Illustration from the Paris Illustré. An example of combined use of outline, parallel lines and solid black, with very little crosshatch. Mainly interesting because of the introduction of still-life objects, which hint at subjects suitable for practice. The novice would do well to select a group of similar objects and endeavor to render them in a similar manner.
artistic finish, will have a certain graphic value; and for this very reason (we mean, to show that outline may be graphic) we purposely introduce into this chapter the Paul caricatures, consisting mainly of outlines, like those we gave in our first chapters, and we bid you harp upon them with the fact ever in your mind that they are not arbitrary, but each line stands for some prototype in nature; and that we may go a little farther in the analyzation of the face, we publish some models in relief in which the planes of the face are brought out. These planes were considered in Chapter VII, and you must {146}
Illustration from Paris Illustré. Pen drawing, by M. Luque, evidently from an instantaneous photograph, containing all the elements of pen drawing without crosshatch. This has been reduced too much; the shadows in the building seem black because the lines have run together. In the original illustration the lines on the building were separated, and the effect was one of gray, which is the right tone for shadows seen at a distance on a clear day. The outlines of the clouds were probably drawn with an unbroken line, and after they were engraved were rouletted on the plate, and hence print as a series of dots.
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Pen drawing, by Maurice Leloir, showing admirable effect gained by use of parallel lines without crosshatch; a splendid example for the novice to study.
{148} look at Fantin-La-Tour’s cast head in order to understand them. Do so, and then let your eye jump to the Vallotton heads, and we think you will grasp their characteristics immediately, for you will see wherein they differ from the Engström drawings. They differ in this: that in addition to pure outline, they mass the constructive shadows found in the David d’Angers. In other
Marine, by Claude Monet. Drawn with lithographic crayon on scratchboard, the lines running perpendicularly, instead of horizontally as in the d’Illzach, the lights scratched out with the penknife. This cut has a peculiar interest technically. The foregoing was dictated with the original in hand, which was a direct process cut in which one set of lines ran perpendicularly. Our engraver, however, instead of reducing the cut by the direct process, reduced it by half-tone, through a screen with diagonal lines, hence the perpendicular lines have disappeared.