Drawing with Pens

MATERIALS Every 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, therefore, 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 invariably 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 themselves 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. 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 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 instrument. The normal thickness of its line is extremely small, but so beautifully 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 papers, 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 mentioned, 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 often necessary to do so.
Before leaving the steel pens, the "double-line pen" may be mentioned, though it has only a limited sphere. It is a two-pointed arrangement, practically two pens in one, by means of which parallel lines may be made with one stroke. Rather interesting effects can be obtained with it, but on the whole it is most valuable as a curiosity. Though somewhat out of fashion for general use, the quill of our fathers is favored by many illustrators. It is splendidly adapted for broad, vigorous rendering of foreground effects, and is almost dangerously easy to handle. Reed pens, which have somewhat similar virtues, are now little employed, and cannot be bought. They have to be cut from the natural reed, and used while fresh. For many uses in decorative drawing one of the most satisfactory instruments is the glass pen, which gives an absolutely uniform line. The point being really the end of a thin tube, the stroke may be made in any direction, a most unique characteristic in a pen. It has, however, the disadvantages of being friable and expensive; and, as it needs to be kept clean, the patent water-proof ink should not be used with it unless absolutely necessary. A flat piece of cork or rubber should be placed inside the ink-bottle when this pen is used, otherwise it is liable to be smashed by striking the bottom of the bottle. The faculty possessed by the Japanese brush of retaining its point renders it also available for use as a pen, and it is often so employed. Inks In drawing for reproduction, the best ink is that which is blackest and least shiny. Until a few years ago it was the custom of penmen to grind their India ink themselves; but, besides the difficulty of always ensuring the proper consistency, it was a cumbersome method, and is now little resorted to, especially as numerous excellent prepared inks are ready to hand. The better known of these prepared inks are, "Higgins' American" (general and waterproof), Bourgeois' "Encre de Chine Liquide," "Carter's," "Winsor & Newton's," and "Rowney's." Higgins' and Carter's have the extrinsic advantages of being put up in bottles which do not tip over on the slightest provocation, and of being furnished with stoppers which can be handled without smearing the fingers. Otherwise, they cannot be said to possess superiority over the others, certainly not over the "Encre de Chine Liquide." Should the student have occasion to draw over salt-prints he will find it wise to use waterproof ink, as the bleaching acid which is used to fade the photographic image may otherwise cause the ink to run. Papers Bristol-board is probably the most popular of all surfaces for pen drawing. It is certainly that most approved by the process engraver, whose point of view in such a matter, though a purely mechanical one, is worthy of consideration. It has a perfectly smooth surface, somewhat difficult to erase from with rubber, and which had better be scratched with a knife when any considerable erasure is necessary. As the cheap boards are merely a padding veneered on either side with a thin coating of smooth paper, little scraping is required to develop a fuzzy surface upon which it is impossible to work. Only the best board, such as Reynolds', therefore, should be used. Bristol-board can be procured in sheets of various thicknesses as well as in blocks. Whatman's "hot-pressed" paper affords another excellent surface and possesses some advantages over the Bristol-board. It comes in sheets of various sizes, which may be either tacked down on a board or else "stretched." Tacking will be satisfactory enough if the drawing is small and is to be completed in a few hours; otherwise the paper is sure to "hump up," especially if the weather be damp. The process of stretching is as follows: Fold up the edges of the sheet all around, forming a margin about an inch wide. After moistening the paper thoroughly with a damp sponge, cover the under side of this turned-up margin with photographic paste or strong mucilage. During this operation the sheet will have softened and "humped up," and will admit of stretching. Now turn down the adhesive margin and press it firmly with the fingers, stretching the paper gently at the same time. As this essential part of the process must be performed quickly, an assistant is requisite when the sheet is large. Care should be taken that the paper is not strained too much, as it is then likely to burst when it again contracts.

Have a Story/ Interview tell us and get on the Post