DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25606#0007
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T
OF DRAWING IN GENERAL.
I \3
_ RAWING is the art of representing by lines and ssiades,
the figure of any objeCl we see, or of any form we conceive
an idea of in the mind.
It is a moil ingenious, useful and elegant art; and the Rudy
of it ought to be encouraged in every youth that diseovers an
inclination or genius towards the practice thereof, whatever
Ration of life he may be placed in. Its utility is so very exten-
sive, there are few arts, and few professions in which it is not
serviceable. All designs and models are executed by it. Ma-
thematicians, engineers, architects, mariners, gardiners, em-
broiderers, weavers, and a multitude of other professions, have
frequent occasion to pra&ise it. In most Rations it is useful,
from the general who commands an army, to the mechanic
who supports himself by handicraft.
A person who has knowledge in drawing, and a capacity
of performing it, usually sees and remembers the form, siiape,
and other circumRances of objeCls, more minutely and perseCl
than one unacquainted with the art; and possiessies an accom-
plishment, exceedingly desirable both for amusement and use :
he is qualified to take on the spot the ffietch os a fine building,
of a beautiful prospeCt, of anv curious produ&ion of art, or
pf uncommon and Rriking appearances in nature, and to bring
home for future inspeClion and service, the forms of objeCls
which yield entertainment in journies and diRant places.
This ingenious art hot only affords a very pleasing entertain-’
ment to men ofleisure and fortune, in a variety of infiances,
but enables them to judge the propriety of designs, for such
works as they intend to have executed : to lay down and ex*
hibit their conRruClion, and vary and improve the plan moss
to their own liking.
Of all others, this art has the greateR number of admirers,
and no wonder, since in a kind os universal language under-
Rood by all men ; it represents to our view the forms of innu-
merable objeCts we have no other ways of beholding : and
helps us to the knowledge of many of the works in nature or
art, which any other method of deseribing would be insuffi-
cient to give an idea oft It transrnits to our view things long
since paR, and preserves the forms of others, that will soon
periih. It represents the deeds of people and a&ions for many
ages dead ; and hands down to us the features and resem-
blances of our ancessors, and of other valuable and renowned
persons of former generations. The eReem of this excellent
art is not confined to adults; children admire it, and often by
the power of a natural genius, draw a variety of objeCls in
Rich a manner as to excite commendation.
For the infisuCtion of youth in this useful art, the following
rules are laid down, and a course of proper lessons exhibited
for their praClice.
GENERAL RULES TO BE OBSERVED,
HETHER you draw after nature, or the perform-
ances of others, the hand can only express by lines and shades
those forms and ideas which have impressed the mind. Hence
the utility appears of accufioming the mind to a curious and
attentive observation of objeCls, especially of those intended
for imitation : its impressions will hereby be Rrengthened ; its
conceptions will be more exaCt and juR ; and the hand will
delineate with greater easeand correClness, those forms Which
are clearly and strongly retained in the memory.
Inform your judgment of the properties and excellencies of
a drawing well executed. In this knowledge the mind will
make quick improvement, by a frequent attentive inspeClion,
of the performances of those who have excelled. In viewing
them, contemplate the freedom and boldness of the outline;
the correClness or justness os the proportion of the several
parts ; the charaCler which is peculiar and diRinguissiing in
every figure, and expressive of the circumRances it is supposed
tb be in ; the elegance, or that which gives a kind of delicacy
or certain agreeabieness which pleases every one ; the perspec-
tive, or representation of the parts according to their situation
with respeCl to the point of sight. If the judgment be well in-
formed in these particulars, the young pra&itioner will make
much greater improvement than can pcssiblv be attained if he
proceeds in praClice without a due regard to increasing know-
ledge and judgment.
v
More to the genius than the hand nve on.ve,
Ft •om this the beauties of your art mufi ssiyw.
The labour of the hand muR second and Ripport that of the
brain. To become an able artiR, the art mu ft be made habi-
tual, An easy and just expression is only to be gained by con-
stant praClice. In all arts, the rules are learned in a little
time, but the praClice requires a long and Severe diligence.
The hand stiould be improved in praClice, and the mind in
Judgment every day.
Let your sirst praClice be employed in imitating the mosi:
plain and simple objeCls: in accuRoming your hand to draw
Rrait lines, perpendicular and horizontal ones ; circular and
irregularly curved lines. This method will be useful in bring-
ing the hand to a facility of operation. Moreover, these lines
are the rudiments of all objeCls that can be expressed ; they
bound and circumscrihe every figure : all its parts or mem-
bers are composed of them. A little time may be advantage-
ousiy employed in drawing after plain inanimate figures, which,
require Rrokes of various curvings. After this, draw the par-
ticular features of the face, beginning with the eye, the nose,
the mouth, the ears. Draw them in their different positions.
Persevere in copying several times after the same example, be-
fore you make the transition to a new one. You cannot expeCt
to draw an entire head or face, till you are capable of perform-
ing the parts Separately: nor of copying with pleasure and
improvement those objeCls which require more art and time,
till you have acquired a cusiomary exercise of patience, and a
freedom and exaClness in copying those that are easier.
Sketch your outline at firss very faint, that the amendment
of it may be performed without its appearing to be re-touch-
ed : endeavour at a graceful freedom, boldness, and just pro-
portion of all its parts ; in these the excellency of a good out-
line consists. It stiould be drawn with flowing and gliding
Strokes, not swelling suddenly, but with gradual risings,such as
might just be felt in statues. Be careful that it loses nothing of
its freedom and boldness, when you correCl it by reducing some
parts and swelling others. The outline on that side nearest the
light muss be fainter than the other. The surest and most im-
proving method of praClice, is to sketch outlines for a consi-
derabie time, without attempting to (hade any of them ; and to
make numbers of [ketches from the same pattern, imitating as
nearly as you can every stroke, and carefully to compare each
of your copies with the original, that you may observe whereia
it is faulty, and avoid those errors in your next sketch. A good
outline is of the greateR importance and extent in the art of
B
drawing.
_.
THE
yn
JSL
PI
-fcL
JsL
'ey
1
T
OF DRAWING IN GENERAL.
I \3
_ RAWING is the art of representing by lines and ssiades,
the figure of any objeCl we see, or of any form we conceive
an idea of in the mind.
It is a moil ingenious, useful and elegant art; and the Rudy
of it ought to be encouraged in every youth that diseovers an
inclination or genius towards the practice thereof, whatever
Ration of life he may be placed in. Its utility is so very exten-
sive, there are few arts, and few professions in which it is not
serviceable. All designs and models are executed by it. Ma-
thematicians, engineers, architects, mariners, gardiners, em-
broiderers, weavers, and a multitude of other professions, have
frequent occasion to pra&ise it. In most Rations it is useful,
from the general who commands an army, to the mechanic
who supports himself by handicraft.
A person who has knowledge in drawing, and a capacity
of performing it, usually sees and remembers the form, siiape,
and other circumRances of objeCls, more minutely and perseCl
than one unacquainted with the art; and possiessies an accom-
plishment, exceedingly desirable both for amusement and use :
he is qualified to take on the spot the ffietch os a fine building,
of a beautiful prospeCt, of anv curious produ&ion of art, or
pf uncommon and Rriking appearances in nature, and to bring
home for future inspeClion and service, the forms of objeCls
which yield entertainment in journies and diRant places.
This ingenious art hot only affords a very pleasing entertain-’
ment to men ofleisure and fortune, in a variety of infiances,
but enables them to judge the propriety of designs, for such
works as they intend to have executed : to lay down and ex*
hibit their conRruClion, and vary and improve the plan moss
to their own liking.
Of all others, this art has the greateR number of admirers,
and no wonder, since in a kind os universal language under-
Rood by all men ; it represents to our view the forms of innu-
merable objeCts we have no other ways of beholding : and
helps us to the knowledge of many of the works in nature or
art, which any other method of deseribing would be insuffi-
cient to give an idea oft It transrnits to our view things long
since paR, and preserves the forms of others, that will soon
periih. It represents the deeds of people and a&ions for many
ages dead ; and hands down to us the features and resem-
blances of our ancessors, and of other valuable and renowned
persons of former generations. The eReem of this excellent
art is not confined to adults; children admire it, and often by
the power of a natural genius, draw a variety of objeCls in
Rich a manner as to excite commendation.
For the infisuCtion of youth in this useful art, the following
rules are laid down, and a course of proper lessons exhibited
for their praClice.
GENERAL RULES TO BE OBSERVED,
HETHER you draw after nature, or the perform-
ances of others, the hand can only express by lines and shades
those forms and ideas which have impressed the mind. Hence
the utility appears of accufioming the mind to a curious and
attentive observation of objeCls, especially of those intended
for imitation : its impressions will hereby be Rrengthened ; its
conceptions will be more exaCt and juR ; and the hand will
delineate with greater easeand correClness, those forms Which
are clearly and strongly retained in the memory.
Inform your judgment of the properties and excellencies of
a drawing well executed. In this knowledge the mind will
make quick improvement, by a frequent attentive inspeClion,
of the performances of those who have excelled. In viewing
them, contemplate the freedom and boldness of the outline;
the correClness or justness os the proportion of the several
parts ; the charaCler which is peculiar and diRinguissiing in
every figure, and expressive of the circumRances it is supposed
tb be in ; the elegance, or that which gives a kind of delicacy
or certain agreeabieness which pleases every one ; the perspec-
tive, or representation of the parts according to their situation
with respeCl to the point of sight. If the judgment be well in-
formed in these particulars, the young pra&itioner will make
much greater improvement than can pcssiblv be attained if he
proceeds in praClice without a due regard to increasing know-
ledge and judgment.
v
More to the genius than the hand nve on.ve,
Ft •om this the beauties of your art mufi ssiyw.
The labour of the hand muR second and Ripport that of the
brain. To become an able artiR, the art mu ft be made habi-
tual, An easy and just expression is only to be gained by con-
stant praClice. In all arts, the rules are learned in a little
time, but the praClice requires a long and Severe diligence.
The hand stiould be improved in praClice, and the mind in
Judgment every day.
Let your sirst praClice be employed in imitating the mosi:
plain and simple objeCls: in accuRoming your hand to draw
Rrait lines, perpendicular and horizontal ones ; circular and
irregularly curved lines. This method will be useful in bring-
ing the hand to a facility of operation. Moreover, these lines
are the rudiments of all objeCls that can be expressed ; they
bound and circumscrihe every figure : all its parts or mem-
bers are composed of them. A little time may be advantage-
ousiy employed in drawing after plain inanimate figures, which,
require Rrokes of various curvings. After this, draw the par-
ticular features of the face, beginning with the eye, the nose,
the mouth, the ears. Draw them in their different positions.
Persevere in copying several times after the same example, be-
fore you make the transition to a new one. You cannot expeCt
to draw an entire head or face, till you are capable of perform-
ing the parts Separately: nor of copying with pleasure and
improvement those objeCls which require more art and time,
till you have acquired a cusiomary exercise of patience, and a
freedom and exaClness in copying those that are easier.
Sketch your outline at firss very faint, that the amendment
of it may be performed without its appearing to be re-touch-
ed : endeavour at a graceful freedom, boldness, and just pro-
portion of all its parts ; in these the excellency of a good out-
line consists. It stiould be drawn with flowing and gliding
Strokes, not swelling suddenly, but with gradual risings,such as
might just be felt in statues. Be careful that it loses nothing of
its freedom and boldness, when you correCl it by reducing some
parts and swelling others. The outline on that side nearest the
light muss be fainter than the other. The surest and most im-
proving method of praClice, is to sketch outlines for a consi-
derabie time, without attempting to (hade any of them ; and to
make numbers of [ketches from the same pattern, imitating as
nearly as you can every stroke, and carefully to compare each
of your copies with the original, that you may observe whereia
it is faulty, and avoid those errors in your next sketch. A good
outline is of the greateR importance and extent in the art of
B
drawing.
_.