The pencil is admittedly the universal medium for graphic expression. Even in the hands of the unskilled it offers a supplement and a clarification of mere words. A few lines roughly sketched on a pine board mean more to a workman than a detailed description, and a few telling lines skillfully sketched by an artist convey more meaning than pages of eloquent English. The use of the pencil is indeed universal. Its skillful use is all too rare. Every one depends in varying degrees upon the pencil as an aid to expression and every one desires a better mastery of it. Examples of pencil technique have already been published, but these examples have demanded the interpreter or teacher at the student's elbow. The purpose of this book is to take the teacher's place so far as may be in showing simple beginnings, progressive steps and a few excellent examples of finished pencil technique. It is designed for use in schools and for all individuals who are beginners in this interesting phase of art expression.
Pencil technique has a charm of expression peculiar unto itself. By its strong power of suggestion it conveys definite expressions of color, texture, surface, atmosphere. With the pee icil we may express a certain crispness and sparkle which seldom fail to attract. In using the pencil the constant search is for essentials and characteristics and for the elimination of details.
For these reasons the study and practice of pencil technique is particularly valuable; to sketch successfully with the pencil one must know definitely what one wishes to say and must be able to say it directly and with force.
An artist is impelled to make a sketch because of his desire to have a record of a certain object or scene. These sketches or records of impressions are the raw materials from which eventually he will create his pictorial or decorative compositions. A sketch, therefore, is a means to an end, and not the end. His chief aim in sketching, whether from landscape, figure, flower or animal, is to put down as simply and directly as possible such lines, shapes and tones as will best express the character of the subject. He is not then concerned about composition —the arrangement of lines, masses, etc.— that comes later. Nor is he concerned, especially, with careful drawing. Rather will he try for a spirited and suggestive rendering of the chief characteristics of the subject. To accomplish this, he will search out the main lines, draw together into telling masses that which is scattered and meaningless, and suppress all unnecessary and confusing detail.
Of the various mediums available for sketching in black and white, the lead pencil undoubtedly is the favorite. Its advantages over other mediums are too well known to need mention here. There are many good makes of pencils on the market from which to select, but it is essential that the lead of a sketching pencil be smooth, firm and entirely free from grit. Scratchy pencils, as well as pencils that are too soft and smudgy, should be avoided. It is well to have an assortment of at least three pencils of varying degrees of hardness—hard, medium and soft.
Almost any kind of paper will answer, providing it is not too thin and that the surface is fairly smooth; a rough paper will give the pencil work upon it a disagreeable, woolly appearance, which, as will be shown later, is no part of good pencil technique. The illustrations for this article were made on a French-Japan Vellum, which is an ivory-tinted paper with a surface admirably suited for pencil work. It is advisable to work over a number of sheets of paper in order to give a certain elasticity to the touch, which will be found advantageous in obtaining strokes of good quality.
To complete the outfit, a good eraser is necessary. " Faber's Kneaded Eraser " is recommended for the reason that it may be molded or kneaded into any desired shape.
A word may be said about sharpening the pencil. Except for indicating detail, such as small branches showing through a mass of foliage, the rigging on a sailboat, etc., it is best to use a blunt-pointed pencil, sharpened in the manner indicated in Fig. 1.
The pencil may be sharpened to a point, in the usual way, and then rubbed down on a piece of practice paper, until the strokes have the desired width. For sharp, decisive touches, the pencil needs only to he turned until the edge or point rests against the paper.