Rendering in pen and ink

256 Pages·2016·40.44 MB·Afrikaans

by  ARTHUR L.GUPTILL

RENDERING
IN PEN
AND INK
BY ARTHUR L.GUPTILL
Edited by Susan E. Meyei
THE CLASSIC BOOK ON PEN AND INK TECHNIQUES
FOR ARTISTS, ILLUSTRATORS, ARCHITECTS, AND DESIGNERS.
RENDERING
IN PEN
AND INK
RENDERING
IN PEN
AND INK
BY ARTHUR L. GUPTILL
Edited by Susan E. Meyer
WATSON-GUPTILL PUBLICATIONS, NEW YORK
Copyright © 1997 by Watson-Guptiii Publications
First Published in 1976 in the United States and Canada by Watson-Guptill Publications,
an imprint of The Crown Publishing Group, a division of Random House, Inc., New York
www.crownpublishing.com
www.watsonguptill.com
Library of Congress Cataloging in Publication Data
Guptiii, Arthur Leighton, 1891-1956.
Rendering in pen and ink. Pbk. Ed.
Includes index.
1. Architectural rendering. I. Title.
NA2780G86 1976 720’.28 76-18759
ISBN 0-8230-4529-3 ISBN-13: 978-0-8230-4529-7
All rights reserved.
Manufactured in China
Paperback edition, first printed in 1997
13 / 11
Editor’s Note
Arthur L. Guptill’s book on pen and ink virtually all of the drawings—those by Without being stodgy, he was a systemat­
has become a classic in its field. No other Mr. Guptill as well as those by other ic thinker, capable of isolating complex
book has ever provided such an exhaus­ artists—have been included in this vol­ principles and investigating them practi­
tive treatment of pen and ink and no other ume. Although edited for readability, the cally and simply so that any art student
artist was so uniquely qualified for the text has been fairly well preserved in an could comprehend and execute the most
task. attempt to remain faithful to the original. difficult problems. Mr. Guptill wrote
Entitled Drawing with Pen and Ink Only those portions of the text were books on oil painting, watercolor, and
when it was published in 1930, the early eliminated that referred to materials or pencil—as well as pen and ink—and il­
editions of this book have become procedures no longer made or employed. lustrated his instruction equally well in
collector’s items, widely sought by ar­ With this exception, however, no infor­ all of these media. Yet his favorite
chitectural Tenderers, architects, and de­ mation has been altered or updated. No medium was pen and ink, perhaps be­
signers. In recent times, there has been a reference is made here to developments cause it was the most difficult—therefore
resurgence of popularity for pen and ink of felt tip pens or ballpoints, for example, the most challenging. His affection for
among all groups of artists and designers, items that have developed only after Mr. this medium inspired thousands of stu­
a trend that has made it possible, Guptill’s writing. dents in his book, and I am quite certain
imperative, in fact, to reissue this classic As an artist and architectural Tenderer, that this new edition will continue to fol­
volume by Arthur L. Guptill. as an architect, as a teacher, and as a writ­ low that distinguished tradition for many
Nearly all of the original book has been er, Arthur L. Guptill possessed unique years to come.
retained in this new edition. In particular, talents for creating art instruction books.
Susan E. Meyer
Contents
Editor’s Note, 5 5. Elementary Steps in V alue Study, 29 Memory Sketches, 60
Obtaining Values in Pen Drawing, 29 Textures, 60
List of Artists Represented, 9
Color, 63
Making Value Scales, 29
1. Some Introductory Considerations, Building Gray Values, 29 9. Drawing Groups of Objects, 64
10
Grading Tones, 31
Selecting Objects, 64
Popularity of Pen Drawing, 11
6. Kinds of Outline and Their Uses, 33 Composing the Objects, 64
Limitations of Other Media, 11
Viewfinder, 65
Limitations of the Pen, 11 Types of Outline Drawing, 33
The Triangle in Composition, 65
Developing a Personal Technique, 12 A Word for the Draftsman, 35
Commercial Applications, 12 Accented Outline, 35 Other Compositions, 67
Holding Your Position, 67
Other Observations, 12 Objects in Outline, 37
Objects in Accented Outline, 37 A Warning to the Teacher, 67
2. Materials and Tools, 13 How to Proceed with Outline Drawing, 37 Value Study, 68
Quill and Reed Pens, 13 Architecture in Outline, 37 Analyzing a Value Study, 68
Metal Pens, 13 Studying Other Examples of Outline Work, Finishing Up, 71
Penholders, 14 43 Vary the Subjects, 71
Penwiper, 16 Stylized or Decorative Work, 71
7. First Thoughts on
Ink, 16 Balancing the Lights and Darks, 71
Light and Shade, 45
Papers, 16 More Practice in Object Drawing, 74
Drawing Board, 17 Observation and Analysis of Form, 45 List of Objects Suitable for Drawing, 74
First Select a Simple Object, 45
Thumbtacks, 17
10. Basic Principles
Reversing Nature, 47
Pencils, 17 of Composition, 75
Two Categories for Objects, 48
Ruler, 17
Study These Principles Closely, 48 Why Learn These Principles?, 75
Erasers, 17
What is Composition?, 75
Knife, 18
8. Starting to Draw in Fulfilling the Purpose, 75
Erasing Shield, 18
Light and Shade, 51 Selecting the Subject, 76
Brush or Cloth, 18
Working Space, 51 Unity, 77
Blotting Paper, 18
Lighting, 51 Balance, 77
Bottle Holders, 18
Object Stand, 53 Center of Interest, 77
3. First Exercises in Pen Handling, 19 Other Equipment, 53 Achieving Emphasis with Light and Shade,
79
Selecting the Subject, 53
Take Your Time, 19
Achieving Emphasis with Details, 79
Analyzing the Subject, 53
Tools for Your Practice, 19
Achieving Emphasis with Contrasts, 79
Setting Up, 19 Drawing the Subject, 53
Holding the Pen, 21 Tests, 53 11. Drawing from Photographs, 85
Thumb Measurement, 55
The First Even Lines, 21 Selecting the Photograph, 85
Helpful Exercises, 23 Value Studies, 55 Study the Values, 85
Now Vary the Pressure, 23 Inking, 55 The Pen Work, 88
Technique, 55
Curved Lines, 23 A Simple Demonstration, 88
A Practical Problem, 55
Another Demonstration, 88
4. Practice in Tone Building, 25
Relating Form to Line Direction, 56
Cropping the Photograph, 91
First Study These Examples, 25 More Practice, 56
Recomposing the Photograph, 91
Building Tones with Straight Lines, 25 Table Line, 58
Drawing Tones Freely, 27 Margin Line, 58 12. Studying Work by
Combining Lines, 27 Further Study of Straight Line Work, 58 Other Artists, 95
Creating Special Tones, 28 Rounded Shapes, 58 The Ethics of Copying, 95
Profiting without Imitating, 95 Shingles, 142 Accessories, 188
Looking Beyond Technique, 95 Roof Indications, 142 Balancing the Lights and Darks, 189
Early Errors, 96 Cornices and Eaves, 142 Rendering Technique, 191
Rosenberg and Booth: Two Extremes, 96 Chimneys, 143 Lockwood: Renderings Freely Drawn, 191
Griggs: Tonal Control, 96 Shadows, 143 King: Preliminary Studies, 191
Peixotto: Delicacy of Treatment, 96 Windows, 144 Eppinghousen: The Formal Subject, 195
Kent: Boldness of Treatment, 100 Doors, 146 Goodhue: The Complex Subject, 195
Neill: The Imaginative Drawing, 100 Miscellaneous Details, 146 Wilkinson: The Elaborate Subject, 203
Flanagan: The Shaped Drawing, 100 Peixotto: Simplifying Detail, 203
16. Architectural Rendering
Gibson, Flagg, and Grant: Masters of Bosworth and Ring: Two Examples of
Methods, 147
Technique, 100 Detailed Renderings, 203
Penfield: Solid Blacks, 100 The Function of Architectural Renderings,
147 19. Interiors and Their Accessories,
Clarke: Decorative Treatment, 100
204
The Initial Perspective Drawing, 147
Birch: Free Line Work, 112
Planning the Rendering, 149 Study Interior Items, 205
Coll: Elegant Line Work, 112
Determining Direction of Light, 149 Exteriors vs. Interiors: Light and Shade, 205
13. Sketching Outdoors, 113 Determining the Key, 150 Exteriors vs. Interiors: Accessories, 208
Outdoor Work with the Pen, 113 Obtaining the Values, 150 Exteriors vs. Interiors: Textures, 208
Selecting the Subject, 113 Arranging Values, 150 Exteriors vs. Interiors: Perspective, 208
Using the Viewfinder, 118 The Final Check, 155 Draw Individual Pieces of Furniture, 208
Composing the Subject, 118 Concerning Pen Technique, 155 Now Draw Groups of Furniture, 210
Lighting and the More Finished Drawing, The Sketchy Treatment, 210
118 17. Rendering the Complete Natural Values, 210
Building, 156
Advice to the Architectural Student, 118 Distributing Areas of Interest, 210
Practical Uses of Outdoor Sketching, 123 Arranging Values, 156 The Sketch, 210
Try It on Your Own, 160 The Elevation, 219
14. Trees and Other
Learning from the Work of Other Artists, 160 Pen and Wash, 219
Landscape Features, 124
Rosenberg: Economy of Means, 160
The Importance of This Study, 125
Yewell: Using Darks for Contrast, 160 20. Special Methods, 220
Learn About Trees, 125
Lewis: Controlling Complex Line Work, 160
Using the Brush Like the Pen, 221
Selecting the Subject, 125
Powers: Versatility in Handling, 160
Brush Combined with Pen, 221
Analyzing the Subject, 125
Price: Darks for Brilliance, 166
Other Uses of Black, 221
Contours or Silhouettes, 126
Keally: Technique with a Purpose, 166
Split-Hair Brush Work, 221
Values, 126
Bearse: Presenting the Architectural
Proper Techniques, 127 Concept, 166 Dry Brush, 221
Pen and Gray Wash, 224
Don’t Overlook the Shadows, 127 di Nardo and Dise: Emphasis on
Shadows Expressing Form, 127 Architecture, 166 Pen and Pencil, 224
Groups of Trees, 130 Long: Air and Sunshine, 166 Spatter and Stipple, 224
StudyingTree Skeletons, 130 Williamson: Decorative Rendering, 166 Using Color, 224
Continuing the Study, 130 McSweeney: Using the White Paper, 166 Colored Inks, 224
Trees in Motion, 130 Designing Additional Plans, 166 First Attempts in Color, 226
Drawing Actual Structures, 181 Setting Up Your Materials, 226
15- Drawing Building Details, 133
Nonresidential Buildings, 181 Some General Procedures in Color, 226
A Word to the Architect, 133 Watercolor Used Like Ink, 227
Starting with Building Details, 133 18. The Larger Architectural Other Colored Media, 227
Stonework, 133 Problem, 182 Tinted Papers, 227
Brickwork, 135 Placing the Station Point, 183
Gallery, 229
Stucco or Concrete, 138 Eye Level or Horizon Line, 183
Clapboards, 138 Planning Ahead, 183 Index, 253

List of A rtists Represented
Francis H. Bacon 44 Allmon Fordyce 176-177 H. Van Buren Magonigle 42, 43
T. F. Bancroft 51,125 Charles Dana Gibson 104 John R. Neill 102, 234-235
Aubrey Beardsley 8, 240 Bertram Grosvenor Goodhue 19,159, Rose O’Neill 241
P. E. Bearse 170 192-193,194,195 Russell Patterson 207, 214
Gordon Grant 106,113
Reginald Birch 95,110, 230 Ernest Peixotto 99,199, 200
David A. Gregg 247
A. Thornton Bishop 204, 206, 212 Edward Penfield 107
F, L. Griggs 98
Franklin Booth 97 Willy Pogany 236, 237, 238, 239
Lurelle Guild 205
Welles Bosworth 201 Richard M. Powers 162—165, 167,
R. F. Heinrich 231 216
Rutherford Boyd 242
John Held, Jr. 133 Chester B. Price 168
Claude Bragdon 244
Doris Hupp 45 Herbert Railton 252
Sydney F. Castle 180
Walter Jardine 220 J. Riegel, Jr. 178
Samuel V. Chamberlain 225
Sydney R, Jones 178, 213 Jonathan Ring 202
Elliott L. Chisling 176—177
Herbert S. Kates 29, 85 Louis C. Rosenberg 159, 179
Harry Clarke 108-109
T. M. Cleland 250 Francis Keally 169 John Richard Rowe 189
Rockwell Kent 9,101, 245 Verna Salomonsky 217, 218
John Clement Coll 111
Thomas E. King 190 Olaf Shelgren 156
Maitland de Gogorza 223
Antonio di Nardo 171 Addison B. LeBoutillier 248-249 Jeannette C. Shirk 221
Schell Lewis 137 Walter D. Teague 25, 243
J. Ivan Disel77
Harvey Ellis 89 Robert Lockwood 182,184-185, Edward F. Toney 183
186-187,188, 215
Charles F. Eppinghousen 191 Daniel Vierge 64, 75
Birch Burdette Long 172
Harry C. Wilkinson 196,198
Bob Fink 33, 229, 251
J. MacGilchrist 147
Russell Barr Williamson 173
James Montgomery Flagg 105, 222
Thomas MacLaren 246
Harrie Wood 13
John R. Flanagan 103
Angus McSweeney 174 John FloydYewell 161
Thomas Fogarty 132, 232-233
10 RENDERING IN PEN AND INK