ILl.u.s.tRATING SOME TYPICAL BRUSH STROKES MADE WITH FOUR CLa.s.sES OF BRUSH

Cla.s.s A, round; Cla.s.s B, flat; Cla.s.s C, full flat brush with rounded corners; Cla.s.s D, filbert shape.]

It will perhaps be as well to ill.u.s.trate a few of the different brush strokes, and say something about the different qualities of each. These are only given as typical examples of the innumerable ways a brush may be used as an aid to very elementary students; every artist will, of course, develop ways of his own.

The touch will of necessity depend in the first instance upon the shape of the brush, and these shapes are innumerable. But there are two cla.s.ses into which they can roughly be divided, flat and round. The round brushes usually sold, which we will call Cla.s.s A, have rather a sharp point, and this, although helpful in certain circ.u.mstances, is against their general usefulness. But a round brush with a round point is also made, and this is much more convenient for ma.s.s drawing. Where there is a sharp point the central hairs are much longer, and consequently when the brush is drawn along and pressed so that all the hairs are touching the canvas, the pressure in the centre, where the long hairs are situated, is different from that at the sides. This has the effect of giving a touch that is not equal in quality all across, and the variety thus given is difficult to manipulate. I should therefore advise the student to try the blunt-ended round brushes first, as they give a much more even touch, and one much more suited to painting in planes of tone.

The most extreme flat brushes (Cla.s.s B) are thin and rather short, with sharp square ends, and have been very popular with students. They can be relied upon to give a perfectly flat, even tone, but with a rather hard sharp edge at the sides, and also at the commencement of the touch. In fact, they make touches like little square bricks. But as the variety that can be got out of them is limited, and the amount of paint they can carry so small that only short strokes can be made, they are not the best brush for general use. They are at times, when great refinement and delicacy are wanted, very useful, but are, on the whole, poor tools for the draughtsman in paint. Some variety can be got by using one or other of their sharp corners, by which means the smallest possible touch can be made to begin with, which can be increased in size as more pressure is brought to bear, until the whole surface of the brush is brought into play. They are also often used to paint across the form, a manner ill.u.s.trated in the second touch, columns 1 and 2 of the ill.u.s.tration on page 114 [Transcribers Note: Plate XXVI].

A more useful brush (Cla.s.s C) partakes of the qualities of both flat and round. It is made with much more hair than the last, is longer, and has a square top with rounded corners. This brush carries plenty of paint, will lay an even tone, and, from the fact that the corners are rounded and the pressure consequently lessened at the sides, does not leave so hard an edge on either side of your stroke.

Another brush that has recently come into fashion is called a filbert shape (Cla.s.s D) by the makers. It is a fine brush to draw with, as being flat it paints in planes, and having a rounded top is capable of getting in and out of a variety of contours. They vary in shape, some being more pointed than others. The blunt-ended form is the best for general use. Either this cla.s.s of brush or Cla.s.s C are perhaps the best for the exercises in ma.s.s drawing we have been describing. But Cla.s.s A should also be tried, and even Cla.s.s B, to find out which suits the particular individuality of the student.

On page 114 [Transcribers Note: Plate XXVI] a variety of touches have been made in turn by these different shaped brushes.

In all the strokes ill.u.s.trated it is a.s.sumed that the brush is moderately full of paint of a consistency a little thinner than that usually put up by colourmen. To thin it, mix a little turpentine and linseed oil in equal parts with it; and get it into easy working consistency before beginning your work, so as not to need any medium.

In the first column (No. 1), a touch firmly painted with an equal pressure all along its course is given. This gives you a plane of tone with firm edges the width of your brush, getting gradually darker or lighter as your brush empties, according to the length of the stroke and to whether you are painting into a lighter or darker ground.

In column No. 2 a drag touch is ill.u.s.trated. This is a very useful one.

The brush is placed firmly on the canvas and then dragged from the point lightly away, leaving a gradated tone. A great deal of the modelling in round objects is to be expressed by this variety of handling. The danger is that its use is apt to lead to a too dexterous manner of painting; a dexterity more concerned with the clever manner in which a thing is painted than with the truth expressed.

Column No. 3. This is a stroke lightly and quickly painted, where the brush just grazes the surface of the canvas. The paint is put on in a manner that is very brilliant, and at the same time of a soft quality.

If the brush is only moderately full, such touches will not have any hard edges, but be of a light, feathery nature. It is a most useful manner of putting on paint when freshness of colour is wanted, as it prevents one tone being churned up with another and losing its purity.

And in the painting of hair, where the tones need to be kept very separate, and at the same time not hard, it is very useful. But in monochrome painting from the cast it is of very little service.

Another method of using a brush is hatching, the drawing of rows of parallel lines in either equal or varying thicknesses. This method will lighten or darken a tone in varying degree, according to whether the lines are thick, thin, or gradated--somewhat in the same way that lines of shading are drawn in line work. In cases where the correction of intricate modelling is desired and where it would be very difficult to alter a part accurately by a deft stroke of the brush, this method is useful to employ. A dry brush can be drawn across the lines to unite them with the rest of the work afterwards. This method of painting has lately been much used by those artists who have attempted painting in separate, pure colours, after the so-called manner of Claude Monet, although so mechanical a method is seldom used by that master.

As your power of drawing increases (from the line drawing you have been doing), casts of hands and heads should be attempted in the same manner as has been described. Ill.u.s.trations are given of exercises of this description on pages 110 and 122. Unfortunately the photographs, which were taken from the same study at different stages during the painting, are not all alike, the first painting of the lights being too darkly printed in some cases. But they show how much can be expressed with the one tone, when variety is got by using the middle tone to paint into.

The two tones used are noted in the right-hand lower corner.

Try to train yourself to do these studies at one sitting. But if you find you cannot manage this, use slower drying colours, say bone brown and zinc white, which will keep wet until the next day.

When you begin studying from the life, proceed in the same way with monochrome studies painted into a middle tone.

And what are you to do if you find, when you have finished, that it is all wrong? I should advise you to let it dry, and then sc.u.mble a middle tone right over the whole thing, as you did at first, which will show the old work through, and you can then correct your drawing and proceed to paint the lights and shadows as before. And if only a part of it is wrong, when it is quite dry rub a little, poppy oil thinned with turpentine over the work, as little as will serve to cover the surface.

If it is found difficult to get it to cover, breathe on the canvas, the slightest moisture will help it to bite. When this is done, wipe it off with the palm of your hand or an old piece of clean linen. Now paint a middle tone right over the part you wish to retouch, being careful about joining it up to the surrounding work, and proceed as before, drawing in the light and shadow ma.s.ses.

This form of drawing you will probably find more difficult at first. For the reason already explained it seems natural to observe objects as made up of outlines, not ma.s.ses. The frame with cottons across it should be used to flatten the appearance, as in making outline drawings. And besides this a black gla.s.s should be used. This can easily be made by getting a small piece of gla.s.s--a photographic negative will do--and sticking some black paper on the back; turning it over the front to keep the raw edges of the gla.s.s from cutting the fingers. Or the gla.s.s can be painted on the back with black paint. Standing with your back to the object and your painting, hold this gla.s.s close in front of one of your eyes (the other being closed), so that you can see both your painting and the object. Seeing the tones thus reduced and simplified, you will be enabled more easily to correct your work.

I should like to emphasise the importance of the setting-out work necessary for brush-drawing. While it is not necessary to put expressive work into this preparatory work, the utmost care should be taken to ensure its accuracy as far as it goes. It is a great nuisance if, after you have put up some of your fair structure, you find the foundations are in the wrong place and the whole thing has to be torn down and shifted. It is of the utmost necessity to have the proportions and the main ma.s.ses settled at this early stage, and every device of blocking out with square lines and measuring with your knitting-needle, &c., should be adopted to ensure the accuracy of these large proportions. The variations and emphases that feeling may dictate can be done in the painting stage. This initial stage is not really a drawing at all, but a species of mapping out, and as such it should be regarded. The only excuse for making the elaborate preparatory drawings on canvas students sometimes do, is that it enables them to learn the subject, so that when they come to paint it, they already know something about it. But the danger of making these preparatory drawings interesting is that the student fears to cover them up and lose an outline so carefully and lovingly wrought; and this always results in a poor painting. When you take up a brush to express yourself, it must be with no fear of hurting a careful drawing. Your drawing is going to be done with the brush, and only the general setting out of the ma.s.ses will be of any use to you in the work of this initial stage. Never paint with the poor spirit of the student who fears to lose his drawing, or you will never do any fine things in painting. Drawing (expressing form) is the thing you should be doing all the time. And in art, "he that would save his work must often lose it," if you will excuse the paraphrase of a profound saying which, like most profound sayings, is applicable to many things in life besides what it originally referred to. It is often necessary when a painting is #nearly# right to destroy the whole thing in order to accomplish the apparently little that still divides it from what you conceive it should be. It is like a man rushing a hill that is just beyond the power of his motor-car to climb, he must take a long run at it. And if the first attempt lands him nearly up at the top but not #quite#, he has to go back and take the long run all over again, to give him the impetus that shall carry him right through.

Another method of judging tone drawing is our old method of half closing the eyes. This, by lowering the tone and widening the focus, enables you to correct the work more easily.

In tone drawing there is not only the shape of the ma.s.ses to be considered, but their values--that is, their position in an imagined scale from dark to light. The relation of the different tones in this way--the values, as it is called--is an extremely important matter in painting. But it more properly belongs to the other department of the subject, namely Colour, and this needs a volume to itself. But something more will be said on this subject when treating of Rhythm.

We saw, in speaking of line drawing, how the character of a line was found by observing its flatnesses and its relation to straight lines. In the same way #the character of modelling is found by observing its planes#. So that in building up a complicated piece of form, like a head or figure, the planes (or flat tones) should be sought for everywhere.

As a carver in stone blocks out his work in square surfaces, the modelling of a figure or any complex surface that is being studied should be set out in planes of tone, painting in the first instance the larger ones, and then, to these, adding the smaller; when it will be seen that the roundnesses have, with a little fusing of edges here and there, been arrived at. Good modelling is full of these planes subtly fused together. Nothing is so characteristic of bad modelling as "gross roundnesses." The surface of a sphere is the surface with the least character, like the curve of a circle, and the one most to be avoided in good modelling.

In the search for form the knowledge of anatomy, and particularly the bony structures, is of the utmost importance. During the rage for realism and naturalism many hard things were said about the study of anatomy. And certainly, were it to be used to overstep the modesty of nature in these respects and to be paraded to the exclusion of the charm and character of life, it would be as well left alone. But if we are to make a drawing that shall express something concrete, we must know something of its structure, whatever it is. In the case of the human figure it is impossible properly to understand its action and draw it in a way that shall give a powerful impression without a knowledge of the mechanics of its construction. But I hardly think the case for anatomy needs much stating at the present time. Never let anatomical knowledge tempt you into exaggerated statements of internal structure, unless such exaggeration helps the particular thing you wish to express.

In drawing a figure in violent action it might, for instance, be essential to the drawing, whereas in drawing a figure at rest or a portrait, it would certainly be out of place.

[Ill.u.s.tration: Plate XXVI.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES

No. 1. Blocking out the s.p.a.ces occupied by different ma.s.ses in charcoal.]

[Ill.u.s.tration: Plate XXVII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES

No. 2. A middle tone having been sc.u.mbled over the whole, the lights are painted into it; variety being got by varying the thickness of the paint. The darks are due to the charcoal lines of initial drawing showing through middle tone.]

[Ill.u.s.tration: Plate XXVIII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES

No. 3. The same as the last, but with the shadows added; variety being got by varying thickness of paint as before.]

[Ill.u.s.tration: Plate XXIX.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES

No. 4. The completed head.]

In the chapter on line work it was stated that: "Lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atmosphere," and these rules apply equally well to the direction of the brush strokes (the brush work) in a painting.

#The brush swinging round the forms suggests fore-shortening, and fulness of form generally, and across the forms softness, while the brush following down the forms suggests toughness and hardness, and crossing in every direction atmosphere#. A great deal of added force can be given to form expression in this way. In the foreshortened figure on the ground at the left of Tintoretto's "Finding of the Body of St.

Mark," the foreshortened effect helped by the brush work swinging round can be seen (see ill.u.s.tration, page 236 [Transcribers Note: Plate XLIX]). The work of Henner in France is an extreme instance of the quality of softness and fleshiness got by painting across the form. The look of toughness and hardness given by the brush work following down the forms is well ill.u.s.trated in much of the work of James Ward, the animal painter. In his picture in the National Gallery, "Harlech Castle," No. 1158, this can be seen in the painting of the tree-trunks, &c.

The crossing of the brush work in every direction, giving a look of atmosphere, is naturally often used in painting backgrounds and also such things as the plane surfaces of sky and mist, &c.

It is often inconvenient to paint across the form when softness is wanted. It is only possible to have one colour in your brush sweep, and the colour changes across, much more than down the form as a rule. For the shadows, half tones and lights, besides varying in tone, vary also in colour; so that it is not always possible to sweep across them with one colour. It is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c. Nevertheless, if this particular look of softness and fleshiness is desired, either the painting must be so thin or the tones so fused together that no brush strokes show, or a dry flat brush must afterwards be drawn lightly across when the painting is done, to destroy the downward brush strokes and subst.i.tute others going across, great care being taken to drag only from light to dark, and to wipe the brush carefully after each touch; and also never to go over the same place twice, or the paint will lose vitality. This is a method much employed by artists who delight in this particular quality.

But when a strong, tough look is desired, such as one sees when a muscle is in violent action, or in the tendon above the wrist or above the heel in the leg, or generally where a bone comes to the surface, in all these cases the brush work should follow down the forms. It is not necessary and is often inadvisable for the brush work to show at all, in which case these principles will be of little account. But when in vigorously painted work they do, I think it will generally be found to create the effects named.

Drawing on toned paper with white chalk or Chinese white and black or red chalk is another form of ma.s.s drawing. And for studies it is intended to paint from, this is a quick and excellent manner. The rapidity with which the facts of an appearance can be noted makes it above all others the method for drapery studies. The lights are drawn with white, the toned paper being allowed to show through where a darker tone is needed, the white (either chalk or Chinese white) being put on thickly when a bright light is wanted and thinly where a quieter light is needed. So with the shadows, the chalk is put on heavily in the darks and less heavily in the lighter shadows. Since the days of the early Italians this has been a favourite method of drawing drapery studies (see ill.u.s.trations, page 260 [Transcribers Note: Plate LIV]).

Some artists have shaded their lights with gold and silver paint. The late Sir Edward Burne-Jones was very fond of this, and drawings with much decorative charm have been done this way. The principle is the same as in drawing with white chalk, the half tone being given by the paper.

Keep the lights separate from the shadows, let the half tone paper always come as a buffer state between them. Get as much information into the drawing of your lights and shadows as possible; don't be satisfied with a smudge effect. Use the side of your white chalk when you want a ma.s.s, or work in parallel lines (hatching) on the principle described in the chapter on line drawing.

X