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    Pen Drawing: "An Illustrated Treatise"
    Pen Drawing: "An Illustrated Treatise"
    Pen Drawing: "An Illustrated Treatise"
    Ebook135 pages58 minutes

    Pen Drawing: "An Illustrated Treatise"

    By Charles D. Maginnis and Murat Ukray

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    About this ebook

    Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form.


    The Conventions of Line Drawing,
    Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing. In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines. There is, of course, no authority in Na-ture for a positive outline:
    we see objects only by the difference in color of the other objects behind and around them. The technical capacity of the pen and ink medium, however, does not provide a value corresponding to every natural one, so that a broad interpretation has to be adopted which eliminates the less positive values; and, that form may not likewise be sacrificed, the outline becomes necessary, that light objects may stand relieved against light. This outline is the most characteristic, as it is the most indispensable, of the conventions of line drawing.


    To seek to abolish it only involves a resort to expedients no less artificial, and the results of all such attempts, dependent as they necessarily are upon elaboration of color, and a general indirectness of method, lack some of the best characteristics of pen drawing. More frequently, however, an elaborate color-scheme is merely a straining at the technical limitations of the pen in an effort to render the greatest possible number of values.


    It may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions, or in otherwise taxing the technical re-sources of the instrument. This involves the question of Style,—of what characteristic pen methods are,—a question which we will briefly consider...

    LanguageEnglish
    PublishereKitap Projesi
    Release dateApr 7, 2015
    ISBN9786155564420
    Pen Drawing: "An Illustrated Treatise"

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      Book preview

      Pen Drawing - Charles D. Maginnis

      Pen DrawIng

      AN ILLUSTRATED TREATISE

      By

      Charles D. Maginnis

      FELLOW AM. ACAD. ARTS AND SCIENCES

      FORMERLY INSTRUCTOR IN ILLUSTRATION, COWLES ART SCHOOL

      INSTRUCTOR IN PEN DRAWING, BOSTON ARCHITECTURAL CLUB

      SEVENTH EDITION

      ACKNOWLEDGMENT

      To Mr. David A. Gregg and to Mr. Bertram G. Goodhue, who have generously made special drawings for this little book, and to the Publishers who have courteously allowed me to make use of illustrations owned by them, my thanks and my cordial acknowledgements are due.

      C. D. M.

      Illustrated by Murat Ukray

      ILLUSTRATED &

      PUBLISHED BY

      e-KİTAP PROJESİ & CHEAPEST BOOKS

      www.cheapestboooks.com

      www.facebook.com/EKitapProjesi

      Copyright, 2014 by e-Kitap Projesi

      Istanbul

      ISBN: 978-615-5564-420

      Table of Contents

      Pen Drawing

      Table of Contents

      List of Illustrations

      Chapter I

      Style In Pen Drawing

      Chapter II

      Materials

      Chapter III

      Technique

      Chapter IV

      Values

      Chapter V

      Practical Problems

      Chapter VI

      Architectural Drawing

      Chapter VII

      Decorative Drawing

      List of Illustrations

      FIGURE:

      JOSEPH PENNELL. From The Century Magazine (The Century Co: New York)

      MAXIME LALANNE. From La Hollande à Vol d'Oiseau, by H. Havard (A. Quantin: Paris)

      MAXIME LALANNE. From La Hollande à Vol d'Oiseau, by H. Havard (A. Quantin: Paris)

      RESTORATION HOUSE, ROCHESTER, ENGLAND. Drawing from a Photograph

      JOSEPH PENNELL. From Highways and Byways in North Wales (Macmillan Co: London)

      BERTRAM G. GOODHUE. Drawn for Pen Drawing

      HERBERT RAILTON. From Coaching Days and Coaching Ways, by W. Outram Tristram (Macmillan & Co: London)

      BERTRAM G. GOODHUE. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      MARTIN RICO. From La Ilustracion Española y Americana

      C. D. M. Drawn for Pen Drawing

      DANIEL VIERGE. From Pablo de Ségovie, by Francisco de Quevedo (Léon Bonhoure: Paris)

      MARTIN RICO. From La Ilustracion Española y Americana

      ALFRED BRENNAN. From St. Nicholas (The Century Co: New York)

      LESLIE WILLSON. From Pick-Me-Up (London)

      DRAWING FROM PHOTOGRAPH. From Harper's Magazine (Harper & Brothers: New York)

      JOSEPH PENNELL. From The Sâone: A Summer Voyage, by Philip Gilbert Hamerton (Seeley & Co: London)

      JOSEPH PENNELL. From The Sâone: A Summer Voyage, by Philip Gilbert Hamerton (Seeley & Co: London)

      JOSEPH PENNELL. From Harper's Magazine (Harper & Brothers: New York)

      E. DANTAN. From L'Art (Paris)

      J. F. RAFFAËLLI. From Gazette des Beaux-Arts (Paris)

      C. D. M. Drawn for Pen Drawing

      D. A. GREGG. From Architectural Rendering in Pen and Ink, by D. A. Gregg (Ticknor & Co: Boston)

      DANIEL VIERGE. From Pablo de Ségovie, by Francisco de Quevedo (Léon Bonhoure: Paris)

      DANIEL VIERGE. From Pablo de Ségovie, by Francisco de Quevedo (Léon Bonhoure: Paris)

      HARRY FENN. From The Century Magazine (The Century Co: New York)

      REGINALD BIRCH. From The Century Magazine (The Century Co: New York)

      JOSEPH PENNELL. From The Century Magazine (The Century Co: New York)

      BERTRAM G. GOODHUE. From The Architectural Review (Bates & Guild Co: Boston)

      JOSEPH PENNELL. From Charing Cross to St. Paul's, by Justin McCarthy (Seeley & Co: London)

      LEONARD RAVEN HILL. From Pick-Me-Up (London)

      DANIEL VIERGE. From Pablo de Ségovie, by Francisco de Quevedo (Léon Bonhoure: Paris)

      P. G. JEANNIOT. From La Vie Moderne (Paris)

      PORCH OF AN ENGLISH CHURCH. From a Photograph

      D. A. GREGG. Drawn for Pen Drawing

      37. NORMANDY MOAT-HOUSE. From a Photograph

      38. C. D. M. Drawn for Pen Drawing

      STREET IN HOLLAND. From a Photograph

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      GEORGE F. NEWTON. From Catalogue of the Philadelphia & Boston Face Brick Co. (Boston)

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      FRANK E. WALLIS. From The Engineering Record

      HARRY ALLAN JACOBS. From The Architectural Review (Bates & Guild Co: Boston)

      D. A. GREGG. From Architectural Rendering in Pen and Ink, by D. A. Gregg (Ticknor & Co: Boston)

      D. A. GREGG. From The Brickbuilder (Rogers & Manson: Boston)

      HERBERT RAILTON. From Coaching Days and Coaching Ways, by W. Outram Tristram (Macmillan & Co: London)

      D. A. GREGG. From The American Architect (The American Architect and Building News Co: Boston)

      WALTER M.CAMPBELL. From The American Architect (The American Architect and Building News Co: Boston)

      HERBERT RAILTON. From Coaching Days and Coaching Ways, by W. Outram Tristram (Macmillan & Co: London)

      A. F. JACCACI. From The Century Magazine (The Century Co: New York)

      CLAUDE FAYETTE BRAGDON. From The Brickbuilder (Rogers & Manson: Boston)

      HARVEY ELLIS. From The Inland Architect (The Inland Publishing Co: Chicago)

      C. E. MALLOWS. From The British Architect (London)

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      C. D. M. Drawn for Pen Drawing

      A. B. FROST. From Scribner's Magazine (Charles Scribner's Sons: New York)

      ALFRED G. JONES. From a Book Plate

      WALTER APPLETON CLARK. From Scribner's Magazine (Charles Scribner's Sons: New York).

      A. CAMPBELL CROSS. From Quartier Latin (Paris)

      MUCHA. From a Poster Design

      HOWARD PYLE. From Otto of the Silver Hand, by Howard Pyle (Charles Scribner's Sons: New York)

      WILL H. BRADLEY. From a Poster Design for The Chap-Book (Herbert S. Stone & Co: Chicago)

      P. J. BILLINGHURST. From a Book Plate

      BEGGARSTAFF BROTHERS. From a Poster Design

      EDWARD PENFIELD. From a Design for the Poster Calendar (R. H. Russell & Son: New York)

      LOUIS J. RHEAD. From a Poster Design for Lundborg's Perfumes

      J. W. SIMPSON. From a Book Plate

      Chapter I

      Style In Pen Drawing

      Art, with its finite means, cannot hope to record the infinite variety and complexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial adjustments which it involves, are tolerated by right of what

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