[pg 93]
[pg 94]
[pg 95] it; and the reed pen closely approaches the brush as a line-implement. The brush may be used as a pen, values and massing being obtained by blots and clustering of lines. Two examples are given below; see also pp. 7, 9, 19.
PENCIL SKETCHING
Much that has been said of etching and pen drawing is equally true of the hard lead pencil; but the soft pencil has many of the qualities of charcoal. It may even be made to resemble the ink wash. The most successful pencil work is that in which line is the main thing, shading being only suggested. These darks, whether meant for shadows, local tone, or color, will form a “spotting” to which is largely due the interest of the sketch.
If shading is attempted, the tones, whether gray or dark, are made by laying lines side by side, not by cross-hatching or going over twice. A pencil sketch must be off-hand, premier coup, brilliant and characterful. Two examples are given as hints for handling, No. 60. It is not possible here to discuss pencil, pen or etching, at length; they are only touched upon in their relation to composition of line and notan.
[pg 96]