Part 8 (2/2)
As a carver in stone blocks out his work in square surfaces, the modelling of a figure or any complex surface that is being studied should be set out in planes of tone, painting in the first instance the larger ones, and then, to these, adding the smaller; when it will be seen that the roundnesses have, with a little fusing of edges here and there, been arrived at. Good modelling is full of these planes subtly fused together. Nothing is so characteristic of bad modelling as ”gross roundnesses.” The surface of a sphere is the surface with the least character, like the curve of a circle, and the one most to be avoided in good modelling.
In the search for form the knowledge of anatomy, and particularly the bony structures, is of the utmost importance. During the rage for realism and naturalism many hard things were said about the study of anatomy. And certainly, were it to be used to overstep the modesty of nature in these respects and to be paraded to the exclusion of the charm and character of life, it would be as well left alone. But if we are to make a drawing that shall express something concrete, we must know something of its structure, whatever it is. In the case of the human figure it is impossible properly to understand its action and draw it in a way that shall give a powerful impression without a knowledge of the mechanics of its construction. But I hardly think the case for anatomy needs much stating at the present time. Never let anatomical knowledge tempt you into exaggerated statements of internal structure, unless such exaggeration helps the particular thing you wish to express.
In drawing a figure in violent action it might, for instance, be essential to the drawing, whereas in drawing a figure at rest or a portrait, it would certainly be out of place.
[Ill.u.s.tration: Plate XXVI.
SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
No. 1. Blocking out the s.p.a.ces occupied by different ma.s.ses in charcoal.]
[Ill.u.s.tration: Plate XXVII.
SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
No. 2. A middle tone having been sc.u.mbled over the whole, the lights are painted into it; variety being got by varying the thickness of the paint. The darks are due to the charcoal lines of initial drawing showing through middle tone.]
[Ill.u.s.tration: Plate XXVIII.
SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
No. 3. The same as the last, but with the shadows added; variety being got by varying thickness of paint as before.]
[Ill.u.s.tration: Plate XXIX.
SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
No. 4. The completed head.]
In the chapter on line work it was stated that: ”Lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atmosphere,” and these rules apply equally well to the direction of the brush strokes (the brush work) in a painting.
#The brush swinging round the forms suggests fore-shortening, and fulness of form generally, and across the forms softness, while the brush following down the forms suggests toughness and hardness, and crossing in every direction atmosphere#. A great deal of added force can be given to form expression in this way. In the foreshortened figure on the ground at the left of Tintoretto's ”Finding of the Body of St.
Mark,” the foreshortened effect helped by the brush work swinging round can be seen (see ill.u.s.tration, page 236 [Transcribers Note: Plate XLIX]). The work of Henner in France is an extreme instance of the quality of softness and fles.h.i.+ness got by painting across the form. The look of toughness and hardness given by the brush work following down the forms is well ill.u.s.trated in much of the work of James Ward, the animal painter. In his picture in the National Gallery, ”Harlech Castle,” No. 1158, this can be seen in the painting of the tree-trunks, &c.
The crossing of the brush work in every direction, giving a look of atmosphere, is naturally often used in painting backgrounds and also such things as the plane surfaces of sky and mist, &c.
It is often inconvenient to paint across the form when softness is wanted. It is only possible to have one colour in your brush sweep, and the colour changes across, much more than down the form as a rule. For the shadows, half tones and lights, besides varying in tone, vary also in colour; so that it is not always possible to sweep across them with one colour. It is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c. Nevertheless, if this particular look of softness and fles.h.i.+ness is desired, either the painting must be so thin or the tones so fused together that no brush strokes show, or a dry flat brush must afterwards be drawn lightly across when the painting is done, to destroy the downward brush strokes and subst.i.tute others going across, great care being taken to drag only from light to dark, and to wipe the brush carefully after each touch; and also never to go over the same place twice, or the paint will lose vitality. This is a method much employed by artists who delight in this particular quality.
But when a strong, tough look is desired, such as one sees when a muscle is in violent action, or in the tendon above the wrist or above the heel in the leg, or generally where a bone comes to the surface, in all these cases the brush work should follow down the forms. It is not necessary and is often inadvisable for the brush work to show at all, in which case these principles will be of little account. But when in vigorously painted work they do, I think it will generally be found to create the effects named.
Drawing on toned paper with white chalk or Chinese white and black or red chalk is another form of ma.s.s drawing. And for studies it is intended to paint from, this is a quick and excellent manner. The rapidity with which the facts of an appearance can be noted makes it above all others the method for drapery studies. The lights are drawn with white, the toned paper being allowed to show through where a darker tone is needed, the white (either chalk or Chinese white) being put on thickly when a bright light is wanted and thinly where a quieter light is needed. So with the shadows, the chalk is put on heavily in the darks and less heavily in the lighter shadows. Since the days of the early Italians this has been a favourite method of drawing drapery studies (see ill.u.s.trations, page 260 [Transcribers Note: Plate LIV]).
Some artists have shaded their lights with gold and silver paint. The late Sir Edward Burne-Jones was very fond of this, and drawings with much decorative charm have been done this way. The principle is the same as in drawing with white chalk, the half tone being given by the paper.
Keep the lights separate from the shadows, let the half tone paper always come as a buffer state between them. Get as much information into the drawing of your lights and shadows as possible; don't be satisfied with a smudge effect. Use the side of your white chalk when you want a ma.s.s, or work in parallel lines (hatching) on the principle described in the chapter on line drawing.
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