Drawing in charcoal and crayon for the use of students and schools

by Frank Fowler

THE UMBRELLA.

A sketch can not be truthful to nature and carefully studied, with the sun shining in one’s eyes or upon the paper; it is therefore well to be provided with an umbrella.

The sketching umbrella is generally of creamy white or very light gray cotton. It is so constructed as to be separated from the long stick upon which it is arranged when in use, this stick itself being divided into two or more parts, according to its length. These are arranged to fit into each other firmly, the lower end terminating in a long, sharp iron point which is to be planted in the ground.

The umbrella itself is furnished with a rather short handle, and is attached to the long staff by a movable screw joint which permits of its being arranged at any angle necessary to protect the sketcher from the sun.

The whole outfit complete with a waterproof gingham umbrella costs $8.00.

The long folding stick is sold separately. This is 6 ft. high with an adjustable joint to which any ordinary umbrella can be fastened. These cost about $3.00.

A long and narrow tin box with compartments completes the outfit. This holds the charcoal, crayon, stumps, bread, rag and rubber. The charcoal and crayon must always be kept shut up in their separate compartments, or failing that, in respective boxes, as, if allowed to knock around loosely in the box, they will soil the stumps, rubber and rags.

The paper generally used in sketching blocks is the ordinary grade of French charcoal paper with a rough surface already mentioned. This paper comes in a variety of tints, the most popular being the cream-white and the gray. The white paper is generally preferred for serious studies involving careful drawing and correctness of value.

Some artists, however, prefer to use gray or light brown paper in sketching, as if one is skillful a very effective result may be obtained with little labor by using the local tone of the paper for the half tints, quickly rubbing in the shadow with charcoal or crayon, both being sometimes used.

The high lights are then cleverly touched in with white chalk or pastel. Chinese white water-color paint is sometimes substituted for the chalk in putting in such lights. It has the advantage of being more permanent in one way as the chalk rubs off, but in the course of time this white paint so used has a tendency to turn yellow, especially if the sketch is shut up in a book or kept from the air.

On the other hand, the white chalk will turn yellow if fixed, so that the high lights must not be put in the sketch until it is all finished and fixed, which is of course a disadvantage to the artist who wishes to study the relations of his tones as he proceeds. This method will be explained at length later on.

CHAPTER III.
ELEMENTARY PRACTICE.

To those who have never had any experience whatever in drawing, it is best to begin with straight lines. This is especially necessary in the case of children, who must first be taught to control the hand before proceeding further.

The next step is to draw curved lines representing half of a circle.

From this proceed to draw angles, circles, squares, and other such simple forms in outline, until the muscles of the hand have learned to obey the will.

The system we wish to teach is first to begin in this way, then to advance gradually by copying some simple drawings, executed in the modern method, until the use of charcoal and crayon is thoroughly understood.

These drawings should be progressive, commencing with the features in different positions, and leading gradually to the full head, feet, hands, torso, etc., until the full length figure is reached.

By this time sufficient proficiency will have been attained to enable the student to put aside copying and proceed to drawing from the cast, when the same progressive studies should be observed until a sufficiently thorough foundation in drawing is acquired to warrant the final step of drawing from life, which is the most difficult though the most interesting of all.

In view of these necessities, a series of studies in charcoal and crayon have been prepared to accompany this volume. These should be carefully copied, according to the directions given.