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    Landscape Sketching in Pen and Ink: With Notes on Architectural Subjects
    Landscape Sketching in Pen and Ink: With Notes on Architectural Subjects
    Landscape Sketching in Pen and Ink: With Notes on Architectural Subjects
    Ebook153 pages59 minutes

    Landscape Sketching in Pen and Ink: With Notes on Architectural Subjects

    By Donald Maxwell

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    About this ebook

    Although geared toward professional artists, this accessible approach to landscape sketching will also appeal to amateurs. English artist Donald Maxwell's entertaining and straightforward attitude begins with the basics: "We will draw a brick. Anybody can draw a brick."
    Following introductions to perspective, light and shade, and composition, Maxwell proceeds to demonstrate how to direct a picture's focus, and he discusses the challenges of ink as a medium. His observations are complemented and enhanced with illustrative examples of boatyards, bridges, churches, and country farms from throughout Great Britain that date from the early twentieth century. A concluding gallery features a bonus collection of twenty-five images by Frank Brangwyn, Joseph Pennell, Otto Fischer, and other contemporary masters of pen-and-ink landscapes. Specially added for this edition is a new Foreword written by Sonja Rozman and Gašper Habjanič, two landscape architects with a passion for drawing.
    LanguageEnglish
    PublisherDover Publications
    Release dateApr 17, 2019
    ISBN9780486839462
    Landscape Sketching in Pen and Ink: With Notes on Architectural Subjects

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    • 5/5
      Excellent book on pen and ink work depicting landscapes. Looking forward to applying the techniques and approaches discussed in this book.

    Book preview

    Landscape Sketching in Pen and Ink - Donald Maxwell

    LANDSCAPES

    PART I

    THE PROBLEM OF SKETCHING WITH PEN AND INK

    THE pen is the one instrument of drawing in the use of which no instruction is needed. Any one who can write a postcard or put down a column of figures is perfectly well equipped technically to make a sketch in line.

    Let us, therefore, start straight away and draw something without any further argument or any suspicion of what psychologists name the inferiority complex.

    We will draw a brick.

    Anybody can draw a brick.

    On page 4, in the right hand bottom corner, is an outline of a brick marked B. It you don't like this brick go and find a better one. Take a foot rule and measure it. You will ascertain that it measures, as viewed in a wall, 8½ in. by 2½ in.

    On page 5, this same outline, marked B, is filled in with a series of downward strokes. A line along the bottom will bind these together and a line at the end, a little thicker than the others, will denote that the brick goes no farther to the right. In fact, these bottom and end lines show the brick as lighted from the top left corner of the paper.

    You will say, I know, that it is all very well drawing a brick, but what about perspective and art and technique and poetry— hang it all a man can't draw a picture if he hasn't got a gift.

    You are quite right in some ways, but you do not argue that it is silly to attempt to write an account of a football match unless you can be Shakespeare, nor futile to be able to multiply by six if you are not Einstein.

    FIG. 1

    Bricks in a wall drawn in outline

    In the Middle Ages most people of culture, the highest in the land, had to send for a priest if they wanted to write their names or read a simple message sent in writing from a neighbouring manor. King John, as a matter of cold fact, never signed Magna Carta, for all the assertions of the history books. He could not write his name, so he made a mark like a squashed frog and the Archbishop of Canterbury wrote it in for

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