Ladies' manual of art; or, profit and pastime. / A self teacher in all branches of decorative art, embracing every variety of painting and drawing on china, glass, velvet, canvas, paper and wood the secret of all glass transparencies, sketching from nature. pastel and crayon drawing, taxidermy, etc.

Sketching FROM NATURE

“God has diffused beauty, and Art has combined it.”—Houssaye.

A sketch is a graphic memorandum. “The field of labor is the wide world of nature—her beautiful truths the lessons to be learned by heart. Once fairly within her school, Art awakens to a life of sympathy with its teacher that lasts forever.” A capacity for drawing means more than producing a linear representation. The sculptor draws when he models the plastic clay into imitative or ideal creations. The painter draws when he disposes his pigments with like impulse. The stalwart smith draws when he shapes the heated metal into form. He that cannot draw a crooked line, cannot draw a straight one, and he who cannot draw a straight line, the simplest, easiest, and most comprehensible, has certainly much to learn, and should begin with it.

In Making a Drawing from Nature, we start out with one of two things in view, a desire to make a perfect copy of the scene before us, or a wish to make a choice selection from the whole, and arrange it to suit our fancy. The first is historic, from the fact of its being a true and faithful copy. The second is called poetic, as the effort is for beauty of arrangement and general make up. In the latter, the artist is generally better satisfied with his effort when the picture is complete, than if he followed closely to the laborious work of perfectly copying that which is not altogether interesting. But at the same time the first, that of picturing facts, must form the basis of the art. By it we acquire a knowledge of detail, and store the mind with true nature, which is essential in good work. A true and faithful copy is what is sought after. In following our own fancy, we go out into the field and select from a combination of objects, and make up our picture. We find a log cabin standing beside a rocky stream of rippling water, which is spanned by an ancient log bridge; in another place we find cows grazing; and again a horseman is coming down the road. We combine the three. The cattle are driven into the stream, the horse and his rider are brought into and form a part of the picture, which is now complete.

In sketching from nature it is first essential that we should be trained to some extent in a course of perspective drawing.

Linear Perspective is the application of the principles of geometry to the accurate delineation of the principal lines of the picture. Drawing on a plain surface an object as it appears, or as it would appear on a pane of glass, held between you and the object.

Perspective is absolutely necessary in drawing from nature, not only in perfecting finished work, but in all circumstances. Theoretically, as well as practically, it bears more or less upon all the great requisites of perfection in art. We can by its aid, select our own point of observation, even though it be imaginary.

Materials. Of the variety of instruments and materials for drawing and sketching, there is the lead pencil of different degrees of hardness, and tint; then there is the French crayon, tinted crayons, etc.; French sketching boards, prepared of various tints, with skies, and suggestive effects ready laid in; “solid sketching blocks,” bound as a portfolio, will be found convenient. Paper for “cartoons” can be obtained of most any size, up to six feet wide.

In a Picture we have Six Terms, the center of the picture, or center of view, the distance of the picture, the base line, the horizontal line, the perpendicular line, the point of view.

Lines in Nature. It is a remarkable fact that all the lines in nature are curve lines, the body of trees, the branches and their leaves, and the fruit that grows thereon; the blades of grass, and flowers in the field; the swells of the ocean, the hills and hollows, are all composed of curved lines. Nature is all loveliness and perfection, all her effects are true, and the desire of the student should be to realize them thoroughly, and let nature, and nature alone, be the teacher, following her faithfully, in the full assurance of the attainment of truth, whatever else he may fail to accomplish.

Then let the pencil, the servant of thought,
Copy the lessons which nature has taught;
For the skillful hand of the artist entwines,
No garland more fair than her beautiful lines.

A LESSON IN DRAWING.

Before going into the field to make a sketch, it is essential you become familiar with the different lines used in drawing, the less difficulty you will have in sketching from nature.

The first effort will be to get control of the hand and pencil, or pen, which is the leading essential in learning to write or draw. Secondly, a right understanding of the straight and curve lines used cannot be dispensed with. A neglect of these first principles, and the want of a thorough drilling by an experienced teacher, in our educational institutions, is the leading difficulty in the advancement of students in these branches, and has often been a subject of comment.

There are three leading lines in drawing, the straight horizontal line, thus:

made by carrying the pencil from left to right, and vice versa, beginning and ending abruptly; then perpendicular ones, commencing at the top, draw the pencil down; then a straight oblique line, with 52 deg. slant, which is about the proper angle for writing.

The right and left curve is used as the beginning and ending of all the small letters.

Fig. 1.

The Line of Beauty, as it is called, is the two curves combined; commencing at the top, making first the left and then the right line, equal in length, forming a compound curve, the basis of two-thirds of all the capital letters. A combination of curves lying horizontally, as in fig. 2, gives the line which is formed by the meeting of the lips, from these different lines our sketches from nature are made up.

Fig. 2.
A curved line changes its direction at every point.

A circle is a figure comprehended by a single curve line, called its circumference, every part of which is equally distant from a point called the center. From a to b will be found the left, or convex, and from c to d the right, or concave curve. The whole may be made by a quick movement of the hand, with crayon, on the black-board, thus: Turn your right side to the board, place the crayon at the bottom, c, and with the elbow as the radius, carry the crayon toward the left from c to a, and so on until you reach the starting point, c, again, moving the hand at as rapid a rate as is possible.

Fig. 3.

Now, if these lines can all be drawn correct, and with freedom, take the equilateral triangle and practice it without a ruler.

Fig. 4.
An angle is the space between two lines that start from the same point.

The perpendicular line, passing from the vanishing point a, to the base b. The whole of the fig. 4 forms what appears to us the gable of a house, a the point where the rafters meet, b the center of the plate. This gives the horizontal, vertical, and oblique lines.

I shall endeavor to make these lessons clear and concise for the beginner, touching only on those points which are indispensable in learning to draw. Although many of these principles you may have acquired, the elements of linear perspective is the very first thing to which your attention should be directed.

Landscapes. All objects which present themselves to the eye, such as buildings, forests, fields, mountains, water, &c., whether viewed from a hill or on a level, we will call a landscape. Now as it is impossible to make an exact copy of the subject before us, by means of any transfer process, it can only be effected by a distinct apprehension of the real form of the objects themselves, and of those apparent forms under which they are presented to the eye, in their different positions in the landscape. All these objects have their outlines, composed either of straight or curve lines, which may be irregular in their relation to each other. Now if we were placed on a flat, horizontal plain, the water or ground which we would have in view before us, would appear to rise from the spot on which we stood, the limit of that rise being determined by a clear and well defined straight line, called the horizontal line. It will appear in the lake; between this and the sky no object intervenes. This horizontal or boundary line lies directly opposite to the range of the eye, and the one to which every other line is referred, and by which the accuracy of the drawing is secured. The point where it crosses the perpendicular line will be the center of our picture.

In Placing a Landscape on Paper, first arises the question as to how much of the landscape we will introduce into our picture. Let us suppose it to be taken from the point of view, then that position of the scene which the eye can easily take in, without moving the head, will constitute the picture. The space included between the point where we are standing and a point where our picture commences, establishes the required distance of the eye from the proposed picture. Now, if through this point a straight line be supposed drawn, perpendicular to the horizon, this line will pass through, and determine the foremost objects of the picture—touching all the leading objects directly in front of us.

Position of the Horizontal Line will depend upon whether or not we make the sketch from the ground, or from an elevation. If the view be made from the level with it, the horizontal line may be drawn at about one-fifth of the space of the paper we intend for our picture. If we take the sketch from an elevated point, a little above the level of the ground, then the horizontal line may be placed at about one-third the height, and so on. If the view is to be made from a high hill, or top of the house, place the horizontal line at one-half the height.

Now, in holding up the pencil or ruler horizontally with the eye, and on a level with it, you will see what objects will appear on that horizontal line. In making a photograph of a building it is always best to have the camera a little elevated, and at a considerable distance from the object, as a better picture can be secured. All horizontal planes seem to ascend if they lie below the horizontal line, and to descend if they lie above it, vanish or merge into it, as shown in figures 5 and 6.

In making a sketch from an elevation, the distant part of the view seems higher than the foreground. This occurs when the point from where the view is taken is too much elevated. A better, and much more natural perspective, can be obtained by lowering the point of view, which also changes the horizontal line.

After knowing the position of the horizon of your subject, point of sight for the point of distance, you have to extend the line of horizon from the point of sight to the limits of such distance.

For illustration, fasten a thread with a pin to the table, at a point corresponding to the line of the horizon of your picture; a thread thus adjusted will, when drawn out over the picture, fall exactly over all the lines seeking

The Vanishing Point. In this way you get the lines for the cornice in a building, or row of buildings, upper and lower lines of the windows and doors, base and sidewalk.

Fig. 5.

In making a sketch of a building, it is only necessary to get the general outlines, and instead of working in all the doors and windows, finishing up the cornice, etc., all that is necessary will be to get the outline of one door or window, and the style of cornice, and indicate the remainder by merely a mark showing the position, and make a memorandum of the essential points which is needed in completing the work. In figure 5, street view, make a dot on the sketch board at a point where you wish the first upper corner of the building to commence, draw a perpendicular line for the corner, do likewise at such a distance to the left as you wish the building to extend on the sketch, and you have the other corner. Holding the drawing book perpendicular between you and the building, and on a level with the eye, place the ruler on the sketch-book corresponding to the upper horizontal line of the building, and make a line for the cornice, the base line is produced in the same manner. The point C, where the two lines would meet, were they continued toward the left, will be the vanishing point, from which run all the other horizontal lines when you come to finish up the drawing.

THE EFFECTS OF THE DRAWING IN DIFFERENT POSITIONS OF THE HORIZONTAL LINE.

Fig. 6.

A horizontal right line has, with respect to the plane of the picture, one of three positions. It is either parallel to it, oblique to it, or perpendicular to it. We will sit with the back against one of the walls of a rectangular room. The wall opposite is parallel to that behind us, and consequently to the plane of our picture in that position. The two remaining walls being at right angles with that opposite, are evidently perpendicular to the plane of the drawing, and all horizontal right lines on those two walls, are also perpendicular to that plane, and will appear to tend towards a point immediately opposite to the eye. H. H. is the horizontal line or level of sight; C the point opposite the eye, and that point toward which all horizontal right lines on the walls, A & B, appear to slant, though in reality they are perpendicular to the wall C. The lines 1 & 2, where the ceiling and sidewalls meet, and 3 & 4, the lower limit of the walls, as well as the horizontal lines of the door, and its panels, are in that position, all perpendicular to the plane of the opposite wall, and therefore to the plane of the drawing. The effects of the drawing in different positions of the horizontal line, should be carefully studied; if it be placed above the level of the eye, and removed to the right or left, it will appear like this:

If below the level of the eye, it will assume a direction like this:

But placed to the right or left of the eye, on a perfect level, and horizontal, it will appear thus:

If drawn from, and directly opposite to the eye, the end may appear thus:

•

A point has position, but not magnitude.

Fig. 7.

If a book, or block of wood, having a square base, be represented at different distances, seen from a point in which its sides are oblique to the plane of the picture, and seen from both points, under the same circumstances in all respects, as regards surrounding objects, except that the distance of the artist from the base line is much less in one than the other, then it will appear as do figures 7 and 8.

Fig. 8.
A surface has length and breadth only. A solid has length, breadth, and
thickness.

In figure 7 the distance from us is much greater than in figure 8, and the vanishing point farther away. We will find the first the most pleasing to the eye, although both are accurate. In these figures we make the two oblique lines of the base equal in length, and our position directly opposite the center perpendicular line. If we should change our position further to the right, the left oblique line at the base would apparently shorten, and vice versa.

In making a sketch from nature, the artist must choose a position that will command the best view of the scene about to be placed on paper, and from a standpoint that will secure the leading objects in the landscape before you. Begin by sketching those objects nearest you first. The reasons will be shown hereafter.

In attempting to make a “bird’s eye” view of buildings, where an elevation cannot be obtained, it will be found somewhat difficult. We can only mark down on the sketch-book what can be seen from the position we occupy on the level with the objects before us, and imagine the remainder. At the same time three things should be kept in view, the perspective, the perpendicular lines, and proper elevation, in order to give to our picture the appearance it would have if others viewed it from the supposed point of observation as the sketcher.

The intention of the writer has been to touch upon all the points and rules in drawing, and dwell upon each separately, and sufficient for a person of ordinary ability, and a good many grains of continuity, to make a sketch artist.

“It matters not what a man’s vocation may be, if he has the taste to discern, and mind to esteem, the good and beautiful in nature and art, an expression of refinement will be manifest in all that he undertakes.”

In this work I did not expect more than to take the first step toward teaching to sketch from nature. An easy, rapid, and decided manner of sketching is to be acquired only by practice. It is an acquisition essential to excellence in all the other artistic qualities, to which it serves as a basis. Having given you the necessary instruction, I will now assist you in

Selecting a Position. Choose a point that will command a good view of the scene, and prevent closer and more immediate objects from concealing any portion of the remote distance; and though the height of the horizontal line in this case may sometimes be more than half the height of the paper, according to the elevation attained by the artist to command the view. In this case the horizontal line is at about one-half the height of the paper. It frequently occurs in making a sketch, that the artist cannot place himself at the desired point for the best view. In such case we will imagine a point above the highest object in the foreground of the proposed sketch. That point may be on the land, or on the water. The artist, with a knowledge of perspective and elevation in view, may make a memorandum of the whole; but should he attempt to draw it from the point he is compelled to see it, no one would recognize it as a truthful representation. We regulate the whole by our knowledge of perspective, as accurately as if we stood upon the very spot from which we desired to be understood that the view was taken.

In Making a Bird’s Eye View of a village or city, the first thing to be done is to get a plat, or outline, of the streets and blocks, and mark them on the sketch-book in squares, (or rather diamond shape), each line and cross line representing a street. Commence sketching in the buildings from the point chosen, which should be the one nearest the business center, and where the best houses stand, or from a point where you can secure the best material for a foreground, such as a stream of water and bridge, or a forest, etc. Transfer each block to paper, showing the fronts of one side and the rear of the buildings of the other side, and so on through the entire row of blocks, when you return to the place of starting, and go down the second row, always working toward the vanishing point.

After you have gone over the entire city, and taken every building, tree, and other objects of interest, and completed the sketch, you are ready for working it up. Lay out the blocks and streets on drawing paper, with pencil, in perspective, ruling from the vanishing point, the center of the picture, toward the point of view, which enlarges the objects of the foreground, and diminishes those in the distance.

In drawing in the buildings, begin with the first house in the foreground, drawing the roof lines, which should be parallel with the lines of the street; next the gables, after which the corner lines, which should be perpendicular to the drawing paper.

The drawing should be made first with pencil, and then in ink, with fine pointed steel pen; for shading, use small camel hair brush and India ink.

Lights and Shades. In a sketch it is found that mere outline is insufficient to the representation of an object in relief; it cannot give substance, nor define relative distances so as to maintain the objects in their proper places. The matter of fact representation of the breadth of a meridian light, and the same passage of landscape viewed under the shades of evening, affects the feeling very differently. In the latter, there is a charm which operates even upon minds least susceptible of impressions from the beauties of nature. The general principle acted upon by artists, is to dispose the lights and shades in the manner best suited to the treatment they propose for their work.

There are two extremes of light and shade, and between these lie all those half tints and reflected lights, and exquisite gradations of shade, which must be so carefully placed in the drawing as to clearly indicate the graceful curve of each individual petal, without in any way destroying the roundness and breadth of a flower. The gradations of shade are sometimes perplexing to the learner; but in this respect the eye is a very safe guide. It requires no cultivated taste—not even any great amount of critical observation—to see when an object which should look perfectly round, appears flattened on the one side, or swell too much on the other. The theory of foreground and middle distances and background, has much to do with the principles of light and shade. It is not the line of perspective alone which makes one portion of a picture retreat, and another come forward.

In the drawing of a round object, apple or ball, the shades fall on the concave part, and incline toward the side opposite to light. All shades of objects in the same picture must fall the same way, or farthest from the light. That part lying nearest to the light must receive the least shade. This rule will be noticed in the face, folds of the drapery, etc. Landscapes show the heaviest shades nearest us, the greater the distance the lighter grows the picture. In clouds, the shades are the lightest that are nearest the horizon, it being the greatest distance from us, and those nearest the center of the picture the strongest.

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