CHAPTER XXI.
HOW TO DRAW.[E]
WOULD you like to learn to draw, to sketch from nature? Don’t you think that it would be delightful to be able to take out your pencils and paper and copy some scene you want to remember, or produce a likeness of any bird or animal which strikes your fancy?
Many will say, “I’d like it very well, but I can’t draw.”
You can write, can hold a pencil, and trace lines upon the paper; and if you can do this, you can draw a little. A girl who can learn anything can learn to draw if she will give the same attention to it that she gives to other things.
Now we are not going to talk about copying pictures which someone else has already drawn, for there is not much satisfaction in making imitations of other people’s work; it is much more gratifying to make the original drawings ourselves; but to do this we need some direction.
The reason it is easier to copy a picture than to draw the real object is because the lines to be copied are all laid out on the flat surface of the picture; but to draw the object we must find out where to trace the lines for ourselves.
For instance, suppose we are to draw a flower-pot and plant. If we have the picture before us, we can readily see where all the lines are placed upon the paper, but in viewing a real plant and pot we are apt to become confused in trying to discover the directions and proportions of the lines.
Therefore we must learn to see things as they appear, not as they really are. This may seem strange to you, because one is apt to think that a thing must appear as it is; but let us look into the matter.
We will take a square box (Fig. 140). Now, we know that all the sides are the same size, that the top is as large as the side, and that one side is as large as another; but if you try to draw it so, you will find it impossible, because, although you know that the top and sides are the same size as the front, they do not look so, and you draw things as they look, not as they really are.
What would our cube look like if we tried to make the sides K and H just like the side I? Why, like Fig. 141. Don’t you see that would be no box at all?
Take another example. We all know that a man’s leg is longer than his arm, but it doesn’t always appear so. Measure the arms and legs of Fig. 142, and you will see by actual measurement the arms are longer than the legs, and yet it looks right, because the legs are projected toward you; in other words, the legs are fore-shortened.
The great secret of drawing from nature is to train the eye to see a real object just like a picture.
Now let us return to our flower-pot again. We will suppose we are drawing from a real flower-pot and plant. We determine how large we will make our sketch, and begin operations by drawing a vertical line (a straight upright line). Along this line we will mark out the proportions of the plant and pot, as in Fig. 143.
We may easily discover that the plant is longer than the pot. This can be done by holding the pencil upright before the eye at arm’s length, as in Fig. 144, so that it will cover the pot, and measuring by the thumb the height of the pot, then raising the arm so as to cover the plant, and comparing the measurement of the pot with the plant. The lines drawn from the eye (Fig. 144) show how the pencil makes the measurement on the object.
After settling the question of the height of the flower-pot and plant, we will mark the measurements on the line. And now we will draw in the pot, leaving the straight line through its centre.
On observing the plant we will see that it is not exactly straight, and here again the straight line will be of assistance.
By holding up our pencil, which represents the straight line, we will discover that the main stem of the plant leans considerably to the left. Guided by the line, we can get the curve of the stem about right. Now we sketch the stem. Along the straight line we again measure the distance from the top of each leaf and flower to the pot, as in Fig. 145. We can see several leaves, each reaching a certain height. Observing the same plan of measurement, we find that the top of the lowest leaf is about the same height from the pot as the height of the pot itself, and again from the top of the lowest leaf to the top of the plant measures the same distance.
By drawing another vertical line just touching the right side of the pot, we find that it touches the extreme edge of the leaf. Thus we find the exact situation of the leaf. By the same method we find the right places for the other leaves and flowers, and after we know just where they belong, we draw them in, and find that we have produced a very creditable outline from nature.
We need not confine ourselves to one or two guiding lines in sketching an object; in fact, we may use as many straight lines as will help us to get the correct proportions; not only vertical and horizontal lines, but slanting lines will also assist us in most cases.
The sketch of a dog (Fig. 146) will give an idea of the way to employ all lines necessary in sketching from nature. A few words will be all that is necessary to explain this illustration.
There lies the dog on the floor, and we seat ourselves at a little distance from it with pencil and paper. We will start off with a horizontal line (A); then we can form some idea as to whether the little dog lies along a straight line, or in case the bottom line slants, how much it slants. Then draw the vertical line (B E). Now suppose we hold our pencil upright, in such a position as to touch the back of the knee-joint of the foreleg, we will find that it passes through the middle of the dog’s back, as represented by the line (B E); so we have found the places for these parts.
Another horizontal line (C D) drawn above the first will touch just over the right eye, pass through the middle of the left ear, through the middle of the neck, cut off the foreleg, and run along the top of the two hind legs, passing through the knee of the left one. This will show us that the top of the right eye, the ear, and the top of both hindlegs are on a line. It will also help us to get the proportions above and below the line; then by drawing a line from D to the point F on the horizontal line A, we find that the lower edges of the left hind and fore legs are on the same line, which, if extended a little farther down, will touch the edge of the dog’s mouth. With these lines to guide us we cannot go far astray in our proportions.
One of the chief difficulties in following this method of drawing from nature is to hold our measuring-stick exactly vertical or horizontal. This difficulty can be overcome by providing yourself with a T-square (Fig. 147) and attaching to it, at the point P, a string with a weight tied on the other end so that it will hang plumb. By using this we can be sure whether we hold it straight or not, for in case we tip it too much on one side or the other the string will swerve from the middle of the upright stick. Of course, whenever we hold the T-square perfectly straight, the string will fall straight down the middle of the upright, and the top of the T will then give us a true horizontal line. A little thought and practice will lead you to thoroughly understand this method, and when you really understand it you will have an unerring guide to assist you. Of course, as the eye and hand become more trained, with practice and observation, the work will become easier, and you will not need the T-square.
In beginning the practice of drawing from nature, we had better confine our first efforts to things that will stand still, for without a practised hand it will be almost impossible to sketch a restless subject; but if we attempt to do so, we should follow the methods before taught as nearly as possible.
Now, suppose we step out of doors in search of something to sketch. The first moving object our eyes rest upon is a goose, and we decide to use him as a model.
But he is so restless, will not keep still an instant. First we have a front view, then a side view, and again he turns his back upon us. If we really must have his picture, the only way is to catch him and tie him up.
Yet even now he is a difficult subject, twisting and turning, and bobbing his head about. Determined on sketching him, however, we observe the position in which he remains the longest time, or assumes oftenest, and begin our work.
We first note the general proportions. Is his body as thick as it is long? Is his neck as long as his body? Are his legs nearest the head or tail? Is the head as long as the neck? What part reaches the highest, or what part the lowest? We hastily but carefully consider these questions and determine in our own mind the answers, for we must get an idea of the proportions before we begin our sketch.
Now we draw a horizontal line along our paper, and then hold up our pencil horizontally, so that it will answer for a straight line drawn across the body of the real goose (Fig. 148). This will represent the horizontal line on the paper. Noticing then the directions the outlines of the goose take from the horizontal line (represented by the pencil), we sketch them in on the paper, remembering that one of the most important things is to get the right directions of the lines.
Observe that in Fig. 149 the line G is directed to too high a point, and makes the body too thick and out of proportion.
In sketching it is best to make all lines straight instead of curves, for in this way we are more likely to get the right directions. Our first rough sketch of the goose ought to have something of the appearance of Fig. 150, and as we work it up more carefully it will become as nicely rounded as we could desire.
One of the most common faults a beginner is apt to commit is to try to do too much, either by choosing too great a subject, such as a large landscape, or by putting too many little things into the composition. Take care of the large things, and the little things will take care of themselves.
If our subject be a clump of trees at some distance, we should not attempt to draw in separate leaves, but endeavor to get the true shape of the tree, simply indicating the leaves by a few lines. Neither must we attempt, in our first sketches, to put in all the shadows we see; the strong principal ones are all that are necessary. A background of hills and trees should be merely suggested by a few lines, because the light striking upon them gives a very light appearance.
Draw as simply as possible. Ten pictures are spoiled by putting in too much work, where one is spoiled by too little.
Don’t be discouraged. Every effort will show improvement, if you really put your mind and heart in your work. As for
Materials,
a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft rubber are all you really need to commence with. Later it will be well to have a drawing-pad and several more pencils.