Chapter III: Technique

[Side note: _The Individual Line_]

The first requirement of a good pen technique is a good Individual Line, a line of feeling and quality. It is usually a surprise to the beginner to be made aware that the individual line is a thing of consequence,--a surprise due, without doubt, to the apparently careless methods of some successful illustrators. It is to be borne in mind, however, that some illustrators are successful in spite of their technique rather than because of it; and also that the apparently free and easy manner of some admirable technicians is in reality very much studied, very deliberate, and not at all to be confounded with the unsophisticated scribbling of the beginner. The student is apt to find it just about as easy to draw like Mr. Pennell as to write like Mr. Kipling. The best way to acquire such a superb freedom is to be very, very careful and painstaking. To appreciate how beautiful the individual line may be one has but to observe the rich, decorative stroke of Howard Pyle, Fig. 66, or that of Mucha, Fig. 65, the tender outline of Boutet de Monvel, the telling, masterly sweep of Gibson, or the short, crisp line of Vierge or Rico. Compared with any of these the line of the beginner will be either feeble and tentative, or harsh, wiry, and coarse.

[Side note: _Variety of Line_]

The second requisite is Variety of Line,--not merely variety of size and direction, but, since each line ought to exhibit a feeling for the particular texture which it is contributing to express, variety of character. Mr. Gibson's manner of placing very delicate gray lines against a series of heavy black strokes exemplifies some of the possibilities of such variety. Observe, in Fig. 6, what significance is imparted to the heavy lines on the roof of the little foreground building by the foil of delicate gray lines in the sky and surrounding roofs. This conjunction was employed early by Mr. Herbert Railton, who has made a beautiful use of it in his quaint architectural subjects. Mr. Railton's technique is remarkable also for the varied direction of line and its expression of texture. Note this characteristic in his drawing of buttresses, Fig. 7.

[Side note: _Economy of Method_]

The third element of good technique is Economy and Directness of Method. A tone should not be built up of a lot of meaningless strokes. Each line ought, sensibly and directly, to contribute to the ultimate result. The old mechanical process of constructing tones by cross-hatching is now almost obsolete. It is still employed by modern pen draughtsmen, but it is only one of many resources, and is used with nice discrimination. At times a cross-hatch is very desirable and very effective,--as, for example, in affording a subdued background for figures having small, high lights. A very pretty use of it is seen in the tower of Mr. Goodhue's drawing, Fig. 8. Observe here how the intimate treatment of the roofs is enhanced and relieved by the foil of closely-knit hatch on the tower-wall, and how effective is the little area of it at the base of the spire. The cross-hatch also affords a satisfactory method of obtaining deep, quiet shadows. See the archway "B" in Fig. 9. On the whole, however, the student is advised to accustom himself to a very sparing use of this expedient. Compare the two effects in Fig. 9, Some examples of good and bad cross-hatching are illustrated in Fig. 10. Those marked "I" and "J" may be set down as bad, being too coarse. The only satisfactory cross-hatch at a large scale would seem to be that shown in "N," where lines cross at a sharp angle; and this variety is effectively employed by figure illustrators. Perhaps no better argument against the necessity for thus building up tones could be adduced than the little drawing by Martin Rico, shown in Fig. 11. Notice what a beautiful texture he gives to the shadow where it falls on the street, how it differs from that on the walls, how deep and closely knit it all is, and yet that there is absolutely no cross-hatching. Remark, also, how the textures of the walls and roof and sky are obtained. The student would do well to copy such a drawing as this, or a portion of it, at least, on a larger scale, as much can be learned from it.

[Size note: _Methods of Tone-Making_]

I have shown various methods of making a tone in Fig. 12. It will be observed that Rico's shadow, in Fig. 11, is made up of a combination of "B" and "C," except that he uses "B" horizontally, and makes the line heavy and dragging. The clear, crisp shadows of Vierge are also worthy of study for the simplicity of method. This is beautifully illustrated in the detail, Fig. 13. It would be impossible to suggest atmosphere more vibrating with sunlight; a result due to the transparency of the shadows, the lines of which are sharp and clean, with never a suggestion of cross-hatch. Notice how the lines of the architectural shadows are stopped abruptly at times, giving an emphasis which adds to the brilliancy of the effect. The drawing of the buildings on the canal, by Martin Rico, Fig. 14, ought also to be carefully studied in this connection. Observe how the shadow-lines in this drawing, as in that previously mentioned, are made to suggest the direction of the sunlight, which is high in the heavens. An example of all that is refined and excellent in pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The student would do well to study this carefully for its marvellous beauty of line. There is little hatching, and yet the tones are deep and rich. The wall tone will be found to be made up similarly to "A" and "H" in Fig. 12. The tone "B" in the same Figure is made up of lines which are thin at the ends and big in the middle, fitting into each other irregularly, and imparting a texture somewhat different from that obtained by the abrupt ending of the strokes of "A." This method is also employed by Brennan, and is a very effective one. A good example of the use of this character of line (unknitted, however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular line "C" has good possibilities for texture, and the wavy character of "D" is most effective in the rendering of shadows, giving a certain vibration to the atmosphere. "E" and "F" suggest a freer method of rendering a tone; while "G" shows a scribbling line that is sometimes employed to advantage. The very interesting texture of the coat, Fig. 17, is made with a horizontal line having a similar return stroke, as may be noticed where the rendering ends. There are times when an irresponsible sort of line is positively desirable,--say for rough foreground suggestion or for freeing the picture at the edges.

[Size note: _Outline_]

I have invariably found that what presents the chief difficulty to the student of pen and ink is the management of the Outline. When it is realized that, by mere outline, one may express the texture of a coat or a tree or a wall without any rendering whatever, it will be seen that nothing in pen drawing is really of so much importance. Notice, for example, the wonderful drawing of the dog in Fig. 34. Again, if a connected line had been used to define the corners of Railton's buttresses in Fig. 7 all the texture, would have been destroyed. Instead of this he has used a broken outline, sometimes omitting it altogether for a considerable space. On the ledges, too, the lines are broken. In Rico's drawing, Fig. 11, all the outlines may be observed to have a break here and there. This broken line is particularly effective in out-door subjects, as it helps to suggest sunlit atmosphere as well as texture.

Architectural outlines, however, are not particularly subtle; it is when we come to render anything with vague boundaries, such as foliage or clouds for example, that the chief difficulties are encountered. Foliage is an important element of landscape drawing and deserves more than passing consideration. To make a successful rendering of a tree in pen and ink the tree must be first well drawn in pencil. It is absolutely impossible to obtain such a charming effect of foliage as that shown in Mr. Pennell's sketch, Fig. 18, without the most painstaking preparation in pencil. The success of this result is not attributable merely to the difference in textures, nor to the direction or character of the line; it is first of all a matter of good drawing. The outline should be free and subtle so as to suggest the edges of leafage, and the holes near the edges should be accented, otherwise they will be lost and the tree will look solid and characterless. Observe, in the same drawing, how Mr. Pennell suggests the structure of the leafage by the irregular outlines which he gives to the different series of lines, and which he emphasizes by bringing the lines to an abrupt stop. Observe also how the stronger texture of the tree in Fig. 19 is obtained by making the lines with greater abruptness. Compare both of these Figures with the foreground trees by the same artist in Fig. 20. The last is a brilliant example of foliage drawing in pen and ink.

[Side note: _Textures_]

The matter of Textures is very important, and the student should learn to differentiate them as much as possible. This is done, as I have already said, by differences in the size and character of the line, and in the closeness or openness of the rendering. Observe the variety of textures in the drawing of the sculptor by Dantan, Fig. 21. The coat is rendered by such a cross-hatch as "N" in Fig. 10, made horizontally and with heavy lines. In the trousers the lines do not cross but fit in together. This is an excellent example for study, as is also the portrait by Raffaëlli, Fig. 22. The textures in the latter drawing are wonderfully well conveved,--the hard, bony face, the stubby beard, and the woolen cap with its tassel in silhouette. For the expression of texture with the least effort the drawings of Vierge are incomparable. The architectural drawing by Mr. Gregg in Fig. 50 is well worth careful study in this connection, as are all of Herbert Railton's admirable drawings of old English houses. (I recommend the study of Mr. Railton's work with a good deal of reservation, however. While it is admirable in respect of textures and fascinating in its color, the values are likely to be most unreal, and the mannerisms are so pronounced and so tiresome that I regard it as much inferior to that of Mr. Pennell, whose architecture always _appears_, at least, to have been honestly drawn on the spot.)

The hats in Fig. 10 are merely suggestions to the student in the study of elementary combinations of line in expressing textures.

[Side note: _Drawing for Reproduction_]

As the mechanical processes of Reproduction have much to do with determining pen methods they become important factors for consideration. While their waywardness and inflexibility are the cause of no little distress to the illustrator, the limitations of processes cannot be said, on the whole, to make for inferior standards in drawing, as will be seen by the following rules which they impose, and for which a strict regard will be found most advisable.

First: Make each line clear and distinct. Do not patch up a weak line or leave one which has been broken or blurred by rubbing, for however harmless or even interesting it may seem in your original it will almost certainly be neither in the reproduction. When you make mistakes, erase the offensive part completely, or, if you are working on Bristol-board and the area of unsatisfactoriness be considerable, paste a fresh piece of paper over it and redraw.

Second: Keep your work open. Aim for economy of line. If a shadow can be rendered with twenty strokes do not crowd in forty, as you will endanger its transparency. Remember that in reproduction the lines tend to thicken and so to crowd out the light between them. This is so distressingly true of newspaper reproduction that in drawings for this purpose the lines have to be generally very thin, sharp, and well apart. The above rule should be particularly regarded in all cases where the drawing is to be subject to much reduction. The degree of reduction of which pen drawings are susceptible is not, as is commonly supposed, subject to rule. It all depends on the scale of the technique.

Third: Have the values few and positive. It is necessary to keep the gray tones pretty distinct to prevent the relation of values being injured, for while the gray tones darken in proportion to the degree of reduction, the blacks cannot, of course, grow blacker. A gray tone which may be light and delicate in the original, will, especially if it be closely knit, darken and thicken in the printing. These rules are most strictly to be observed when drawing for the cheaper classes of publications. For book and magazine work, however, where the plates are touched up by the engraver, and the values in a measure restored, the third rule is not so arbitrary. Nevertheless, the beginner who has ambitions in this direction will do well not to put difficulties in his own way by submitting work not directly printable.

[Side note: _Some Fanciful Expedients_]

There are a number of more or less fanciful expedients employed in modern pen work which may be noted here, and which are illustrated in Fig. 10. The student is advised, however, to resort to them as little as possible, not only because he is liable to make injudicious use of them, but because it is wiser for him to cultivate the less meretricious possibilities of the instrument.

"Spatter work" is a means of obtaining a delicate printable tone, consisting of innumerable little dots of ink spattered on the paper. The process is as follows: Carefully cover with a sheet of paper all the drawing except the portion which is to be spattered, then take a tooth-brush, moisten the ends of the bristles consistently with ink, hold the brush, back downwards, in the left hand, and with a wooden match or tooth-pick rub the bristles _toward you_ so that the ink will spray over the paper. Particular, care must be taken that the brush is not so loaded with ink that it will spatter in blots. It is well, therefore, to try it first on a rough sheet of paper, to remove any superfluous ink. If the spattering is well done, it gives a very delicate tone of interesting texture, but if not cleverly employed, and especially if there be a large area of it, it is very likely to look out of character with the line portions of the drawing.

A method sometimes employed to give a soft black effect is to moisten the lobe of the thumb lightly with ink and press it upon the paper. The series of lines of the skin make an impression that can be reproduced by the ordinary line processes. As in the case of spatter work, superfluous ink must be looked after before making the impression so as to avoid leaving hard edges. Thumb markings lend themselves to the rendering of dark smoke, and the like, where the edges require to be soft and vague, and the free direction of the lines impart a feeling of movement.

Interesting effects of texture are sometimes introduced into pen drawings by obtaining the impression of a canvas grain. To produce this, it is necessary that the drawing be made on fairly thin paper. The _modus operandi_ is as follows: Place the drawing over a piece of mounted canvas of the desired coarseness of grain, and, holding it firmly, rub a lithographic crayon vigorously over the surface of the paper. The grain of the canvas will be found to be clearly reproduced, and, as the crayon is absolutely black, the effect is capable of reproduction by the ordinary photographic processes.