn to a study of these at this time if he wishes, In Marginal Sketch 28 lines have been drawn
passing directly to Chapter VI, returning to take with a medium pen (Gillott 303) 1/8" apart
up this, and the subsequent chapter, when the in a space one inch square. In Sketch 29 the
work suggested there has been completed; same pen has been used but the lines have been
Considering, however, that a far larger num- drawn 1/16" apart; in Sketch 30 twice as many
ber of drawings make use of varying tones of lines 1/32" apart occupy an equal area, and
gray, often in conjunction with areas of pure these, too, were drawn with the same pen.
'1
black, it perhaps seems more logical on' the Sketches 31, 32 and 33 have a disposition of
I

whole for one to study this chapter at this time, lines similar to 28, 29 and 30 respectively, and
in order to gain, as a preliminary foundation, seem darker only because drawn with a con-
some knowledge of the forming or building of siderably heavier pen (Esterbrook oval point,
such tones. 788).
We pointed out in Chapter I that in pen The lines in Sketches 28 and 3 1 are all at the
work each line or dot made is pure black, and 1/8" spacing. Arranged in this way, and with
usually on white paper; that when an effect of the book held two feet or more from the eye,
either light or dark gray is desired it is obtained they count as individual lines rather than subor-
only by placing dots or lines of pure black close dinate parts of a tone; this is especially true
together so as to produce a result which appears of the darker ones in Sketch 31. If spaced
gray. The process of thus learning to suggest closer as at "29" and "32" we become less con-
grays of different tone, and at the same time to scious of the separate strokes and more con-
indicate textures of numerous sorts, is very fas- scious of each tone as a unit, yet the lines are
cinating. Innumerable combinations of many still rather prominent. At "30" and.'33"
kinds of dots and lines are possible. The stu- tone has taken definite precedent over line. The
dent should start with some of the simpler ones areas "30" and "33" have grown much darker
such as are shown on Plates 4 and 5 and should than "28" and "31" because of the larger pro-
later try many experiments of his own. 'portion of white paper covered.
25
a

'1
 v

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26 DRAWING WITH PEN AND INK

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[ . PEN HANDLI NG 4 TONE. BUILDI NG. I

-1 2. , 4 5 6

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PLATE 4.
METHODS OF COMBINING STRAIGHT AND CURVED STROKES INTO AREAS OF TONE

One may practice such exercises as these during odd moments. See text on pages 25) 27) 28, and 261
 THE ESSENTIALS OF TONE BUILDING 27

'12.5. For a second and similar example, compare . 54-

Plate 4 with Plate 2, and it will be seen that the
four Squaresof tone at "1 ," "2 "" "3 " and "4 ," \\\\\\1
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are practically, the same in formation as the
groups of lines at "A," "B," "C," and "D." ~ \II\\~~~
'/8"~~
Here, again, the main point of difference is ~ (1111111 ~
~ll\l~
that in Plate 4 the various parallel lines in each
(~r)
'I Z9"
group are kept so close together that they tend
to merge into a unified whole.
As an extreme example, and one not best to
~~~ ,
emulate in pen work, the reader is referred to
'I.3 ;-
the sheet of Ben Day films repro~uced on
page 343, Chapter XXIV, where it will be seen ~ ~
/(/1//1 (I{((/)

"
- . in No. 3 that parallel straight lines have been ~~
(rq@ (({(({
spaced so closely by mechanical means that they
I'b "~~~
11
(~r"" )
are individually scarcely visible at a distance ~ ~ ({UJ)~
of two feet. The tone appears'" gray even ~~.
"304 though we know it to consist of nothing but
black lines on white paper.
Tones such as these built up of straight lines
(though not including the Ben Day work) are <,6.
among the most common used in pen work, and,
J/ 11Spo..~ being the easiest to do, afford a good starting
13'1..(~~ ~ ) point for the beginner, who should commence
his practice by copying the examples at the top Jt~
t ,1 ~ of Plate 4. Just as a general rule it is well to
o..u~
~~~ 1 ~~
make the strokes approximately 1/32" apart,
the same spacing as used in Marginal Sketches ~~~
30 and 33. Do not measure, however, for there
should be nothing of the mechanical about such
exercises, as in actual pen drawing' the spacing
1/8"(~~~) depends on many things and is usually variable.
I t is generally worse to get lines too' close to-
of32. gether than too far apart, for unless a reason-
able distance is left between them they may
blot or run together in places, which is often
objectionable. Particularly when the work is
for reproduction, the lines must be quite openly
spaced, as most drawings are reproduced at re-
'I "S()-O-~ duced size, with proportionate diminution of all
1'.6(~ r )
the spaces. This means that if the work is not
<J
-'3. sufficiently "open" the cuts from which the
reproductions are made may fill with the print-
ers' ink, causing smudgy results. '

The student should practice drawing many

of these small areas of tone, keeping the lines
. evenly spaced so as to give a uniform grayness
I/"~~ or flatness to each. He should draw them with
/31.(~ ~ ) lines slanting in various directions, and with
curves as at "5" and "6," Plate 4. He should
r~ B~. try different pens and papers.
 ....

28 DRAWING WITH PEN AND INK

When a. fair facility in the making of these for too frequent use are worth practicing. From
even lines is gained a greater variety of line "1 3" to "18 ," Plate 4, we have shown several
should be practiced, for aside from indicating examples of cross-hatching which explain them-
different tones one must learn to suggest selves.
various textures, and this demands an acquaint- In the lower half of the sheet are tones built
ance with the greatest possible variety of up with far greater freedom; these are perhaps
lines and tones. The squares from "7" to more typical of most of those used in pen work
"11 ," Plate 4 , are much like those from" 1" to than are the others above, yet all kinds are im-
"5," excepting for the wavering or wandering portant.These tones were formed very quickly,
quality of the lines. At" 12" is an extreme and in copying them the student should not ex-
. example of the type of line which wanders, pect to duplicate them exactly; instead he
changing direction to such an extent that the should work for their general effect. He
tone scarcely seems made up of lines at all. It should try others of his own, too, using curved
is worth observing that in this tone variable lines, as well as straighter ..ones, and by varying
~
areas of white, about 1/32" wide, do actually weight and length of lines and by trying tones
separate all parts of the wandering lines. consisting of tapered strokes, like those which
One should not only practice all these ex- we have previously discussed in describing
ercises but should hunt for other examples of Plates 2 and 3, he should gain as much ver-
tones and invent some of his own, remembering, satility in pen handling as he can.
when copying reproductions, that the apparent Attention is especially directed to the
..........
fineness and close spacipg of lines is often the "hocked" strokes shown in several of the ex-
result of great reduction from the sizes of the amples; there are many uses for these, some
originals. of which will be pointed out or discussed in
Such work as we have suggested will soon subsequent chapters.
give one a reasonable dexterity in filling small At this stage the student should be able to
areas with simple tone. The student will find draw a large variety of individual strokes, and
that he is able to control the degree of darkness to combine them into small areas of tone. It is
of each area in two ways;-first by varying the easier and more satisfactory to do this than to
distances between the lines and second by cover the larger and somewhat irregular areas
differing the widths of the lines themselves. such as are necessary in most drawings. Hence
The artist needs this knowledge constant!y; if the next move is to attempt this very thing.
he builds a tone of gray and finds it too light The upper half of Plate 5 is designed to
in effect, when finished, he may darken it by show a few of many practical combinations of
adding more lines between those already drawn lines. Those at "1," "2," "3," and "4," require
or by widening the existing ones. In the first little explanation. The arrows are directed to
instance the tone becomes more homogeneous; the lines (or, more properly, spaces) of junc-
in the second the lines themselves grow some- tion between the various groups of strokes. In
what more prominent; this is sometimes of ad- grouping lines in this way, care should generally
vantage, especially when the lines suggest some be taken to make these points of junction as in-
particular texture;-contrarily it is often of conspicuous as possible. One should avoid such
equal disadvantage when they do not. patchy effects as we have shown in Marginal
The tones to which we have so far referred
- are of the type which might be called "open";
Sketches 34 and 35. If tones are built of
patches it is customary and better to join them
each stroke is a fairly definite and complete as in Marginal Sketch 36, in order to obtain
thing. For many kinds of work such tones are homogeneous effects. Tones "6," "7," "8" and
eminently satisfactory. There are some pur- "9 "" Plate 5 should be compared with "1 ,ir,c2",
poses better served by other types, however, as "3," and "4," as they are very similar. These
we shall explain in later chapters, and, among largely disguise or do away with the junction
these, those made up by crossing lines ( or lines just mentioned, through the use of greater
"cross-hatching" as it is called) have their oc- variety in length and direction of stroke. Tones
casional place, and though not recommended "5" and" 10" show interesting slanting inter-

I>
III
 THE ESSENTIALS OF TONE BUILDING 29

..
., PEN HANDLING of TONE. [)UILDING4
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PLATE 5. ..

ADDITIONAL EXAMPLES OF TONE AREAS BUILT BY A VARIETY OF METHODS

Examples of pen work should be analyzed for their tone formation. Se&t8xt on pages 25, 28, 30, 31, and 316

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 30 DRA\VING WITH
. ruptions to the straight vertical and horizontal paper.
lines. This sort of thing is very useful for
some purposes, especially where a large area
of tone has a tendency to become monotonous in
character (see background tone in cast drawing,
Plate 28); the lines dragged across Tone "6"
serve a similar purpose. The tones from" 11"
to "15," inclusive, were drawn with great free-
d~m; these would be particularly useful in the
representation of rough textured objects of
many kinds.
As in .previous examples, the student should
, practice these tones and should seek out others,
from available pen drawings and reproductions,
tI
and copy them over and over, besides carrying
on experiments of his own along similar lines.
In drawings of a highly conventional nature
or decorative quality, such tones as those at the
lower half of Plate 5 are often seen, tones
which not only give the desired value of light
and dark but which also show some special tex-
ture or pattern. Though interesting, they are
of less importance to the student at this time
than are those shown above, with the exception,
perhaps, of the spatter tones shown at "16,"
"1 7" and" 18," and the stippled tone at cc19."
This latter was made by dotting the entire sur-
face with fine dots of the pen, care being taken
to avoid the stiff effect that might follow were
they arranged in straight lines. Such a tone is
often most useful; distant hills or mountains
may be expressed by it, as well as such rough
surfaces as stone or stucco walls. For similar
purposes the spatter tones are good, too. These
may be done in several ways; in all of them it
is necessary to cover first such portions of the
paper as are to be kept free from the spatter.
If the areas to be spattered are simple in
shape, even, and true, the rest of the paper can
be easily protected by strips of heavy paper or
cardboard; stencil board is excellent. When the
shapes to be hidden are irregular in shape, and
consequently harder to cover with paper, pure
artists' rubber cement is sometimes painted di-
rectly onto the parts to be protected. After
the inking is done (this will be explained in a
moment) the cement is rolled off by the fingers
without injury to the paper. Impure cements
must be avoided, as they stain paper. Some
artists employ, for covering drawings during
spraying operations, what is known as frisket
PEN AND INK
This is a somewhat transparent, or,
more properly, translucent paper, which is
coated with rubber cement and then pressed
down over the entire drawing, after which the
frisket is cut with a sharp knife or razor blade
to the exact outline of the parts to be spattered,
and the unwanted portions stripped off, the
finger being next rubbed over the exposed por-
tion of the drawing surface in order to remove
any remaining cement. After this the spatter-
ing is don~
Heavy tracing paper is often used as a sub-
stitute for the frisket, being cut out with the
razor blade in the same way, and then held
down by rubber cement or pins or small weights
placed along the edges. As the tracing paper
may wrinkle from the dampness of the ink,
care must be taken that the spray is not spattered
under it.
Powdered gum arabic is sometimes used in
place of the rubber cement, a little being mixed
with water to a pasty consistency, the mixture
being then painted onto such parts of the draw-
ing as are to be protected, and allowed to dry,
after which the spattering is done with water-
proof ink, as will be explained shortly. When
the spattering is finished and dry, the gum
arabic is washed 'off under'running water and
the paper blotted and allowed to dry.
The author prefers the rubber cement as it
is diluted with benzine instead of water, and so
does little or no damage to the drawing.
When the paper has been properly prepared,
in some such manner as we have described, a
scheme for the spattering must be decided on
and carried out. There are several practical
methods. In one of them a toothbrush is so
dipped in the black ink that each bristle is inked
for an eighth-inch or so. Some prefer to ink
the brush by rubbing the bristles with the quill
of the ink bottle stopper. Then, with the brush
held nearly horizontally in the left hand, ~
bristles up, as in Marginal Sketch 37, the stu-
dent strokes the bristles towards him with a
wooden match or toothpick, causing them when
released to snap or catapult tiny drops of ink
onto the exposed paper until it has been suf-
ficiently darkened. Too. much ink in the brush
will naturally cause blots, so it is best to try the
process on waste paper before risking the draw-
ing. Another method is to rub the ink-charged
r-
THE ESSENTIALS OF TONE BUILDING
brush, bristles down, over a piece of wire screen
held a couple of inches or so above the drawing,
previously placed flat or nearly flat. (See Mar-
ginal Sketch 38.) This method perhaps offers
the artist somewhat better control over his
medium. Still another method is to blow a
spray of ink onto the drawing with a small
atomizer or fixative blower.
These somewhat lengthy explanations of
methods of stippling and spattering tones are
enough to show that such work is not easily
done. The stippling is the more simple of the
two 'methods if the areas to be covered are
small, and by varying the sizes of pens it is
11 4possible to vary the stippled effects in very inter-
esting ways. One has better control over the
~ stipple; the more dots the darker the tone, of
.~
1\ course. Graded effects are easy to obtain. There
t are several dangers from spattering :-first, it
1(
is hard to judge the value of the tone correctly,
and easy to get it too dark;-second, it is dif-
11
ficult to keep from getting some of the tiny
drops of ink under the frisket or protecting
paper;-again it is easy, if one becomes im-
patient, to blow or spatter so many small- drops
onto the drawing that they run together and
form blots before they have time to dry. It is
well to stop for a few moments now and then
to give the ink a chance to dry. In spite of
these difficulties (which a little experience will
overcome), spattering is much quicker than
7:
stippling for large surfaces, even though more
,
II!I
COU1'tes"gAeolian Co.
FROM A DRAWTNG
A brush drawing of pen-like character done in full tone for an advertisement.
~
31
preliminary work is necessary. Once the spat-
tering itself is begun it progresses very rapidly.
The samples of spatter work which we have
shown on Plate 5 are rather light, especially
that at "16." That at "1 7" is darker and the
one at "18" grades from the medium to the
lighter tone. Many spatter tones are much
darker than these. Both the spatter work and
the stipple work reproduce so well that various
mechanical stipples have been invented which
are sometimes substituted, as a means of saving
time, when drawing for reproduction. We shall
discuss some of these later. Both stipple and
spatter are often employed in conjunction with
line,' the dots bei;;:g made in some cases in areas
which are free from line or simply bounded by
outline, and sometimes on top of tone built up
of strokes.
In Chapter XXI I, further discussion of both
stipple and spatter will be found, accompanied
by illustrations of some of their uses.
Before leaving this subject it seems best to
issue a word of warning, particularly to the
beginner. This is, that these expedients, sti.p- .
pling and spattering, are not truly pen drawing.
They produce results so different in character
from the customary forms of pen work that if
used injudiciously or to excess they are almost
sure to cause trouble. Have them in mind,
however, and try them occasionally. In the
meantime gain the greatest possible proficiency
in the combination of true pen strokes.
Size of original 24~" x 9~"
BY EDWARD POUCHER
See text on page 411
 - ---

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FOR. GRA.DED TONES SCALE (I))

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PLATE 6,

ILLUSTRATIONS OF METHODS OF OBTAINING VALUES AND OF GRADING TONES

Progress is often retarded through the omission of such practice, See text on pages 34 tmd 35
 FIRST T H O U G H T S O N LIGHT AND SHADE
flections should usually be sacrificed by darken-
ing a bit; they were made too prominent here
in order to make their locations plain.
One should not assume from these sketches
that such forms are always lighted from these
-
directions, for obviously this could not be so;-
neither should it be thought that reflected light
is always present, for without something to cause
it it could not be. These are the most common
directions of lighting,' however, and as reflec-
tions are often evident the student must be well
acquainted with them.
The reader should now turn to sketches "7,"
"8" and "9." These flat-sided solids take the
same general shapes as do "4," "5" and "6,"
respectively. Under the same lighting, how-
ever, it will be noted that they appear quite dif-
ferent. First, most of their profiles seem more
angular and pointed. Second, the light and
shade is now broken up into flat planes, instead
of being graded as in the rounded solids above.
These flat-sided forms are simple examples of
the types of shapes to which we have referred
as masculine, while the more rounded ones are
somewhat feminine in character.
I do& rur, &to sob d u ~ i m gi924-\et=d~ w i r & d
DRAWN BY J O H N
T h e %ell spotted blacks, c o n ~ b i ~ t eroitic
d fine outline, are most effrctioe.
What we have already pointed out is made
more evident from these illustrations: that is
that the student will have less trouble in in-
terpreting such flat-sided solids as these, in pen
and ink, than the rounded ones. For sugges-
tions on the pen indication of these or similar
solids the reader is referred to pages 70 and 76.
W e go to considerable pains here to explain
some of the various differences in appearances
as seen in a few small and easily understood
objects, mainly in order to teach the student to
analyze all subjects in this way, not only these
and other simple geometric shapes, but also
such still life forms as are discussed in the next
chapters, as well as larger and more advanced
subjects to come even later.
T h e student need not attempt to illustrate
these points at this time.
Instead he should read the next two chapters
and illustrate the thoughts expressed in them,
simply carrying these facts in mind as he does
so. Later we shall again refer to some of these
thoughts as related to still different subjects,
and shall also touch on additional principles of
appearances and their representation.
ovsherry Chrisknur aha
a g a p p y ~e w Gar. ,&
Francis ~.Purner
HELD, JR.
See text art PII~I! .5j
 4 -- j
Covrlrry E. R. Syriibl &? Sons
R E P R O D U C E D A'S T H E SI7.E O F T H E ORIGINAI. DRAIVING B Y RU'I'HERFORII HOYD

A striking e.vnnzpic of the application of object drawing in ievcrnl valuei t o a n nducrtiring ihctch.
See t e x t on p q e i 9 4 , 3 3 , 41 1, nil 425