DOI Heft:
Nr. 191 (February 1909)
DOI Artikel:Pen drawings with special reference to a recent 'Studio' competition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20966#0072
Pen Drawing
departure from judicious simplicity weakens the
illusion by introducing an element of uncertainty
as to the artist’s intention and by giving justifica-
tion for the suspicion that he is trying to conceal
his own want of thorough knowledge under an
affectation of elaborate study.
The kind of study that is most necessary for the
draughtsman is that which best enables him to
appreciate the value of conciseness and teaches
him the vital importance of directness of method—
which leads him certainly to an understanding of
the reason why a simple manner of working will
give the most significant results. If he looks at
his art from the right point of view he will see that
in its very limitations there is something stimu-
lating to his powers of invention and to his desire
to obtain a mastery over the means of expression
which are available for him. He will see how
much he must know if his draw-
ings are to have the qualities by
which alone they can be made
rightly persuasive, and, seeing
this, he will be induced to train
himself thoroughly for the work
he has undertaken, for fear he
should by fumbling or hesitation
show that he is attempting more
than he is capable of carrying
out.
Indeed, in a draughtsman’s
work there is an inevitable revela-
tion of the weak points in his
equipment. The simple line
admits of no disguise ; either it is
satisfying in its expressive sug-
gestion or it is disappointing
because it shows uncertainty, in-
decision, and imperfect perception
of the uses to which it should be
put. If it is not set down de-
cisively at the outset no amount
of tinkering with it will avail to
correct its inefficiencies, and the
more it is worried the greater
will be the display of its inherent
weakness. Therefore, that man
only can consider himself well
equipped as a draughtsman in
line who has so taught himself to
observe and analyse the subjects
with which he deals that by the
most summary methods he can
make perfectly plain all that is in
his mind.
This, of course, means that he must have
acquired a full insight into the subtleties of artistic
practice. If he has not learned all that there is to
be known about refinements of form and modula-
tions of tone, he cannot tell which of the facts
before him he must retain and which it will be
permissible to leave out; nor without the fullest
experience can he be sure how to reduce the com-
plexities he sees to the simplicity of a fine drawing
without missing anything that should be included
in his statement. With a single line, or at most
with half-a-dozen lines, he has to create an illusion
of exquisitely varied contours and delicately related
modellings, and he has even to suggest gradations
of colour if his subject is one that needs a hint of
colour to increase its interest. It is here that the
test comes of his powers—a test that need not be
feared by the man who has properly prepared
5°
PEN DRAWING
BY “DOORMAT
departure from judicious simplicity weakens the
illusion by introducing an element of uncertainty
as to the artist’s intention and by giving justifica-
tion for the suspicion that he is trying to conceal
his own want of thorough knowledge under an
affectation of elaborate study.
The kind of study that is most necessary for the
draughtsman is that which best enables him to
appreciate the value of conciseness and teaches
him the vital importance of directness of method—
which leads him certainly to an understanding of
the reason why a simple manner of working will
give the most significant results. If he looks at
his art from the right point of view he will see that
in its very limitations there is something stimu-
lating to his powers of invention and to his desire
to obtain a mastery over the means of expression
which are available for him. He will see how
much he must know if his draw-
ings are to have the qualities by
which alone they can be made
rightly persuasive, and, seeing
this, he will be induced to train
himself thoroughly for the work
he has undertaken, for fear he
should by fumbling or hesitation
show that he is attempting more
than he is capable of carrying
out.
Indeed, in a draughtsman’s
work there is an inevitable revela-
tion of the weak points in his
equipment. The simple line
admits of no disguise ; either it is
satisfying in its expressive sug-
gestion or it is disappointing
because it shows uncertainty, in-
decision, and imperfect perception
of the uses to which it should be
put. If it is not set down de-
cisively at the outset no amount
of tinkering with it will avail to
correct its inefficiencies, and the
more it is worried the greater
will be the display of its inherent
weakness. Therefore, that man
only can consider himself well
equipped as a draughtsman in
line who has so taught himself to
observe and analyse the subjects
with which he deals that by the
most summary methods he can
make perfectly plain all that is in
his mind.
This, of course, means that he must have
acquired a full insight into the subtleties of artistic
practice. If he has not learned all that there is to
be known about refinements of form and modula-
tions of tone, he cannot tell which of the facts
before him he must retain and which it will be
permissible to leave out; nor without the fullest
experience can he be sure how to reduce the com-
plexities he sees to the simplicity of a fine drawing
without missing anything that should be included
in his statement. With a single line, or at most
with half-a-dozen lines, he has to create an illusion
of exquisitely varied contours and delicately related
modellings, and he has even to suggest gradations
of colour if his subject is one that needs a hint of
colour to increase its interest. It is here that the
test comes of his powers—a test that need not be
feared by the man who has properly prepared
5°
PEN DRAWING
BY “DOORMAT