In the course of studying various reproductions we shall probably have become aware that the same things may be very differently rendered by different hands. Thus trees and foliage in landscape may be represented by an outline, and a few black patches and dots, or by numerous clearly drawn parallel lines, or yet again by irregular strokes crossing and recrossing each other; evidently, then, there is no intention here of imitating nature. And so, throughout, the aim of the pen draughtsman is to suggest, rather than to portray things exactly as they are. Lines, scratches, or dots, cannot pretend to imitate leafy foliage; and, be it noted, the same lines, scratches, or dots, may be similarly employed, in the same drawing, to suggest something quite different. It is in this employment of various pen marks, to suggest the composition of distinct objects, that individuality of style reveals itself; as does the discreet using of white blanks to express or suggest widely different things.
I have presumed throughout these pages that I may be addressing many to whom the idea of drawing in pen and ink (or other material) for reproduction, is entirely a new one; hence it will be necessary to examine the pen strokes which go to make up a complete drawing. Let it be well understood that many things are possible to the accomplished artist which must not be attempted by the beginner; later on we may learn, from our own experience, little freaks and tricks of our own, but we must first of all content ourselves with simple conscientious work.
In the following examples of pen and ink shading we have first the kind of strokes which the pen would make if used rapidly, as in writing, and without any particular care. In bold sketchy work this sort of handling may be permissible, but the student should practise shading by such lines as in No. 2. These are drawn rapidly in succession, the wrist being rested firmly on the table and the hand quite free, as in rapid writing. Commence at the top left-hand corner and work downwards; notice that each stroke is equidistant, parallel, and of the same thickness throughout its length. Look at this from a little distance and it appears like a grey, flat, even tint. This simple "shading" should be tried many times until perfect ease and certainty is acquired, each stroke of the pen being firm, distinct, and black; each stroke intended and nothing uncertain about it.
No. I.No. II.No. III.
EXAMPLES OF PEN AND INK SHADING.
Reduced to about half the size of original.
A good exercise will be to draw a square, and practise filling it with a flat tint consisting of lines either in the same direction, or else of lines in varying directions, and then with lines crossing each other or "cross-hatching."
Having now discovered how a flat tint may be laid down, and how such may be made uniformly or gradually darker, we may apply such methods to simple objects as the cube and vase here shown.
