The Practice and Science of Drawing Part 10

The contours of the limbs ill.u.s.trate another form of line variety--what may be called "Variety in Symmetry." While roughly speaking the limbs are symmetrical, each side not only has variety in itself, but there is usually variety of opposition. Supposing there is a convex curve on the one side, you will often have a concave form on the other. Always look out for this in drawing limbs, and it will often improve a poorly drawn part if more of this variation on symmetry is discovered.

The whole body, you may say, is symmetrical, but even here natural conditions make for variety. The body is seldom, except in soldiering, held in a symmetrical position. The slightest action produces the variety we are speaking about. The accompanying sketches will indicate what is meant.

[Ill.u.s.tration: Diagram IX.

ILl.u.s.tRATING VARIETY IN SYMMETRY

Note how the hollows marked A are opposed by the fullnesses marked B.]

Of course the student, if he has any natural ability, instinctively looks out for all these variations that give the play of life to his drawing. It is not for him in the full vigour of inspiration that books such as this are written. But there may come a time when things "won't come," and it is then that it is useful to know where to look for possible weak spots in your work.

[Sidenote: Variety of Thickness and Accent.]

A line of equal thickness is a very dead and inexpressive thing compared with one varied and stressed at certain points. If you observe any of the boundaries in nature we use a line to express, you will notice some points are accentuated, attract the attention, more than others. The only means you have to express this in a line drawing is by darkening and sharpening the line. At other points, where the contour is almost lost, the line can be soft and blurred.

It is impossible to write of the infinite qualities of variety that a fine draughtsman will get into his line work; they must be studied first hand. But on this play of thickness and quality of line much of the vitality of your drawing will depend.

XII

RHYTHM: UNITY OF LINE

Unity of line is a bigger quality than variety, and as it requires a larger mental grasp, is more rarely met with. The bigger things in drawing and design come under its consideration, including, as it does, the relation of the parts to the whole. Its proper consideration would take us into the whole field of Composition, a subject needing far more consideration than it can be given in this book.

In almost all compositions a rhythmic flow of lines can be traced. Not necessarily a flow of actual lines (although these often exist); they may be only imaginary lines linking up or ma.s.sing certain parts, and bringing them into conformity with the rhythmic conception of the whole.

Or again, only a certain stress and flow in the forms, suggesting line movements. But these line movements flowing through your panel are of the utmost importance; they are like the melodies and subjects of a musical symphony, weaving through and linking up the whole composition.

Often, the line of a contour at one part of a picture is picked up again by the contour of some object at another part of the composition, and although no actual line connects them, a unity is thus set up between them. (See diagrams, pages 166 and 168, ill.u.s.trating line compositions of pictures by Botticelli and Paolo Veronese). This imaginary following through of contours across s.p.a.ces in a composition should always be looked out for and sought after, as nothing serves to unite a picture like this relationship of remote parts. The flow of these lines will depend on the nature of the subject: they will be more gracious and easy, or more vigorous and powerful, according to the demands of your subject.

This linking up of the contours applies equally well to the drawing of a single figure or even a head or hand, and the student should always be on the look out for this uniting quality. It is a quality of great importance in giving unity to a composition.

[Sidenote: Parallelism]

When groups of lines in a picture occur parallel to each other they produce an accentuation of the particular quality the line may contain, a sort of sustained effect, like a sustained chord on an organ, the effect of which is much bigger than that of the same chord struck staccato. This sustained quality has a wonderful influence in steadying and uniting your work.

This parallelism can only be used successfully with the simplest lines, such as a straight line or a simple curve; it is never advisable except in decorative patterns to be used with complicated shapes. Blake is very fond of the sustained effect parallelism gives, and uses the repet.i.tion of curved and straight lines very often in his compositions. Note in Plate I of the Job series, page 146 [Transcribers Note: Plate x.x.xI], the use made of this sustaining quality in the parallelism of the sheep's backs in the background and the parallel upward flow of the lines of the figures. In Plate II you see it used in the curved lines of the figures on either side of the throne above, and in the two angels with the scroll at the left-hand corner. Behind these two figures you again have its use accentuating by repet.i.tion the peaceful line of the hacks of the sheep. The same thing can be seen in Plate x.x.xI, B, where the parallelism of the back lines of the sheep and the legs of the seated figures gives a look of peace contrasting with the violence of the messenger come to tell of the destruction of Job's sons. The emphasis that parallelism gives to the music of particular lines is well ill.u.s.trated in all Blake's work. He is a mine of information on the subject of line rhythm. Compare A with Plate x.x.xI, C; note how the emotional quality is dependent in both cases on the parallelism of the upward flow of the lines. How also in Plate I he has carried the vertical feeling even into the sheep in the front, introducing little bands of vertical shading to carry through the vertical lines made by the kneeling figures. And in the last plate, "So the Lord blessed the latter end of Job more than the beginning," note how the greater completeness with which the parallelism has been carried out has given a much greater emphasis to the effect, expressing a greater exaltation and peace than in Plate x.x.xI, A. Notice in Plate x.x.xI, D, where "The just, upright man is laughed to scorn," how this power of emphasis is used to increase the look of scorn hurled at Job by the pointing fingers of his three friends.

Of the use of this principle in curved forms, the repet.i.tion of the line of the back in stooping figures is a favourite device with Blake. There will be found instances of this in Plate x.x.xII, E and G. (Further instances will be found on reference to Plates VII, VIII, XIII, and XVII, in Blake's Job.) In the last instance it is interesting to note how he has balanced the composition, which has three figures kneeling on the right and only one on the left. By losing the outline of the third figure on the right and getting a double line out of the single figure on the left by means of the outline of the ma.s.s of hair, and also by shading this single figure more strongly, he has contrived to keep a perfect balance. The head of Job is also turned to the left, while he stands slightly on that side, still further balancing the three figures on the right. (This does not show so well in the ill.u.s.tration here reproduced as in the original print.)

[Ill.u.s.tration: Plate x.x.xI.

Thus did Job continually. (_Plate I, Blake's Job_)

And I only am escaped alone to tell thee. (_Plate IV, Blake's Job_)

So the Lord blessed the latter end of Job more than the beginning.

(_Plate XXI, Blake's Job_)

The just upright man is laughed to scorn. (_Plate X, Blake's Job_)]

Some rude things were said above about the straight line and the circle, on account of their lack of variety, and it is true that a mathematically straight line, or a mathematically perfect circle, are never found in good artistic drawing. For without variety is no charm or life. But these lines possess other qualities, due to their maximum amount of unity, that give them great power in a composition; and where the expression of sublimity or any of the deeper and more profound sentiments are in evidence, they are often to be found.

The rows of columns in a Greek temple, the cl.u.s.ters of vertical lines in a Gothic cathedral interior, are instances of the sublimity and power they possess. The necessary play that makes for vitality--the "dither"

as we called this quality in a former chapter--is given in the case of the Greek temple by the subtle curving of the lines of columns and steps, and by the rich variety of the sculpture, and in the case of the Gothic cathedral by a rougher cutting of the stone blocks and the variety in the colour of the stone. But generally speaking, in Gothic architecture this particular quality of "dither" or the play of life in all the parts is conspicuous, the balance being on the side of variety rather than unity. The individual workman was given a large amount of freedom and allowed to exercise his personal fancy. The capitals of columns, the cusping of windows, and the ornaments were seldom repeated, but varied according to the taste of the craftsman. Very high finish was seldom attempted, the marks of the chisel often being left showing in the stonework. All this gave a warmth and exuberance of life to a fine Gothic building that makes a cla.s.sical building look cold by comparison.

The freedom with which new parts were built on to a Gothic building is another proof of the fact that it is not in the conception of the unity of the whole that their chief charm consists.

On the other hand, a fine cla.s.sic building is the result of one large conception to which every part has rigorously to conform. Any addition to this in after years is usually disastrous. A high finish is always attempted, no tool marks nor any individuality of the craftsman is allowed to mar the perfect symmetry of the whole. It may be colder, but how perfect in sublimity! The balance here is on the side of unity rather than variety.

The strength and sublimity of Norman architecture is due to the use of circular curves in the arches, combined with straight lines and the use of square forms in the ornaments--lines possessed of least variety.

All objects with which one a.s.sociates the look of strength will be found to have straight lines in their composition. The look of strength in a strong man is due to the square lines of the contours, so different from the rounded forms of a fat man. And everyone knows the look of mental power a square forehead gives to a head and the look of physical power expressed by a square jaw. The look of power in a rocky landscape or range of hills is due to the same cause.

[Ill.u.s.tration: Plate x.x.xII.

When the Almighty was yet with me, when my children were about me.

(_Plate II, Blake's Job_)

With dreams upon my bed Thou scarest me, and affrightest me with visions. (_Plate XI, Blake's Job_)

Printed the wrong way up in order to show that the look of horror is not solely dependent on the things represented but belongs to the rhythm, the pattern of the composition.

And my servant Job shall pray for you. (_Plate XVIII, Blake's Job_)

When the morning-stars sang together, and all the sons of G.o.d shouted for joy. (_Plate XIV, Blake's Job_)]

[Sidenote: The Horizontal and the Vertical]

The horizontal and the vertical are two very important lines, the horizontal being a.s.sociated with calm and contemplation and the vertical with a feeling of elevation. As was said above, their relation to the sides of the composition to which they are parallel in rectangular pictures is of great importance in uniting the subject to its bounding lines and giving it a well-knit look, conveying a feeling of great stability to a picture.

How impressive and suggestive of contemplation is the long line of the horizon on a calm day at sea, or the long, horizontal line of a desert plain! The lack of variety, with all the energy and vitality that accompany it, gives one a sense of peace and rest, a touch of infinity that no other lines can convey. The horizontal lines which the breeze makes on still water, and which the sky often a.s.sumes at sunset, affect us from the same harmonic cause.

The stone pine and the cypress are typical instances of the sublime a.s.sociated with the vertical in nature. Even a factory chimney rising above a distant town, in spite of its unpleasant a.s.sociations, is impressive, not to speak of the beautiful spires of some of our Gothic cathedrals, pointing upwards. How well Constable has used the vertical sublimity of the spire of Salisbury Cathedral can be seen in his picture, at the Victoria and Albert Museum, where he has contrasted it with the gay tracery of an arch of elm trees. Gothic cathedrals generally depend much on this vertical feeling of line for their impressiveness.

The Romans knew the expressive power of the vertical when they set up a lonely column as a monument to some great deed or person. And a sense of this sublimity may be an unconscious explanation of the craze for putting towers and obelisks on high places that one comes across in different parts of the country, usually called someone's "folly."

In the accompanying diagrams, A, B, C and D, E, F, pages 152 [Transcribers Note: Diagram X] and 153 [Transcribers Note: Diagram XI], are examples of the influence to be a.s.sociated with the horizontal and vertical lines. A is nothing but six straight lines drawn across a rectangular shape, and yet I think they convey something of the contemplative and peaceful sense given by a sunset over the sea on a calm evening. And this is entirely due to the expressive power straight lines possess, and the feelings they have the power to call up in the mind. In B a little more incident and variety has been introduced, and although there is a certain loss of calm, it is not yet enough to destroy the impression. The line suggesting a figure is vertical and so plays up to the same calm feeling as the horizontal lines. The circular disc of the sun has the same static quality, being the curve most devoid of variety. It is the lines of the clouds that give some excitement, but they are only enough to suggest the dying energy of departing day.

Now let us but bend the figure in a slight curve, as at C, and destroy its vertical direction, partly cover the disc of the sun so as to destroy the complete circle, and all this is immediately altered, our calm evening has become a windy one, our lines now being expressive of some energy.

[Ill.u.s.tration: PLATE x.x.xIII.

FeTE CHAMPeTRE. GIORGIONI (LOUVRE)

Note the straight line introduced in seated female figure with flute to counteract rich forms.]

To take a similar instance with vertical lines. Let D represent a row of pine trees in a wide plain. Such lines convey a sense of exaltation and infinite calm. Now if some foliage is introduced, as at E, giving a swinging line, and if this swinging line is carried on by a corresponding one in the sky, we have introduced some life and variety.