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    The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects
    The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects
    The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects
    Ebook160 pages1 hour

    The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects

    By Lucas Baker

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    "The Science and Art of Model and Object Drawing" constitutes a fantastic introduction to drawing from real life objects and models, designed for the self-instruction of teachers and art students. It covers both theory and practice, offering the reader simple instructions and explanations coupled with simple, handy diagrams. Highly recommended for all with an interest in improving their drawing skills. Contents include: "Terms and Definitions", "Of Limits", "Of Extension", "Quantities of the First Degree-Lines", "Quantities of the Second Degree-Surfaces", "Quantities of the Fourth Degree-Inclination", "Words Denoting Position and Relation", "Orthographic Projections", "How to Read Apparent Forms", et cetera. Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this book now in an affordable, high-quality, modern edition complete with a specially commissioned new introduction on drawing and drafting.
    LanguageEnglish
    PublisherWhite Press
    Release dateSep 15, 2017
    ISBN9781473341623
    The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects

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      Book preview

      The Science and Art of Model and Object Drawing - A Text-Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing from Objects - Lucas Baker

      INTRODUCTION.

      THE tendency of the American people to study art marks an era in our intellectual life. Students of art multiply rapidly: art-schools are well filled, and private teachers are in great demand. All branches of art are receiving attention, and especially the industrial department.

      There are two sources of art-instruction,—the teacher, and nature. There are also two methods of practice,—working from copies, and working from nature. Multitudes of private pupils do nothing but copy the work of others, and consequently they never acquire the power to produce original work themselves. The two methods may be combined, but nature must always be regarded as the great instructor. We can do no greater service to our pupils than to prepare them to learn from nature, to open their eyes and minds to the harmonies and melodies which she has in ample store for them.

      There is no department of public instruction better adapted to the development of the powers of observation than drawing from objects.

      The art-student, in progressing through the various branches of his study, is soon confronted with the necessity of making for himself original drawings from objects. He can not long follow copies, and depend upon them for guidance: he must read forms independently, as he would read a book; and he must give his own rendering of them.

      At this stage he is presumed to have acquired a ready hand in drawing from the copy, and to be in possession of some knowledge of Plane Geometry. Thus prepared he enters upon a tour of investigation, not unlike the explorer of a new country. He must note all the facts presented to his observation, and deduce all the laws discoverable by his understanding.

      To the student it is emphatically a field of discovery. His eyes must be opened to new facts, which have been hitherto unnoticed by him. His method of seeing is to be changed from the casual and accidental to the accurate and discriminating method which penetrates and comprehends the subtleties of the apparent forms of objects, and of light, shade, shadow, reflections, and color. Every teacher of art knows that the principal part of his work is teaching his pupils to see and how to see. The pupil begins with little knowledge of the apparent forms of objects, and with no habit of observing them. This knowledge must be acquired, and the habit of seeing must be formed. This is the only foundation for true progress. In this respect, to draw is to know; and not to know, is not to be able to draw.

      The subject of Object-Drawing has a basis of fact throughout. There is no guess-work; mathematical precision pervades the whole; every question can be settled by reference to fundamental principles.

      Model-drawing is the best possible preparation for sketching from nature. The student graduating from the study of models goes fully equipped to the delineation of natural scenery or of architectural objects. Without this preparation the results of his efforts would be uncertain, and accurate only by accident. It furnishes the scientific basis for free sketching; and without it, and an understanding of its principles, no artist can count himself secure in his work.

      The first part of model-drawing, viz., that relating to apparent forms, is closely related to Descriptive Geometry; while the second part, viz., light, shade, shadow, and reflection, falls within the province of the fixed laws of light. The third division, viz., color, has also its fixed limitations and conditions: hence the whole field of our subject falls within the domain of science, and only partially within that of taste.

      The models used in this department are geometrical forms, and objects based on these, as the sphere, cylinder, cone, cube, prism, pyramid, plinths, vases, rings, etc., supplemented by numerous objects of utility and beauty, whose forms bear close relationship to geometrical types. To become thoroughly familiar with the principles of the whole subject should be the aim of every student of pictorial or industrial art; for thus only will the way become clear for any future advancement.

      Model-drawing also possesses an educational value that ought to commend it to every true teacher. The general tendency of the course of instruction in the public schools, aside from drawing, is toward the development of the world of ideas, and not toward the development of the power of observation. Indeed, so strongly is this the case, that the mind is drawn away from the real, visible, and tangible, to the contemplation of the unseen and ideal. Thus our pupils come to belong to the class, that, having eyes, see not. We say, then, that the discipline derived from the practice of this subject tends to put the pupil in full possession of his faculties.

      Emerson says, The study of art is of high value to the growth of the intellect; and Goethe called drawing That most moral of all accomplishments, saying, It unfolds and necessitates attention, and that is the highest of all skills and virtues.

      Attention makes the scholar, the want of it the dunce.

      It is said that the artist knows what to look for, and what he sees; and it is almost equally true, that the untrained in model and object drawing do not know what to look for, or what they see. It is for these reasons that our subject has a high educational utility over and above all considerations of its industrial or commercial value. Model-drawing in particular, and drawing in general, should be well taught in our public schools, in order to secure a more complete development of the mental powers.

      Moreover, this subject opens to the pupil new sources of enjoyment; as it unfolds new powers, and extends the area of his mental vision, while it increases the value of his labor in life. The power he derives from it enters into all skills and labors, and adds another segment to the arc of his being.

      The student has presented to his mind, for his comprehension, a multitudinous series of facts relating to form, light and shade, shadow and reflection. The whole series must be appropriated and digested, and made a part of the student: he must assimilate the whole if he would attain to a complete mastery of the subject. The best method for the teacher to follow, is to place before his pupils a single model, and then,—first, to lead them carefully to recognize the several facts, relations, and principles involved in its apparent form; secondly, to note the distribution of light, shade, shadow, and reflection on the same; and, thirdly, to deduce the general principles which the observation and comparison of these appearances are found to establish.

      It is not enough merely to set the pupil to work on the models. His powers of observation are undeveloped, and need directing. At the same time, the rules should be deduced by the pupil, and not furnished ready-made by the teacher. The pupil should be taken into partnership with the teacher in the analysis of the subject, and taught to write down his own conclusions. He will thus appropriate and assimilate the facts for his own use, so that he will feel he is in full possession of them.

      The practice in all branches of our school instruction should be to lead and direct the pupil’s minds in all their investigations, rather than to impose upon them a burden of arbitrary dogmatism without regard to their power of assimilation.

      In the practice of model or object drawing we place the objects before us in suitable positions, and proceed to draw them with pencil, brush, or crayon, in line, light, and shade, or in color, as we may choose. The method is wholly a freehand process throughout: we use no instruments but the pencil, brush, stump, and rubber; and we proceed upon certain general and fundamental principles which are to be noticed hereafter, to make the representation upon whatever surfaces we may have chosen for

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