By Edmund J. Sullivan
Written via a famous illustrator and instructor, this advisor introduces the fundamentals of line drawing. British artist Edmund J. Sullivan, who merges the conventional nineteenth-century variety of representation with components of artwork Nouveau, starts off via introducing readers to the freehand drawing of summary traces and advances to the freehand drawing of average varieties, consisting often of airplane surfaces or unmarried lines.
Subsequent chapters illustrate and talk about representations of the 3rd and fourth dimensions, the image aircraft, formal viewpoint, and the drawing of reliable gadgets, together with their depiction in coloration and shadow, and their modelling. extra subject matters contain shadows, reflections, and aerial point of view in addition to determine drawing.
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Extra resources for Line : An Art Study
On the same principle we may arrive at the spiral curve, or volute. Let us begin with a tall upright line, as tall as our paper conveniently allows, and at right angles to it at one end draw a shorter horizontal line, then a shorter line at right angles, and so on, so that we arrive at the figure of the Greek fret, which is then broken down by cutting off the angles as in the preceding examples (Figs. 5, 6). It will be seen how the curve is accelerated by the progressive shortening of the straight lines composing it, while the angles are kept similar.
3). On the same principle we may arrive at the spiral curve, or volute. Let us begin with a tall upright line, as tall as our paper conveniently allows, and at right angles to it at one end draw a shorter horizontal line, then a shorter line at right angles, and so on, so that we arrive at the figure of the Greek fret, which is then broken down by cutting off the angles as in the preceding examples (Figs. 5, 6). It will be seen how the curve is accelerated by the progressive shortening of the straight lines composing it, while the angles are kept similar.
Paul Renouard, who used chalk more than anything else, always had about a dozen ready prepared, so that he could select a suitable point at will, without having to stop working for the irritating job of sharpening one. He used Hardtmuth’s chalks in holders; as also did Phil May when working in chalk, though most often he made his studies in lead-pencil. Beautiful results are obtainable with “sanguine” or red chalk. The writer has little experience of it in working, but has found certain kinds to be of a greasy nature, rejecting water-colour.