Page:Every Woman's Encyclopedia Volume 1.djvu/704

 1HE ARTS 678 series of squares and straight lines in the same manner. For a long time this was a common pradtice in most art schools in this country, and is still used in many. It was probably mvented to help students who were weak in proportion to test for themselves with a plumb-line measurements of one square against another. The eye does not naturally ste in squares and straight lines, however. So the method has a tendency to produce a machine-like and lifeless drawing. It is not to be encouraged as an end, but, as a means, can be made useful in correction to demonstrate by actual measurement errors in proportion. So far, therefore, it is to be recommended. The oldest of all, that first attempted by a child — so, probably, the most natural — is the direct method ; to attempt the definition of form and mass at once, by building up the parts with a continuous stroke, and the fewer strokes the better. This, carried to its logical conclusion, is one of the severest tests of concentration and clear thinking that can be found. As whatever is put down remains, and must add to or detract from the final effect, drawings so made have a brilliance and vitality that is to be got in no other way. To this method there are no objections except those inherent to the difficulty of perform- ance, especially when applied to the human figure ; also the fact that modern conditions of life and fashion, whose object, as a rule, is to conceal or falsify the true form, give few opportunities of displaying its special charm. Although, I suppose, the majority of students are obliged to take their jumps in stages, and so are shy of it, this direct dramng should be practised constantly — on simple objects, at any rate — because as a drill for acqu-ring precision of hand and eye together this is the finest exercise one can attempt. Supreme examples in this style may be studied in the drawings on Greek vases, and, in a more primitive form, in Egyptian wall paintings. On similar lines the Japanese have de- veloped an art of extraordinary perfection, and, with an apparently accidental arrange- ment of mass and Tine, produce effects astonishingly true to nature, yet of a de- liberate symmetry that might be called the composition of perfect taste. Little books of woodcuts from and by many of their most renowned masters can now be easily obtained, and will be found most valuable for study. The economy of means used to produce these prints was probably forced on these Japanese artists in their search for a cheap form of expression that could be multiplied ; for their painting, as a rule, depends mainly on mass and less on out- hne, the drawing in that case being with a full brush from within outwards. So true painting. Fernand Gorman, one of the great modern French painters, when making studies for tue huge pictures and decorations he painted. was accustomed to Work in a way not unlike the above, except that the aim and process was reversed. His method vVas as follows. Setting him- self at about that distance from the model at which he could see the whole figure and his paper together on the same scale, he drew the figure in very boldly in charcoal or chalk, paying great attention to construction, mass, and movement. Over this drawing he placed a piece of transparent paper — much like what is called "thin o.w." here. On this he commenced drawing again with a hard pencil. All his proportions having been established and showing faintly through, he now de- voted his attention to drawing the outline with the greatest care and completeness, A Japanese study in which the effect is gained by a bold arrange- ment of mass and line, of exquisite symmetry and truth to nature searching the character of the line and studying the haad" and feet and their at- tachments particularly. Next he proceeded to work up the modelling to as far as it could be carried. By this method some of the freshness of a sketch was retained with all the completeness of a finished drawing. Also the drawing could be completed in a reasonable time, before the artist or the model became tired or bored, as is often the case with large studies. He recommended it to his pupils, and I personally have found it very useful. These are the chief methods in use for finding form in the outline ; no doubt there are o+hers, but they are all combinations or variations of those given above.