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Pen Drawing: An Illustrated Treatise
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Publisher: Singbooks
Pages: 50
Weight: 0.18
Height: 0.10 Width: 6.00 Depth: 9.00
Language: English
MATERIALS
E
very illustrator has his special predilections in the matter of materials, just
as he has in the matter of methods. The purpose of this chapter is, there-
fore, rather to assist the choice of the student by limiting it than to choose for
him. It would be advisable for him to become acquainted with the various
materials that I may have occasion to mention (all of them are more or less
employed by the prominent penmen), and a partiality for particular ones
will soon develop itself. He is reminded, however, that it is easily possible
to exaggerate the intrinsic values of pens and papers; in fact the beginner in-
variably expects too much from them. Of course, he should not use any but
the best, -even Vierge could not make a good drawing with a bad pen, -but
the artistic virtues of a particular instrument are not likely to disclose them-
selves in the rude scratchings of the beginner. He has to master it, to break
it in, ere he can discover of what excellent service it is capable.
[Side note: Pens]
The student will find that most of the steel pens made for artists have but
a short period of usefulness. When new they are even more unresponsive
3 CHARLES DONAGH MAGINNIS
than when they are old. At first they are disposed to give a hard, wiry line,
then they grow sympathetic, and, finally, lose their temper, when they must
be immediately thrown away. As a general rule, the more delicate points are
better suited to the smooth surfaces, where they are not likely to get tripped
up and shaken by the roughness in the paper.
To begin with the smaller points, the Gillott Crow-quill is an excellent in-
strument. The normal thickness of its line is extremely small, but so beauti-
fully is the nib made that it will respond vigorously to a big sweeping stroke.
I say a sweeping stroke, as its capacity is not to be taxed for uniformly big
lines. An equally delicate point, which surpasses the crow-quill in range,
is Gillott's Mapping-pen. It is astonishing how large a line may be made
with this instrument. It responds most nimbly to the demands made upon
it, and in some respects reminds one of a brush. It has a short life, but it may
be a merry one. Mr. Pennell makes mention of a pen, Perry's Auto-Stylo,
which seems to possess an even more wonderful capacity, but of this I cannot
speak from experience. A coarser, but still a small point, is the Gillott 192-
a good pen with a fairly large range; and, for any others than the smooth pa-
pers, a pen smaller than this will probably be found undesirable for general
use. A shade bigger than this is the Gillott 303, a very good average size.
Neither of these two possesses the sensitiveness of those previously men-
tioned, but for work demanding more or less uniformity of line they will be
found more satisfactory. The smaller points are liable to lead one into the
quagmire of finicalness. When we get beyond the next in size, the Gillott
404, there is nothing about the coarse steel points to especially commend
them for artistic use. They are usually stupid, unreliable affairs, whose really
valuable existence is about fifteen working minutes. For decorative drawing
the ordinary commercial stub will be found a very satisfactory instrument.
Of course one may use several sizes of pens in the same drawing, and it is of-
ten necessary to do so.
Before leaving the steel pens, the double-line pen may be mentioned,
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