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    Famous Artists Course Famous Artists Schools, Ine., Westport, Connecticut The artist’s materials and how to use them = «+» Albert Dorne Fred Ludekens Norman Rockwell AlPorker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helek George Giusti Austin Briggs Harold Von Schmidt Pencil The artist's materials and how fo use them All your life as am artist — no matter what kind of pictures you make, or how infinitely varied they ate in sje or technique — ‘one thing wil alvaye remain constant: you will have to te a rateials and the arti’ cools to make your pictues. “The love ofthe arts for his materials i a old a at ill Behind every good picture you xe — whether ii an illustration in a magazine, a simple creative drawing for a booklet, or 4 major masterpiece of painting in a museum —there sands an fart with an expert knowledge of materials and. methods Without the srtiw’s devotion to his materials, and his skill in sing them, these picture could not exist. ‘That is why, all through history, the arst as worked to perfect hi materials and his methods I you area complete beginner, you may find your materials somewhat strange and confusing 3 frst, Dont et that worry you ~ every beginning artist has had the same experience, Nor man Rockwell, AI Parker, and all the other men who erated your Course make pictures that command high prices and de light millions of people — yet sehen they fist took pen or brash iinhand, they didnot know hove to eontrol these coos any bet ter than you do now. The fest stokes they put dawn on blank Duper were hesitant and uncertain, The fist pietures they drew ‘were crue and unprofessional, These artists had to experiment with their materials and find owt what they could do with them, ‘They encountered many dificulties and frustrations, and had to Aigeard much of what they did inthe begining, But some dificult is part of any exciting avenue af exper iment an discovery. Before long, these ats felt more at home with their materials. Their penis, pens, brushes, and paints no longer seemed 10 have a will of their own, but behaved like faithful, helpful fiends. Soom these sien were painting and drawing pictures 36 good as they had ever dreamed of doing and better than they lad ever dared to believe they really oul This is only the beginning ‘You are about o embark on the ste wonderful voyage of ds covery that these famous artists did when they stared out. On that voyage do not look for shortcuts Don’t try to force the natural time it takes your hand to get accisonie to handling there new tools and materials. Be patient — very patient — with yourself. Noone i looking over your shoulder to embarram you. We, your teachers, do not expect perfection ftom you, and we know from personal experience what your problems are. We ill never judge you fo lack of speed or peection So, co begin with relax. Lowe yourself in what you are doing, and have fun. Remember, thie just your fist lesion ~ you ate ‘only beginning to learn the use of materials All chrough your ‘This lesson is essentially « handbook of the for besie mediums, end was designed will be enough, for this losten, if you ‘nly acquaint yourself with these sie me- diums and loern the simple fundamentals of handling them. You wil have plenty of ‘opportunity to Improve yours work with them throughout your Cours. Course, at well as forthe rest of your lie, you willbe working at perfecting yoursell in the techniques to sehich we introduce you here, We do not expect you to become a master craftsman fone fewon, No artist ener di Experiment with your materials In this Teson you wil find not only new knowledge but a new love as well the Tove of the artist for his materials. Ay you ‘experiment withthe tools of your chosen craft, you will discover 4 great joy in handling them Like every ther arts before you you wil respond with pleasure co the postive, clean directness of the pen... che spirited, sensuous stroke of the brsh the Aeticacy an speed of the penal, that marvelous "thinking tol of ingnive capabilities. You will find drawing in transparent wash a wonderful way to express vigoroay,caelte feeling, And the myriad benutifl ellecs you wil praduce with opaque water coors will il you with delight. Experiment with thse materials and effets, play around with them. Disover what they ean do for you and what you ean do with them. Above all, enjoy them. And remember that this Bes lesom is only the beginning. As you learn more about your materials, you will gradually become better able to expres your ideas and achieve your artistic goals. You can eventually maser these methods and materials a8 well as any other artis, no mat ter how distinguished he iy AIL i takes is practice and exper mentation ~ plus the improved skill and better judgment that Youlearn to draw by drawing AAs your skill with your tool nd materials advances, you wil be in to develop your own personal sive as an artis. You wil nd ‘hich medians give you the most pleasure to Work with, and hich techniques ae best suited for the pete kes Yon want fo draw and paint Av you get further slong in your taining ve wll explatn more ally the things you mae knw an dof ‘sing these materials and techniques i yor drasings are tore produce wel in newspaper, books, and all ther forms af print ng. We wil give you all the knowledge yow need 1 bexeme = sucesil practicing commercial arctan strato ‘Now you are on your way. We have made that way as suaight and direc as we could. I wll be far uraighter than our own way wns — bot sili will not be easy. In at, even with the fies guidance in the wor, you mus sil "or yoursell.” Vou ist experiment and practice and you must accep and over. ‘ome the frustrations that wll contront you. Every artist worth his alt has done so — and 50 can you. Always remember: You lear oda by dr Famous Arts Coun = ‘The artist’s materials and how to use them. Pencil drawing The most valuable tool you will ever wie ay an arts is your pencil 1c is your “thinking” tool. Whether you finish your pleture in ik, wash, color or any other medi, you will tart by planning or thinking it out on paper with a pencil “The pencil isthe most venatle ofall drawing tools. With it you can make lines that are thick oF cin, dark ot light. You ‘in create subele graye or the richest blacks ‘Thete i almost, fo end to the exciting variety of textures and shading you can ‘create with a pencil It you wish to make a change in your ‘raving, pencil line are easy co erase. Ad to these advances the fact that pencils are cheap and can be bought anywhere, fund you can atest once why pencil ean ideal mediom for the git a well ae the profesional ‘Commercial artiste and illustrators we the pencil almost every day of theit lives. They make preliminary sketches and fudles for their pictares with i, No matter in what medium they finish the picture, they Best draw icin pencil. Sketches submiwed w a dient for approval ate often drawn in pencil 1 ie equally good for making loose, sketchy studies oF the most meticulous, detailed finished drawing. Many outsanding Pietares in the history of art have been pencil drawings You and the pencil are old (ends. You may never have done any drawing belore, but you have been using a pencil to write with since your childhood. A few pens, some sheets of paper, a sharp Knife and an eraser, and you are ready 1 ‘draw anywhere. Your materials For this leson, you will need an HI, a 26, and & 4B pencil bu they are not exential, You will need some sheets of bond paper for practic, a sngleedge razor blade or knife, a exible soft rub ber eraser, a kneaded eraser a piece of Artgur and a sandpaper block for sharpening your pencil. A few thumbtacks ot 3 tll of masking tape wil be useful for ataching your paper to the Arawing boar You tiay find one or two other grades. hep ‘Lesson 1 ‘Famous Artists Lourse The artist's materials and how to use them The pencils you will use the most are shown an the let. These are ordinary drawing pencils and they come in dierent lends lasifed from hard to sol, The solr the pencil the thicker the lead —and therefore the breader the line you can draw with ie The softest pencils make a black line, and the point Js soon used up, so that it tends frequent sharpening. The hhaer the pencil the grayer the line It makes. Hard pencils can be sharpened to a very fine point, aid Bold helt point Tonge. Becstne they ate hard, they are ikely to dig ino your paper when you apply presre. So, if you want a darker, Ficher line, don't bear down on your hard pencil ~ instead tse a softer one. Naturally, you cam vary the darkness of your Tines with any pencil by varying the presure ‘There are thirteen grades of pencils commonly wed. Six are hard ranging from HI, which is only slightly ad, 4 GH, ‘hich is extremely hard. Six ofthe grades ane sft — ranging ‘tom B. whieh is moderately soft, to GB, which i extremely soft. In between the hard pencils and the soft ones dere fs 2 medium one, the HB pencil Examples of the lines these pencils will make are shown below. At a profesional you ill Seldom use more than four or fve diferent grades, Gi ¥¢ Sharpening your pencil A regular pencil sharpener sil give you comistentty sharp, feyen points quite suitable for much of your pencil diswia IF you prefer, you ean sharpen your pencil with a singleedge razor blade ota sharp knife an finish by shaping the point on ‘sandpaper pad. Roll the penel beeween your fingers 4s you move it back and forth om the sandpaper, If you want a chisel point (explained later), 6st sharpen your pencil with the rafor and ten rule your penal on the ‘ndpaper without rolling i Mae Mi Hi on Erasers and erasing “There ate three good sypes of erasers for pencil work: the Aneaded eraser, the Arg eraser, and the Rexibl wfe rubber craser. All are popular with aria, and each is better chan the rest for certain clea up jobs. Knead erator. Tihs emer has two special festures (I) It picks up and absorb the lend of your pencil work, Ie does not Tike the other wo types leave tiny particles of rubber on your drawing. (2) It can be moulded into point to clean wp oF pick our” even the tiniest area or detail in your drsting (You can make this emer pliable by kneading it with your Fingers fora few seconds) These ae the reasons so many ast find the kneaded eraser ‘deal for cleaning their dascings and making erates while they work, ‘As you work on drawing, you will occasionally get pencil smudges on it. You will need to remove these stmdges without erasing any pare of your picture. In such eases rub your neal eraser gently over the surface. Ic il pick up the light Sloe of ditt and only slightly lighten your penal Hines. Hf you ‘ub too hard the lines willbe ered AL times you will find it neesary to erase» heavy black ine for tone (hading) that you have made by presing very hard on a solt pencil, To do this, fist pres a soft pieee of Knead fraser repeately on the line or tone. Bie by bie you wl Hi ‘off the looser particles. When che erser will absorb no more of the lead, you can safely start erasing, but be sine co ise a gentle motion Because the kneaded eriser is sft i will not always com pletely erase heavily drawn lines, In ach ease, finish off with the feaibe ole rubber erase. Floxible soft rubber eraror, his kind is often called the “nuh” eraser, though Tt albo comes in pink, gray and other colors and has many diferent ede names Wei silat to the feraier on the end of the common writing pencil, is main purpose isto enable you to erase completely lines mae with heavy presre. For erasing small ares, you can easily cut the eraser toa sharp, slanted point To avoid damaging the surface of your paper, erse slowly and cavelully, with 2 gentle circular motion, Alter you fish always remove any particles of eraser and grt by Wicking oF dusting of your drawing with repeated ight strokes of 4 clean Inandkerchiel or a piece of similar material, Don't rub or you ff eraser and grit, they Will jterfre seth your pencil, and it will be imposible for you to add neat, clean lines) match the others in your drawing. ‘rtgum, This solt eraser is favorite for cleaing up a éaw ing after itis Goished. You will find it especially good or removing all the pencil lines when you ave fnishet a pen and ink oF brush snd fok drawing. Arggum is fim enougft > remove the pencil ines but not har enough to injure the ink tines, Aeson Bh Famous Ariss Course ‘The artist’s materials and how to use them A variety of effects with the pencil (On these two pages yo sea small sample of the many diferent elects your can get with your pencil They rellect the wide vai fy of movements possible with the pencil quick, light, heavy, flow, deliberate, ete. Examine these stokes and then Gy some ‘of your own, but don’ copy any ofthese exactly Experiments like these are not just doodling, ‘They have a eal goal —to acquaint you thoroughly with the exciting possibilities ofthis versatile too Hold your penell eny way you find comfortable Sree era dra nha eslneu Rooker ‘eo Soviets ce anes of ft ph. Fomeus Aris Cove The artist's mater a Is and how to use them Papers ‘There ate many Kinds of paper that are good for drawing in pencil. Most of them ate inexpensive. Experiment with di ferent papers until you find the ones which you like bes. When Jou selec papers, there ae thiee things you should consider: surface, Wickes, and ering quality, Surface. For pencil work you want a paper that has “tooth” that iy paper that is rough enough to take pencil tthe paper fs tao smooth a glony it wll not take pencl well, A good [general rule to follow is that the smoother the paper, the fofter your pencil shouldbe. Thickness. The thinnest paper made for pencil work s acing paper. You can see through it, and so itis ideal when you are tracing over another drawing, Visalling paper (sometimes called layout paper) i thicker and whiter, but is stl ans parent enough to sce and trace through. Bond paper ~ the kind. commonly wed for ypewrting is thick that you can just trace very datk lines through it ‘Ledger paper is thick and opaque ~that is, you cannot see tough i€ or use it for tracing Another opaque penell paper is Bristol boat, which comes in several thicknesses, called plies ‘One ply, the thinnest, i alighly heavier than bond paper Bristol board ranges up to ve ply but one, two, and. Uvee ply are most commonly used for pencil. v comes in many furfcen, from very sooth to quite rough "The thickest drawing paper is illustration boat which i raving paper mounted on cardboard make it si. I, too, fan be ad in many surfaces, Erasing quality. Papes range From very soft, such as news ewspapers ate printed, 19 very hard, sich a3 yality Bristol board. You can erase well on the hard papers, but on sot ones iti dificult ‘Good poncil papers for you to use. For practice work, use inexpensive paper such as ordinary tmruled ledger paper snd bond sypeseriter paper. White of ightcolored wrapping paper sich as your grocer mes will do, provided it isn't waxy oF too sol, You can cut i¢ to any sie that is convenient for you For preliminary sketching, most arts use visualizing paper. “This comes in pads of various se, has a good tooth, and i hard enough take eracuses Iti lightly transparent, and therefore is wel for tracing ever a previous sketch, "For your finshed work, ey 2 paper shall to che kind on hich this lesion is printed. Tt has & good tooth and will tke pencil well. At the same time, itis hard enough to stand trasng, and i i thick enough not to bend of wrinkle when you handle it Kie‘inish Bristol bosed, which has a similar surface, fs ao excellent. Try one ply and two ply Don't draw with your paper resting directly on your drawing board, Any rough or uneven spots in the board wil show up jn your pencil fines. You should put several sheets of paper ‘or a piece of smooth cardboard under the paper on which you fare going to rive, This il give you + smooth, pleasant, even working surface ‘Study the pencil drawings on the fllowing pages carelly ‘You will sce that pencils can be used to crente many diferent Hines and nes of Hight and dark. Notice that some tones are sade with many pencil strokes, and that these strokes are fennetimes side by side, sometimes overlapping. Notice, 10, that some of the ines are thin and Tight, while odhers are Wide and dark. The amount of space between the strokes, the fade of pencil, and the Kind of point all play a part in ‘eating many exciting eects Chisel-point drawing Besides drawing with your pend! sharpened to a fine point, you can ane the chi pone or brondatroke method. This isa fine ‘method for making finished pencil drawings because it enables you to obtain alm the quality of brush stroking in your work Soft pencils sich asthe 38 or 4B should be used. ‘The ius tions below demonstrate how to give your pencil chisel point fand how to draw bot thin lines nd thick lines wih i for different purposes 10 ______—— 3 x gcc ct 4 ) ri a AX ( : =i Mi Het . ai = NY Seat i} : SS eee ee Fomous Atos Course “1 Thinking with your peneil Good thinking is a important as good drawing in 4 picture. When you plan picture, ou watt 10 {thoughts in rough skeches a quicly and cally ‘Your pencil i ieal for this it can speedily crest the many cffects you need t0 think out Belore you can make a good picture. That's why we call the pencil your "chinking” tok (On this page you see how Fred Ludekens records and de- velops some of is early thoughts about + picture ‘working drawings ~ the artist made them for his om guidance, to he did not worry about their unfinished. appesance, He ‘angel and erased whenever he fle it would help his peur, om hi et hh Laden gis ot eck th Sg Wis ns Be SE ira tore wa ft ‘The artist's materials and how to use them developing ecard Your 1s posible, “These are = mate Sein ong fig, as. son ee mre the gw ou fe He rvs wth nly te mee be pour more val ond in, The a ds el de ep ‘vu a aps Sekonda pro te hs on ing od ac ng ae Making a pencil drawing “This demonstration shows you 2 logical, orderly way 10 the more detailed drawing later on. Tn the next stage, you develop your “values” — the light nest of darkness ofthe things in your picture. Tn the later ages you give them their final shape and draw in their textures and details Pat in the main shapes fist. ehe details last, when you rake a pictore~ whether in pencil or any other medium, foe You learn to draw by drawing esr Bp Fanci Arts couse 4 The artist's materials and how to use them Pencil Style (On these wo pages you se five penit drawing, each bya diferent arts and each in a diferent syle, These pletures show that shere no one best way to Ue your pencil each att works in hit own perinal syle, Which he develops through experience. “To develop your own syle, you most experiment and practice. Try dliflerent grades of pencil pencil points strokes and papers until you find the best com Einations for the drawings you ate called on todo. I ix mot enough to pick up a few ticks and ase them lover and over agai With the help of the knowledge you will get in this (Course snd you honest attempss to put on paper your ‘own thoughts and observations yu wil develop your individual style. I you have something interesting and personal to say in your drawings, you will id a per Sonal way to make your pencil say it =|| A Famous Ait Cour The artist's materials and how to use them— Pencil Here are the assignments you are to send in ‘Assignment — TREE (Plate 1) Copy the pencil drawing of the tee, Ience, mailbox, etc. on Pluie. Work directly within the outlines onthe drawing atthe Tight, We've included an extra plate for you to practice on ‘Our purpose in having you make this copy i to free you from problems involving drawing and composition and permit you to ‘concentrate fully on how to use the pencil. This plate has been caelully designed to help you demonstrate how wall you ean contol the peel Assignment — LIGHTHOUSE (Plate 1-X) In pencil complete the dratng ofthe lighthouse scene. Use the printed outlines as a guide for your drawing, Draw divectly on is plate Shade the tower, bulldings, rocks tres, sky. et 3h ‘hough it were a sunny day. Follow the working procedure shown on pages 12 and 18. Try fora variety of pencil sober to show the roundness and texture of the forms, Review pages Sand’ In rticiing this assignment, we will be chiefly interested in the variety of sos an effects you make with your pencil and how well you control the tones ofthe picture, IMPORTANT —SEND IN BOTH PLATE 1 AND PLATE 1X AT THE SANE TIME Here is the practice work you should do Firs read thoroughly and study pages ® through 15 for an over: all understanding. Combine your study with actual practice, Reading alone isnot enough — you rmust ry out your pene and spply what you study. Practice various strokes ilar to those on ges 6 though & ‘Make pencil drawings or sketches of simple objects, especially those on which you can we diferent stroke paerns show rss, wood, bat, foliage, ete Materials you will need Three pencils for drawing — HB, 2B and 4B, Some sheets of 11x white drawing paper, Before mailing Print your mame, addres, and student number eat. fully in the lower lefchand corner of each plat, (Do this with each of the asignments you sen in) How much time to spend on these assignments ‘These assignments for Lesion 1A were designed wo you could do them after several evenings of study andl practice, We expect you to mail them tous within two weeks afte receiving your Goutne Tes important for you to get our constuctiveciicism of your fers ssignment as soon as posible Deease i wll be of great help to you in getting of toa good sar in thie Course. Also, it wil help you receive the maximum benef and satisfaction from the lesons and asignmente that follow We realize you are learning many things that are new to you. Don't let this worry you, Do the bes you can and send your siginueuts in for our helpful ertcs, Don't expeet your work to be perfect atthe start we don't. ‘While you're waiting for this work to be crtcked and re- tured to you, go ahead with the dent work for Leson 1B on how to do ink, wash and opaque drawings TREE (Plone 1) Assignment LIGHTHOUSE (Pete 1-X) 1 Retorm ship Famous Artiste Course ‘Westport, Conn. uno 80 ry sosiog L ea Buymoap juowubissy L- ) Suynoap uowubyssy semen Hy 04 omy Drawing in ink with pen and brush Pen or brush and ink drawing has been a favorite with many fof the greatest artists im history because of it simple, graphic (qualities and many satisfactions. Yu, too il find i€ a ect and fascinating technique Most of us enjoy doing «lot with very litle, This s certainly what you ean learn to do with your pen of brush and ink The drawings that you make with these tools are called “line drawings.” In a line drawing you can make only solid black lines of areas on your white paper you cannor make graye But you can make a good submitute for gray tones by putting many fine lines close together to create the eet of gry The closer your lines, the lest white paper shows through ‘hetween them and che darker your gray looks Another satisfaction youll have will be from the great variety f lines yu can create with the pen or brush. As you Inccome anote skilled you can cre a smooth line that ill Took lke the sot outline ofa git’ cheek, ora rough line that suggests the rugged bark of a wee ‘You will also find che same pleasure others do in the actual {eel of the yen or the brush. Ar you move it across the paper you ease the presire to make a thin line, you press to sake it ticker and you vary the movement slightly to give variety and character to your line. Your shill with the pen or brush will be very important becate itis ape to ea you mach of your income, expecially in the early years of your carer. It is with this type of att work tht mor artists rt. Line drawings ae in great demand, Since they can be reproduced more easily and cheaply than any other Kind. They pring well on all sores of paper, especially soft newsprint, They fan be reproduce and wed sweceully Where pencil, wash oF opaque drawings cannot. The meds isa favorite one for newspaper andl all other forms of advert ing and printing where economy is important. ut it lends ite equally well to making exquisite line drawings for fine books, the highest grades of magazines and deluxe advertising, “There is almost no limit to the number of uses for ine rawings,s0 it will pay you to develop your skill with this ‘medium. Throughout your carer, your ability 35 4 line artist will be one of your mos valutble assets Your materials For this leson you will need three pen points —coare, medium and flexible a ponholder for chem and x cromquill pen and Dolder and branes (xe page 22). You will also need a botde of Black waterproof drawing ink and a penviper, which you should we often — any small piece of soft cotton cloth that ie free of lint will do, Your paper showld have fairly smooth surface and be hard enough so that your pen will not pick up fiers when you draw. Kid or plate fish Bristol board or illus tration board is good for your finished work. For practie, have plenty of good-quality bond typewriter paper or ledger paper. Accidents wll happen occsndnaly, so havea few blowers handy Pens Pens ate cased according tothe dhieknes of line they make, A “coarse” pen makes broud, thick line. A “medium” pen ‘makes somes thinner line. The word “fine,” as applied to aupen, does not refer to ts quality: it means that thi point ‘makes a tin line. Some pens are "exible others ate "SKE" Ifa pen is flexible, a lee pressure on it will enable you 0 make = mich broader line, A crowquill pen is especially good for drawing very fine lines Lesion Femous Artists Course 1 ‘The artist's materials and how to use them Vy ‘There are many manufacturers who make excellent pen points. ‘The same type of point is given a diferent number by each manufacture, 0 a chart has been inchuded to help you select pen points sinilar to the ones mentioned in the lesson, For example, Gillot 404 ie approximately the some point as 1 Hunt 56, or an Esterbrook 858, Ie makes very lie eilerence ‘hich brand you ws it fe what you do with ie that counts, Use a penholder that lees comfortable. Most artiste use one that is about ay thick as ora Ile thicker than a pencil. The crowgulll pen is quite small and hs a special holder Ink Always use 2 black ink that is opaque — that i thick or dark ‘enough to hide or cover the paper completely. Tt the ink i too thin it wil look gray and will not reproduce, propetly. Blue ink will not reproduce at all, Waterproot ink will not rum when you paint 3 wath over ie as described later on in {his lenon, under Ink and Wash "Technique. ‘The ink cam Be applied with a pen or brush just as it comes from the bottle Always Keep your ink bot well corked wen notin use o the ink will thicken and not flow emily. it becomes too thich, thin it with a few drops of water. Using the pen Before you use a new pen, dampen ita bt with your lips then wipe ie cry. This will help the point hold the ink and make it low better from the pen. With a lite use anew pen is soon “broken in Don't dip your per too deeply in the ink or you wil pick up too much and it may blot and spoil your drawing. When fever the ink stars w cake on your pen, clean it with your Denvwiper. Wash your pen points ocasionally. Don't handicap yourself with defective or wornout pen points throw them away. New ones are cheap and easy to Buy To draw with your pen, hold iti your Gngers in a natural veay june ax you would for writing rn meg a i, et yn Comparative chart of pen points (Approxinote elaionsip) illo Esterbrook Hunt Conte Ob BBB 86 Mediuas BB BT BR Fine BBB 09 Very fine and Bese 290.8100 Erasures Ink Hines can be erased with 2 sand erster—a hand eraser similar tothe kind used by ypists. Keep one end cut to sharp, SManted point so that you cam get into small ares. In using the sand eraser, be very caeful not to rub ton hard of you will ruin the surface ofthe paper. Where posible, use a geile Sireular motion and always dust the gee off your drawing before putting the pen tothe puper again. I is easier to erase on the beuer grades of paper without spoiling the sarace Instead of erasing. you can paint out unwanted nk liner With opaque vehiter which is explained later io this. lesom However, you eannot draw new lines over the opaque whit. When you make a pen and ink drawing, fist draw your picture im pencil. Then do your ink drawing right over the lines of your pencil drawing and al textures and tones sx need, When the ink is thoroughly dey, we «piece of Arigumn to erase over the entre picture. This will remove all pel Tines and dirt without injuring the pen tines and give you a dlean, workmanlike Fine drawing. (An akemative method of drawing, using acing paper, is pictured ant described below, Here, too. you will have to cleanup afterward) Don't be afraid to make mistakes, Because you will make many belore you master the pen. Practice ft with pen and: ink wo you will guin the skill and assurance necessary for this precise but fascinating and rewarding medivm, 2 Mt oe yur tig paper dei and esha ty ahr \ Experiment with your pens i K( « 20 Aosion “Bl Fomous Ariss Coune 1 ‘The artist's materials and how to use them. Many textures with a single tool! ‘This piewre, drawn by Albert Dorne for a newspaper adver: tement, shows some of the many effects you can bain with pen and ink First ofall, notice the wide vareeyof lines made by the pen, and how the artist has suggested the textures of ferent things with them. On the boat in front, irregular fines make the texture of rough wood, while clean, hard lines and shite space suggest the sleck sides of the mover veel. For the sky and hills the artists wed parallel straight lines but fon each of these subjects he has made them a bit diferent, Domne has used his lines most economically — he does. not raw everything in full detail With just afew lines he clearly says "clouds" — with a few more, “water” A few wellplaced Tines beyond the big Ship are enough to make us sce an entire town, Throvghout his picture he suggests a lot with Le Examine the patches lifted out of tht picture and see how the pen strokes (and the white of the paper) are used. The drawing andthe patches are reproduced in their actual size a nea, rae Awell-planned line drawing Here Fred Ludckens has taken a large, complex scone and reduced its many features to their few, csential element Observe how he hs used diferent kinds of pen lines co sugges the varied forms sn textures of (1) clouds, (2) sagebrosh, (8) the man's clothing, (J) the horse's coat, (9) a distant forest of firs and (@) the dead ite, Portions of thee have been ited fut for you co study, and the drawing is reproduced in its actual Sie, Notice the way the artist has used he white af the paper — imakes up three quarters of his plete! a Lesson “Bh Fomous Ariss Course 22 ‘The artist's materials and how to use them Drawing with brush and ink You will enjoy working with your pencil and pen—but not sore than you will with your brush, once you dicover the ‘wonderful things you can do with i. The brush isso soft and Aexible that it ansvers tothe slightest presure, With it, you can draw any kind of line you want, Iotn the lightest hairline to wide, heavy stokes, Fine, graceful, lowing lines ean be made almost effortessy with your brush. If your pictare calls for lage areas of darks your brush will put em in sliy and effectively. It can make Arawings that only an expert can ell fron pers deavings Brush and ink pictures eam be reproduced just as easly and ‘economically as pen and ink drawings, to, By all means, learn to draw with both the pen and the brush You can use 2 combination of thee tols in the same picture Your materials Brushes come ina great variety of sie, shapes and material ‘The smallest brush isan 000. As the numbers increase, the brushes get bigger and thicker, Numbers 23, 4 and 5 are excellent allaroond sizes for line drawings, They hold more ink than the smallest brushes and yet can take a line almost 8 fine a an 000. (Too ine a line will not reproduce well) ‘The best brushes for line drawing are pointed sable water. color brushes. It pays to buy good ones you can get beter elects with them and they ast much longer. and ink. Papers that ill do for pe and ink will do for brush and ink. A paper with a id or slighly roush finish |s prefered. I will hold or take more ink and therefore give you a slcher line than a smooth surface, The brush can be Used on softer paper, where the pen would pick ip the bere and reste rough lines or make a blot Black waterproof drawing ink ~ the same Kind you use with, your penis deal for brush work, To make eraures oF cor ections, use the sme materials and techniques we recommend foe pea and fol Using the brush Follow the sime procedure as with pen and ink. First lightly trace the lines of your preliminary setch on your paper and then stare inking over them with 4 brush. Ad pet a inky don't just go over the penci lines with your brash, Use your brush to develop the lies and give them character ‘ter dipping your brash into the ink, always press it gently against the inside edge of the botle neck to remove exces ink. Before touching the brush to your drawing, try it on 8 Piece of scrap drawing. paper. A picce about 4x2 inches, fucked to your drawing Board, will be very convenient 23 The artist's materials and how to use them Famous Aris Coors a wn wa Ges ‘The artist's materials and how to use them. 3 ewer BF 24 26 Wash drawing I you have never worked with this exciting and sometimes frustrating medium you have a thriling adventure ahead of you Arts who Tave lad experience with wash drawing are ‘warm in their praise of this medium, which can be used in so many ways to create so many diferent elec ‘Wash dering bv 4 full range of valucs, from solid black to the white of the paper, and you can contto it to give any ceflect you desir, exactly 24 in watereolor painting, You can tse wa for every degree of mised craving, om Nat decors tive elfects to threedimensional realism that is hard to dis Linguis frou a photograph. On the other hand, ic isa fui Spontaneous melium =the wash flows freely a» you work with it, and soggests ways to create pleasing and exciting llfets. You don’t have to wait long for It to dry, either. “The fad and ropi-rying qualities of wash make it possible to work fast— and this makes wash a favorite chee of many artists when they have to do a tone deacing. I is especially Fine for quickly covering lange areas sich as a sky or a back ‘round ina picure ‘Wash reproduces well, When handle simply and in flat toner it cam be reproduced on all but the poorest newsprint When handel in its full range of tones, i excelent for reproduction in the finest publications Te will tke Jot of practice and experimenting before you sil know how to make a good wash drawing. It won't be any, so don’t be too critial of yourself if your fist results don't come off the way your think they should. Remember, fnce you have mastered sesh, you wil Ike dhe ease and speed ‘with which it works, and the rie tonal eects you cam produce vith Patni efort i the ele to success here ‘ ‘wet A ot sate brah hod for What is wash? Wa is made by mixing a black pigment with seater. Ie is applied to white paper. The lightnew of a tone depends upon how much of the white of the paper shows through the wash. ‘This is controled by the amount of water mixed with the pigment — (I) much seater for ight tones, (2) les water for tedium cones (8) very lle water for dazk tones, and (4) Siment ne pigment fr ac lac. ‘Your materials ‘The materials you need for wash deasing are very simple—a tube of watercolor lampblack, several ound sable brushes, # fae sabe brash illustration or Bristol board, 2 porcelain palete ‘or plate lige bow! of clean water, a wad of couton, a blower and pal rag Weter-olor lampblad in a tube is che only pigment you reed for eish crating. Other blacks such as ivory Blac, gamma black, and illuratore black also can be used, Most Srtiss_ prefer lampblach. (On page 40 well tell you about Spaque’ white and opaque gray, which you can use to touch up mistakes and pue in high lights) ‘Brushes. Your mov welul brush wil be ound sable. fe will, bbe good to have Numbers $ and 5. For large wash drawings you will find ie convenient to have one of two even lager ‘ones. Change your brush to &t your need. ‘The general Ue ie lange brushes for large ateas, and small brushes for Hile ven, daily and ine ines or putting in large at areas of wash, a8 well a for moisten ing aeas with pure water belore painting, a at sale brush i twson Bh Famous Ass Course ‘The artist’s materials and how to use them 21 best. One 34 oF Yy inch wide will meet mow of your needs 1 will pay you to buy good brushes and tke goed care of utem by thoroughly but genly washing ahem when you are hough painting oF illustration board. Your choice of paper is ex tremely important bectuse of the major role it plays in seat Arawcing. One kind of suslace will take the wash one iy hile others will give diferent eflecs, Expesiment with vatious textures to learn what you can do with each, IE you put a wash om paper, i will “buckle” or wrinkle ‘Thavis why you should work on illstration bourd —'a paper that has a heavy cardboard have sat keep it i, Tt comes in three general surfaces smooth, medium and coarse — sme: times called “hot presed” “cold. pressed” and “rough.” Use Inoxpensive illustration hoard for your practice work. Although i eos mote than paper ie is well worth it because the surface stays fat and the wash flows on smoothly and cai Palette, A white porcelain butchers tray isa favorite palette with many artis, Some aso use regular white china plates oF saucers Also available ate nests of small inivicalpaletes. You can mix a diferent one in each. They stack on top of cach other to save space—and als to save the mixtures of wash. You can try various types of setional palete, ton How to make a wash drawing AAs with pen and ink, fst lightly draw with an H, HB or B pencil on your illustration board the outlines of your picture, Remove any exces lead from the drawing by very” gently rubbing your kneaded eraser over it Now; moisten he illustration board by going over the sr face several times with your cotton wat or fat sable brvsh Tull of water Let the boatd dry thoroughly —yow shoald sce no water when you hold the boar so that light reflects rom the srlace Right belore putting intone, it good to moisten once again the precise atea to be covered, using» cotton wad fra lage bri with clean eter: Only practice will tach you how moist the snface muse be tor dierent fect, ‘Mix your wales in your pate, as shown in the picture on the facing page. Always mix more tone than you think yo wil need, lor while painting an area you cannot stop to mix more tstsh thoroughly so thatthe tone will be even, ‘Use as large # rush 38 you can in the area you are painting With a large brush, more work can be dene’ without ling up again with wash. With too smatl 9 brush, the wash aren will dry before you ean cover it up, and repented applications fof tone will il with steaks al sharp, dark edge, Fo load your brush, dip it into the wash unut i is fall, “Then genly press the brush on one side of your palette so that about one dbop of wath comes out. This will ually lave age fore all engl paren rater bow, Refi it often with your brush ‘Clean your brut in you clean water, The larger the bowl the less frequently you will have to change the water, Never try to paint a wish with « brush that is to dy Before starting t paint itis a good le to tack, in a corner of your drawing board,» srip of drawing paper about 1 x 12 inches. This i helpfl for testing tones and for making trial stokes betore actually putting your brash tothe drawing 1 you can get the correct value of light or dark with one seas in an area, your drawing wil have a freshness not posible ‘chen you use several wishes. Ini one over the other, to get the ight shade Set an Soo oy to ng hy one fp 28 Painting « flat wash Frequently, in a pictute, you will need to paint a smooth, fat yone, al of one shade of value. Begin by mostening your paper with clean water, ting a brash or piece of coton. When the paper his abiorbed the water lunuil none of it shows on the surface, you cam proceed at shown. Once th an yoo you've sated, Keep working steadily don't stop avd don’t work back rae Imo the painted area even though i looks uneven. When dy, it should be smooth and st. Natural, your rsuls will improve with practice. 6 in 7 Sn ry lS 7

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