The Art of Pencil Drawing

164 Pages·1985·26.99 MB·English

by  Ernest W. Watson

n
—
HARIN COUNTY FREE LIBRQRY Hie Vrtof
31111009234426
PENCIL

3 1111 "00923" 4426
CENTER
CIVIC
fer
THE Ap PENCIL DRAWING
^>F
DATE DUE
MAY 2 6 1938
|
"TO?
n 1 1999
JUL162Q0
r
aM
THE ART OF
PENCIL
DRAWING
by W.Watson
Ernest
WATSON-GUPTILL PUBLICATIONS NEW YORK
•
Paperback Edition 1985
Copyright© 1968 byWatson-Guptill Publications
First published 1968 in NewYorkbyWatson-Guptill Publications.
adivision of Billboard Publications, Inc.,
1515Broadway, NewYork, N.Y 10036
LibraryofCongressCatalogCard Number: 68-27552
ISBN 0-8230-0275-6
ISBN 0-8230-0276-4 (pbk.)
Distributed inthe United Kingdom byPhaidon Press Ltd., Littlegate
House, St. Ebbe'sSt., Oxford
All rights reserved. No partofthis publication
may be reproduced orused in anyformorbyanymeans—graphic,
electronic, ormechanical, including photocopying, recording, taping,
—
orinformation storageand retrieval systems without
written permissionofthepublisher.
Manufactured in U.S.A.
12 3 4 5 6 7/90 89 88 87 86 85
1 5
CONTENTS
INTRODUCTION,
7
AUTHOR'S NOTE,
9
1. WAYS WITH THE PENCIL, i3
Simple Materials and Equipment, 13 • Shaping the Lead, 13 • Paper, 1
Pencils, 16 • Tonal Palette, 16 • Eraser, 19 • Tortillon Stump, 19
Charcoal Effect, 22 • Versatilityof the Pencil, 24 • Fixative, 26
2. LOOKING AND SEEING, 31
Going to the Heart of Things, 3 1 • An Experience in a Garden, 3
Creative Seeing, 32, • Communication Between Artist and Object, 32
SIZE AND COMPOSITION,
3. 35
Time, Weather, and OtherConsiderations, 3 5 • Size and Medium, 35
Size and Subject, 36 • Size and Tone, 36 • Size and Detail, 36
Size and Artistic Temperament, 38
Composing the Sketch: Selection, Subordination, Emphasis, 38
Isolating a Core of Interest, 43 • Various Ways of Manipulating Values, 49
PATTERN,
4. 51
What Creates Pattern? 5 1 • Beginning With Pattern, 52
Pattern in Masonry, 60 • Basing Composition on Pattern, 60
Pattern and Silhouette, 61 • Tone and Value, 6y
SHADOWS,
5. 69
Shadows and Form, 69 • Accenting Shadows, 70
Creative Manipulation of Shadows, j6
TEXTURE,
6. 79
Texture at Close Range, 79 • Paper and Texture, 79
Pencil and Texture, 82 • Abstract Texture, 82
7. SKETCHING TOWN AND CITY, 89
Emotional Incentive, 89 • An IncidentofThwarted Incentive, 90
Getting Accustomed toOnlookers, 94 • Establishing a FocalPoint, 94
Knowledge of Architecture, 94 • Perspective andProportion, 96
LANDSCAPE SKETCHING,
8. 105
Useof Symbolism, 105 • Size inLandscape Sketching, 105
Skies and Clouds, 106
An InterestingProblem in Landscape Sketching, 106
9. DRAWING TREES, 113
A SketchingTrip, 1 13 • Palm Trees, 1 16 • Silhouette, 116
Geometric AnalysisofTree Forms, 116
MEMORY AND IMAGINATION,
10. 125
WorkingPurely from Memory, 125
Working from On-the-Spot Sketches, 125 • Drawingby Seeing, 128
Degas' Advice to Students, 130' Followingyour Pencil, 130
Role of the Subconscious 131 • Rapid Sketching, 131 • Imagination, 132
Distinction Between and Drawing and a Sketch, 132
Creative Role of UntouchedPaper, 133* Imagination and Experience, 135
Imagination and Improvisation, 135
GALLERY OF PENCIL DRAWINGS,
141
INDEX,
157
-h
a
INTRODUCTION
Like thousands of art students across America, I was brought up on the books
and magazine articles of Ernest Watson. I knew his writings by heart and studied
his handsome pencil drawings stroke by stroke, trying to fathom the technique of
—
which he's still a master at the age of 84. To a large and faithful following
—
following that continues to grow Ernest Watson is the author to read on the craft
of pencil drawing. For this army of admirers, a new book by Ernest Watson is an
event of particular importance because this is his most ambitious book on the subject
—
a subject to which he has devoted a large part of his professional life.
Having introduced the reader to the fundamentals of pencil drawing in an
— —
imposing parade of earlier books many of them still available the author now
turns to the knotty and sophisticated problems of the advanced reader: the serious
student for whom art will soon be a profession; the advanced amateur; and the pro-
fessional who wants to delve more deeply into the disciplines of drawing. Thus,
The Art of Pencil Draining is unique among Ernest Watson's books. Purely in terms
of technique, its scope is greater than any other book that bears his name; but
equally important this is his most personal book, in which the author reveals the
creative processes, both technical and philosophical, which underlie his art and
his teaching.
For Ernest Watson began his professional life as both artist and teacher, and
these have remained his dual vocations. Born in Conway, Massachusetts, in 1884,
he concluded his art studies at Pratt Institute in 1907 and began teaching there the
following year. His tour of service at that famous art school was twenty-one years;
as supervisor of day and evening classes from 1919 to 1929, he met thousands of
art students, and his profound feeling for young people is one of the secrets of his
success as a teacher and as a writer of books that teach.
From teaching, Ernest Watson turned to educational journalism, serving first
as Art Editor of Scholastic from 1931 to 1937. Then, sensing the public need for
a magazine that would teach art techniques to the growing number of amateur
artists and art students, he and the late Arthur Guptill hit on a remarkable pub-
—
lishing idea the magazine which ultimately became the most widely read art
journal in the world: American Artist.
As Editor-in-Chief of American Artist from 1937 to the end of 1955, when he
became Editor Emeritus, Ernest Watson found the ideal way to combine his talents
as artist, teacher, and journalist. Building upon the success of the magazine, Watson-
Guptill Publications soon found itself publishing art instruction books. It was
another "first"; this small, adventurous American publishing house was the first to
——
sense the coming art boom and to specialize in books that taught Americans to
draw and paint. The continuing growth of American Artist and Watson-Guptill
— —
books both begun at a time when today's art boom seemed a wild dream is a
tribute to the vision of both Ernest Watson and Arthur Guptill.
But Ernest Watson's extraordinary productivity as publisher, editor, and
writer has been matched by his creativity as an artist. His beautiful color prints
remarkable for their pioneering use of the linoleum cut as a multi-color medium
are in such major public collections as the Smithsonian Institution, the Library of
Congress, the New York Public Library, the Brooklyn Museum, the Baltimore
Museum of Art, and the Boston Public Library. Watson also found time to make
drawings for several national advertising campaigns. And he continues to produce
a steady flow of superb pencil drawings which have greater freedom and vitality
than ever.
Let me admit it: these drawings are a kind of secret motive in publishing this
beautiful book. Except for the lucky few who've been allowed to turn the pages
of Ernest Watson's private albums, his admirers have never seen a comprehensive
range of his pencil drawings.—Here, then, for the first time, is the cream of his
previously unpublished work drawings which are not only self-sufficient lessons
in the art of the pencil, but works of art as inspiring as the man himself.
Donald Holden, Editor
Watson-GuptillPublications