TOOLS AND MATERIALS FOR LINE DRAWING.

To produce a line drawing which shall comprise such characteristics as have now been enunciated, three essentials will be required: a white surface, a black fluid, and a suitable instrument to convey the fluid at will. These we will take seriatim, in their conventional order—Papers, Inks, and Pens.

The material most largely used for drawing on is probably white Bristol board, of four-sheet or six-sheet thickness, and this will answer better than anything else in almost all cases. Some attention should be paid to the tint of the card, many cardboards having a tendency to turn yellow with age and exposure. A cardboard of a pure white, or a slight tendency to a bluish tint, is what we require, a blue card being in photographic reproduction practically the same as white. Upon the surface of the cardboard will greatly depend the ease with which we shall get clean sharp lines. With many cardboards, in which the surface is apparently smooth, the pen finds irregularities and sometimes obstacles to its smooth and even progress, catching and "spluttering" over little particles of hard matter or hair.

A good Bristol board, such as is procurable at any artists' colourman, presents no such difficulties, and the making of a fine smooth line should be quite easy. Messrs. Reynolds and Sons supply various kinds of boards equally suitable for pen work. The bank note Bristol manufactured by F.W. Devoe & Co. is also especially adapted to this work.

The process man will very likely recommend you to use a "clay surface" board, and no doubt in some instances these have their advantages. On these clay boards the pen strokes are remarkably clean and crisp, and have a good deal the appearance of having been produced mechanically rather than by hand; a very fine line, however, is difficult to produce, the result being rather like, but in a much less degree, drawing on an enamelled card on which the ink spreads; at the same time, however, there will be less liability to make grey lines. A further advantage of a clay surface is that the surface is easily removable with the blade of a penknife, so that faults may be scraped or cut away—a feature put to very important use in boards specially made for scraping, which are described on p. 96. For large, bold work a clay board is useful, but it should not be too often used on account of the hard, mechanical appearance of the drawing.

Whatman papers, or boards having a surface of Whatman paper, are also much used, and these are procurable in two surfaces: H.-P., or "Hot-pressed," the smoothest; and N., or "Not hot-pressed," the surface of which is sufficiently rough to make it very pleasant to work on, but not too much so. If using the H.-P., the surface must be wiped over with a clean wet sponge to remove a certain gloss which the process of hot-pressing imparts to it.

There is no particular virtue in any special paper or board beyond whiteness, evenness, and purity; any paper having these qualities may be used with success. I should not recommend the beginner to experiment with too many kinds; he will in the end be probably no nearer satisfaction than at the outset. Start on ordinary white Bristol and persevere, attributing failures to your own incompetence rather than to any fault in the materials. Some of the very best things have been produced on any scrap of notepaper or other white surface that has been at hand.

Of suitable black fluids there are many varieties, and the beginner may as easily concern himself a great deal too much about inks as about any other part of the necessary materials.

Cakes or sticks of dry pigment, or pans and tubes of moist colour, may be employed, but for general convenience a fluid black will be best. These are of two kinds: "fixed," which is not removable by water, and "ordinary"; and it may be well to consider beforehand the work we are going to do, and use the indelible, or fixed, ink if necessary.

I mean by this that we may sometimes require to use Chinese white over our black lines to produce whites, which could not easily be left as blanks, in which case it will be necessary to use a fixed black, else the Chinese white would smear and spoil the black.

The introduction of Chinese white is, however, an exception rather than the rule, and when the use of an indelible ink is not important, Stephens' Ebony Stain is admirable. It works easily, and although it dries with a slight gloss, which is usually a disadvantage, it reproduces well. It can be immediately thinned when becoming too thick by the addition of a little water, care being taken not to dilute it sufficiently to make it grey. It is sold in bottles at sixpence and a shilling, and is manufactured by the well-known makers of writing ink, but may be procured from the artists' colourmen. Messrs. Reeves and Sons have introduced a fluid black, called Artists' Black; this is made both "indelible" and "not indelible." This has become very popular of late, and is largely used; the not indelible, with water, making fine greys for wash drawing. Higgins' American "Waterproof" India Ink is also extensively used, and has received high commendation. Fixed Indian Ink is sold in fluid form, and Lampblack and Ivoryblack in tubes and cakes.

Ordinary writing ink is quite unsuitable; it "runs" when fine lines cross, and is either too blue or too brown in colour. Common Indian Ink is also too brown to reproduce well, so that the beginner will do wisely to use one of the above-named blacks, which are prepared for the purpose, and so diminish his chances of failure. All are sold in bottles at sixpence or one shilling.

Not taking account of eccentricities of accomplished artists, who may use some special medium to their fancy, and whose very mastership guarantees their success in whatever medium they may work, a dull intense black line on a pure white surface is the ideal to be attained.

It may be mentioned that if for any exceptional purpose the reproduction is to be printed in coloured ink, the original had better be drawn in a like colour, always excepting blue or anything approaching thereto. But brown, green, red, and orange are permissible, and will photograph correctly. A black drawing, reproduced in brown or other colour, is apt to give a very different impression, and still more so if a colour be reproduced in black.

Chinese white has been referred to, and should certainly always be at hand. If applied fairly thickly with a fine brush it will efface any faulty ink marks, and may also be used to introduce lights into shading which has been worked up too solid. It is also useful for putting in small lights, as in windows, or longitudinal white streaks on water which has been shaded in dark. It should be of good quality, and kept well stoppered in a strong glass or stone bottle.

With regard to the pen to be used there is more latitude for individual taste, as what one man can do with a given pen another cannot. The manufacturers who have given most attention to the requirements of draughtsmen are J. Gillott and Sons, the well-known makers of pens of all kinds. Many kinds of Brandauer's and Blanzy Poure and Co.'s pens are also very good.

It should not be supposed that a very fine-pointed pen is essential, for on the contrary a small tool often seems to lead to the making of small, niggling work. Mr. C.G. Harper finds a well-cut quill pen delightful for making pen studies, and says "it flies over all descriptions of paper, rough or smooth, without the least catching of fibres or spluttering. It is the freest and least trammelling of pens, and seems almost to draw of its own volition." A glass drawing-pen, such as is used by mechanical designers, &c., has its uses, but it is only capable of making a uniformly thick line.

An assortment of one dozen of Gillott's pens can be obtained for one shilling, and from these our selection can be made. Brandauer's No. 515 and No. 342 E.F. are well spoken of, and have the advantage of not becoming scratchy with use. A flexible pen, capable of making fine as well as thick strokes, working evenly, and not soon worn out, is what should be sought, and having found two or three kinds to suit, stick to them, and make yourself thoroughly master of their capabilities. Should any difficulty exist in obtaining a special pen, an ordinary "F" writing nib will not lead you far wrong, while for bold vigorous drawing I should prefer a gold "J"; it is clear from this that mere fineness of point is not an essential matter.

The possibilities of a particular pen are not learnt all at once, it should be persevered with and understood. It has been recommended that two or three pens of different character should respectively be used on different portions of the same drawing. There may be advantages in this, especially if a drawing contain a very wide variation in quality of its lines. It may sometimes be that very bold thick work in foreground is associated with fine delicate work in distance and sky.

Some artists prefer to use a fine brush instead of a pen. A small sable brush, having the outside hairs cut away, or a long hair brush known as "tracer" or "rigger," is capable of making fine lines hardly to be distinguished from pen strokes. At first they are slow to work with, but considerable rapidity may be acquired with practice. The lines are rounder and not so harsh as those made with the pen, and it is said that an artist who has once accustomed himself to use a brush never goes back to pens.

The foregoing materials and pens are for the production of simple black line drawings on a white ground, and it is in this direction that I should advise the student to persevere and cultivate himself. All the beauty and expressiveness of lines is only realised after long practice; and, of the many ways of illustrating by line process, it is the best means of self-education, compared with which all others are flippant and inconsequent.

Still, with some truth it has been said that it is only by experiment that we learn to achieve distinction, and so after a while we may indulge in experiments in other directions, and try our hand at the various tricks which the ingenious have placed within our reach. These will be described in Chapter XI.