File:With pen and ink (1913) (14578307008).jpg

Identifier: withpenink00hall (find matches)
Title: With pen and ink
Year: 1913 (1910s)
Authors: Hall, James, 1869-1917
Subjects: Pen drawing
Publisher: New York Chicago (etc.) : The Prang Co.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ebeen used many times before. The student should realize, however, thatexercises in rearrangement such as are here advocated are. but a means oflearning. Before one has a right to consider his drawing original he mustbe able to work out his own compositions. While such compositions willshow the influence of definite study of others work, they should in nosense be conscious adaptations or imitations of anothers productions. Thestudent who works from nature, and from imagination and memory at ( 45 ) the same time that he is studying the language of art as used in the worksof artists, need not fear any danger of becoming an imitator in any wrongway; for he will learn the language of art for the purpose of expressinghis own ideas of form, and the language will become his own to the sameextent that a spoken language becomes ones own through its natural use.The second composition worked out with a variation of values simplyadds another example to the one already discussed. y , (46) PLATE 12
Text Appearing After Image:
PICTORIAL PEN DRAWING GENERAL STATEMENT IN Decorative Pen Drawing which has thus far occupied our atten-tion, the third dimension, that of thickness, has been disregarded, atleast so far as it brings in the problem of light and shade. Outline,which is a conventional means of expressing the limits of form,has been the basis of all the work. The values were introducedto express contrasts of color. The one aim was simply beauty of arrange-ment— decoration—even though we employed a variety of subjects asmotives. The aim now is more inclusive, for we shall still aim for beauty ofarrangement of line and value, although the arrangements are primarilypictorial in character. We have, however, opened our eyes to the greatervariety of values produced upon objects and surfaces by the play of lightand shade, the representation of which is considered in the followingproblems. The training of the more formal decorative pen drawing should havetaught the student something of discrimination as to q

Note About Images