By Arthur L. Guptill
An architect, painter, paintings director, and instructor, Arthur L. Guptill wrote numerous renowned books on drawing. He starts off this two-part therapy, geared toward architects, artists, and scholars, with discussions of drawing objects in define and in gentle and color, the rules of freehand standpoint, equipment of forged and lifestyles drawing, and sketching animals. the second one half examines the alternative of topics and drawing in define and in flat and graded tones. the $64000 topic of composition gets huge realization, with specific specialize in harmony and stability. extra issues comprise operating from images and from nature, the illustration of structures — together with exteriors, interiors, and road scenes—and portraying information and components, from furnishings, draperies, doorways, and home windows to clouds, water, and trees.
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Extra resources for Drawing and Sketching in Pencil
Bear in mind, however, when Chapter V is read that much which is given here relates as well to the representation of the geometric forms. So let us take as our first subject an old shoe, quite the worse for wear, for this will give us variety of shape in abundance as well as individuality (for no two old shoes look just the same). Beginning the work. Now that our equipment is arranged and our subject is selected, we are nearly ready to begin, but must first place the shoe on the object stand in a natural position with the light falling upon it in an interesting way (though the lighting is less important for outline work than for the later shaded studies).
For small sketches it is best, as a rule, to use smoother paper than for large work,—in fact it is almost impossible to draw fine detail on extremely rough paper. A glazed paper, however, is seldom desirable as the shiny surface is dulled in an objectionable manner if the eraser is used. Sometimes, however, very crisp, snappy sketches are made on glazed paper, but a soft pencil is required for such work. Extremely rough paper is occasionally satisfactory for a large drawing, but a medium-rough surface is best for general work.
For our purposes the upper half or third of the ordinary window will do very well. The objects to be drawn should not be too far from this window for if they are they will not only lack sufficient light but the shadows will be too much elongated. If rays fall downward at an angle of about 45 degrees from the left they should prove satisfactory, the objects being from three or four to eight or ten feet from the window. Object stand. There should be some sort of stand on which these objects may be placed and usually a small table of average height (about 30”) will do very well.