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As of today we have 82,, eBooks for you to download for free. Pencil Art Workshop: Techniques, Ideas, and Inspiration for Drawing and Designing. Pencil Drawing Techniques by David Lewis pdf free download. Here is a really good book for the artist who wants to develop his or her pencil. Jun 5, – How To Draw Realistically, Learn Pencil Art: PDF Tutorial. Instant Download, Learn to Draw, Sketch, Shading, Realism Drawing, Perspective.❿

Pencil Drawing Techniques by David Lewis pdf free download – The art of pencil drawing pdf download

Also, the wall and the simulation of sun’s rays cutting across the window mullions dramatize the brilliance of the light.

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The art of pencil drawing pdf download.The Art of Pencil Drawing – Free Download PDF

The art of pencil drawing , Watson-Guptill Publications. Libraries near you: WorldCat. Book Details Published in New York.

Edition Notes Includes index. Copyright Date Classifications Dewey Decimal Class The Physical Object Pagination p. Community Reviews 0 Feedback? Drawing from wagahai Draw – Libros de Arte from Maria Loading Related Books. July 22, October 7, I almost never work larger than that, and my preference is for an even smaller scale.

The largest sketch of the boathouse Figure 14 is reproduced at exact. For beginners, I strongly recommend very small drawings; novices will thus escape the danger of becoming hypnotized by detail.

It is by way of illustrating some of these size factors that I have made the six. They are reproduced at exact size, and are intended to suggest how the structure might be rendered when seen at varying distances. The largest is obviously a close-up. It is, as I have said, as big as I would care to sketch it in pencil, and it has all the detail afforded by the subject. To draw it larger would force the pictorial details at the expense of general effect.

The smallest sketch is the way the structure might appear at a distance of, say, a quarter of a mile. As we come nearer, the darks appear. When we are close to the subject, we see its complete tonal gamut. But it is well to keep in mind the simplified light and dark pattern of that far distant effect when working on our close-ups; otherwise we run the risk of losing clarity and sense of volume.

In larger drawings, it is very easy to become so diverted by illustrative detail that the big pattern hence compositional power is sacrificed. It is fairly common practice among artists to preface their final drawings or paint- ings with thumbnail sketches which help them to see their subjects in simple and effective patterns. There should be no inactive areas. Every part of the picture must have something to say. When a large area is devoid of illustrative interest, the drawing fails to convince; it looks empty.

In this connection, refer to the various treatments of the boathouse roof. In the first four sketches, the roof is. In the fifth drawing we begin to feel the need for greater interest in the roof; and in the largest one, it was necessary to give a definite impression of an ancient patched roof that probably leaks during heavy rains. The roof of the fifth sketch would look unfinished if duplicated in the sixth drawing.

New York top was taken “way back when. They set themselves tasks that would worry even practiced artists. In large scale, it is so difficult to get what we call “quality. I should remind the reader that the foregoing remarks about size apply only to drawings that have no purpose beyond their own charm. Painters, accustomed to large scale work with the brush, often make sizeable pencil notes purely as records. They do this with no thought of producing drawings to delight the eye. There is still another factor that must be considered in our discussion of size.

That is. Some people naturally do their best work at small. They like to draw with arm movement rather than finger movement. These individual, temperamental qualities ought to be considered; they are important. The large scale person probably will never be as effective with pen and pencil as with charcoal, pastel, or painting media. The scale which suits him is something each individual must discover for himself.

To illustrate my discussion of composition, I am going to take you back to days that most of you were too young to remember, if indeed you had been born. Look- ing through my picture file recently from days when took my camera on walks I.

Here is a rather fascinating subject, which I probably would have sketched had there been time, that day, before the wagon pulled out from the curb. All I. The tiny pencil sketch reproduced at exact size in Figure 16 demonstrates. Figures 17 and Photograph and Sketch of Theatre of Marcellus, Rome Here, the photograph at lower right and final drawing pose a problem of simplification and pattern similar to that in South Street, New York Figures 15 and Both subjects required an illustrative approach that would give the illusion of reality, yet create a pattern that would direct the eye to a desired focal point.

Ponte San Lorenzo, Venice In this drawing, the barges under the bridge constitute the compositional nucleus of the scene. Seeing activity around the barges, and expecting that they would soon depart, I made the quick study seen above and incorporated it into the final drawing at the right. In the rendering of these barges, it was urgent to depict them with the darkest tones the pencil is capable of producing. Obviously, this task is the work of very soft leads. The paper was Alexis, a surface with just enough tooth to accept very dark values.

In contrast to these darks, the tone which represents the bridge’s fagade under the balustrade was kept very light just dark enough to display the lighter values of the balustrade and the gracefully arched member that appears to support the bridge.

Note how the darkened building mass on the right gradually is dissolved as it approaches the roof, receding from the center of interest; and how, with restrained suggestions, the now lighted building facades have been given a sense of completion. The light gray shading at the far end helps to focus the light behind the team where we want it. In Venice, the artist is literally surfeited with sketchable subjects.

One is bewild- ered by the beauty which lies before him in the architecture of buildings; the splen- dor of its bridges, that span the myriad canals; its sculptured forms; and the pervad- ing sublimity of man’s commitment to artistry in every detail of environment. This dedication to the arts is the glory of all Europe, but Venice, the “Pearl of the Adri- atic,” has a special kind of bewitchment for the artist who is confronted with the perfect subject at the turning of every corner.

The problem is one of selection, espe- cially if one’s time is limited and the desire to draw or paint everything is distracting. One comes upon some subjects that are utterly compelling. Such was the Potite. Lorenzo Figure I say “was” because at that particular time when I first saw it, freight barges were tied up under the span.

Those barges were the dark shapely masses that made this sketch. I began to draw them at once Figure 19 , ignoring the structure of the bridge, because, seeing considerable activity on the barges, I sus-. I had scarcely fin-. This did not disturb me because the bridge remained and, I suspect, looks exactly the same many years later. I took my time drawing the bridge and indicating the buildings on the far side of the canal. In pencil sketching, simplification is a necessity because one does not reproduce the entirety of any subject in a photographic manner.

Always there is a core of interest which one wishes to isolate to some degree from its environment. I care- is. It is framed at the left by the old tree, and supported below by a mass of dark foliage. As in all architectural.

Although drawn with architectural accuracy, the shadow strokes are vigorous and direct, avoiding the fussiness and monotony of an unbroken technique. I wanted to attract as little attention as possible to the tree, so that it would not dnert attention from the tower.

The dark below the tower serves as a color contrast, thus enhancing the natural foliage delicacy of the tower. I kept the foliage mass as restricted in area as possible, completing its form below merely by white space with hints of its growth form. The light-toned tree. Photograph and Drawing of Brooklyn Coal Sheds This drawing, made in and reproduced in a book now out of print, is useful in illu-.

I refer to the way in which interest is focused at a central point by arbitrarily manipulating the shadows of the projecting coal sheds.

These shaded sides of the structure appear in the photograph as uniform values above. I modified these shadow tones in my drawing right , emphasiz- ing dark and light contrasts and concentrating the darkest values near the picture’s center, which is the natural focal point. Interest is also concentrated at this point by the variety of detail. Notice the introduction of white elements, such as the flight of stairs, at the focal point.

The shadowy tone that plays up the side of the pier is not actually a shadow; it is a tonal improvisation, a part of the all over compositional strategy. The tower is the jewel in a setting which should be treated in such a.

The wall that runs along the path below is a supporting base for all. The drawing of Brooklyn Coal Sheds Figure 23 is accompanied by a photo- graph of the subject Figure 22 to illustrate how a drab scene can be brought to life by concentration of attention at a focal point, where interest is aroused by arbitrary manipulation of values and, shall we say, theatrical lighting.

In doing this, far from doing violence to natural vision, we are aiding it in what it seeks to do: focus attention upon a restricted area of interest. It is helpful to remember this phenomenon of seeing the inability of the eye to focus upon more than a very small point at one time. We cannot “take in” a. People are not aware of this limita- tion because the focal beam moves over a scene so rapidly, flitting unconsciously from point to point, that the phenomenon is not noticed.

The artist is well aware of it and he composes his picture, be it a painting or a sketch, in such a way as to. This purpose was accomplished in the sketch of Brooklyn Coal Sheds Figure 23 , by lightening all peripheral shadow values, by concentrating the darkest shadow values in a restricted area at the center, and by throwing theatrical lighting upon the area of action, thus bringing to life what, in the photograph, as in the scene itself, is drab monotony.

Figures of workers have been introduced, and miscellaneous white shapes and lines have been cut into the dark shadow to enliven the sense of activity. The spot-. Vesuvius from Sorrento Cliffs. In this drawing, difficult to give the effect of the smoking volcano in the dis- it was rather tance, while rendering just enough of the immediate foreground to illustrate the dramatic form of the limestone cliffs rising from the Bay of Saples and to have them serve as a frame or foil for the volcano.

The indication of the cliffs, accomplished with little effort, is reasonably suc-. I added a hint of the shoreline, and a few projecting rocks. The slanting, shadow-like.

Another quite different situation might appropriately be included in this chapter. The panoramic view of Vesuvius from the Sorrento Cliffs Figure 24 was sketched from the garden of the Cocumela pension, perched atop the limestone cliffs abut- ting the Gulf of Naples.

My view was along the side of those cliffs, which rise about one hundred sixty feet or more above the sea, and was intercepted by a prominence known as Montechiaro. This prominence serves as a frame for the view of Vesuvius across the Bay of Naples.

I wanted to render this rocky mass in dark tones and then gradually lighten it as it receded from the prominence, at the same time indicating the cliff formation with as little penciled tone as possible. One would seem to have little scope for composition in the drawing of the ogive, main entrance to Notre Dame Cathedral Figure Selection would appear to be involved here.

It was necessary to select areas to receive an approxima- tion of the tonal darks and those in which the detail is brought out into the light,. This arbitrary division of dark and light sections of the sculptured decoration resulted, I think, in a more striking presentation in the pencil rendering than in the photo- graph itself.

The white is carried up with the dark areas by representing the lightest. The unknown creator of his magnificent sculpture is among the vast company of artists who, during the era of cathedral building, contributed anonymously to a great collaborative achievement for the glory of God. This drawing was made from a photograph.

I could not have been favored with a vantage point from which to make such a detailed rendering. Photographs are not likely to evoke the emotional incentive experienced in direct drawing from the subject.

Occasionally, however. I have been so stimulated by unusually fine pho- tographs of sculpture and architectural details, that I could not resist the temptation to draw them. One can readily see that my drawing is not a copy. The forms, but not the tonality, are copied.

Tone is interrupted even in the darkened upper area by white paper accents. Unless a drawing is being made exclusively with line without tonal mass, that is pattern becomes the essence of its structure. Even in line, we do not escape thedemand of pattern, as may be simply demonstrated by the comparison of Figures 27A and 27B. In A, the drawing suffers from the absence of design interest pro- vided in B, where the massing of twigs in three different places provides a degree of excitement entirely lacking in A.

Thus, tonal pattern is created through the con- junction of lines. You might say that you cannot make any drawing without pattern of some kind. In a drawing of any two adjacent lines, the shape of the space they enclose, and indeed the conformation of the lines themselves, constitute pattern. In this chapter, however, I refer principally to pattern resulting from relationships of tonal masses their relative sizes and shapes, together with the white areas that are associated. Color may be almost entirely responsible for pattern possibilities, as in my sketch Along the Beach, St.

Ives Figure 28 , where the color tones of vines which decorate the wall of the principal building, and the color tones of the roofs, consti- tute the essence of pattern interest. In such a situation, the designing of the foliage becomes the key to the interest of the entire sketch. Here the mass of the vine is. The effect may or may not have been just as I rendered it. That does not matter. The tonal variations of this foliage mass dark and light are of importance too, and one is impressed by the relationship of nearly black areas at the left to the light tones at the right, where the observer’s interest is being gently led out of the picture.

Interesting value relationships are always a big factor in the creation of pattern. Consider, for example, the impact of the black accents of the windows in Along the Beach, St. These are as vital to pattern interest as seasoning is to food. In this. Old Jesuit Church in Sorrento, Italy. The point of interest in this sketch is the bell tower, where I concentrated my delineation of details. The palm tree is fortuitously placed to support the tower; and the shrubbc r the base serves as a terminating connection with the street.

Two Line Drawings of Twigs Even in line we do not escape the demand of pattern as a comparison of these two line drawings reveals. Pattern is the very first consideration in the creation of almost every sketch. Analyze, for example, the sketch of Rocky Shore 3 Figure First we look for the essen- tial, basic pattern which will hold the entire structure together Figure 30A Next.

Figure 30B , we attend to the prominent secondary pattern details and intend to keep these inviolate, proceeding to subdivide them without losing their identity and their importance in the allover pattern scheme. In Figure 30C, we work within the lighted area of the principal boulder, again seeking the most dominant shapes. After that, we get down to rendering. We have established the framework, but that, however important, is only the beginning.

As we explore the tonal aspects, we get even deeper into pattern problems. Yet, if we have become expert and have “taught our pencil,” it takes over very much as I have tried to illustrate in the detail of Rocky Shore 3 Figure Within that small shadow area, pattern continues to dominate our work.

And pat- tern here, as you see, is involved with values and with technical niceties, where direc- tion and character of stroke conspire with white or light accents within the mass to portray the texture of the rock and to create an agreeable abstract expression. Along the Beach, St.

Ives, Cornwall On the shore of almost any harbor in Cornwall, the artist is treated to the delights of ancient towns created to serve the business that for centuries has been the occupation of this part of old England the sea. I made many drawings in St. Ives, Mousehole, Newhn. The group of masonry structures seen here is not perhaps dramatic typical its informality and meaningful presence.

Pattern and value in itself, but, rather, colorful by relationships dominate the vine which clings to the main building of this group. How vital to the effect are the two uncovered areas of the wall ami the contrasting dark window openings.

Note the variety of tone in the greenery, graduating from the near black foliage mass that creeps over the wall, to the very light areas at the right, where solid tone gives way to open-line technique as interest trails off for exit at the right. The dark mass of seaweed near the boats contributes an important balancing tonal note, and adds an appro- priate illustrative accessory as well.

The rocky outcrops attract geologists and artists alike. A com- parison of the three studies discloses different rendering techniques, which are due, in large measure, to the drawing papers on which I worked.

The two other rock subjects Figures 32 and 34 were drawn on clay coated paper, which not only permitted scraping out of white shapes and accents, but also provided diversity of tonal character.

However, there is considerable technical interest in the toned areas. If this rendering lacks some of the tonal character apparent in the other interpretations of the same subject, it emphasizes the pattern structure, as is pointed up in the accompanying analytical diagrams. Pattern Structure of Rocky Shore 3 Figure 30 A top isolates the dominant compositional basis of the picture what I call.

In 30B center , the secondary pattern units appear. And in 30C bottom , these secondary pattern units are subdivided into smaller light and shadow details. Figure 31 below , a pencil sketch, explores a detail of the same subject. Within that small shadow area, pattern continues to dominate, involving itself with values and technical niceties.

Figures 32 and Rocks at Shore, Manor Park, Larchmont, New York In contrast to the simple compositional arrangement of Rocky Shore 3 Figure 29 , the light and dark shadow patterns of this rock mass might be described as jazzy.

The drawing is composed of many small, dark and light areas which keep the eye bouncing from one detail to another. The line analysis Figure 33 explores the dominant divisions of the rock formation. The nearer rock mass forms a distinct unit silhouetted against the enfolding rocks behind.

I remember insisting upon the cohesion of this group. The dark massing of clouds, cohering with the tree mass, is a stabilizing factor in the design. Figures All I had to do was follow my pencil. The niceties of technical rendering were spontaneous and effortless. The drawing is on clay coated paper, so it was probably rendered with two or three leads. The treatment is so direct that I did not need to take advantage of the paper’s scraping out possibilities. On a clay coated paper like Video, one can create the blackest tones of which any pencil is capable.

The intrusion of white accents throughout adds immeasurable sparkle to this sketch. The sky needed only the barest linear cloud indication. Indeed, as you examine most of my drawings, you will note that the sky seldom goes beyond line suggestion. It is not often that I venture into tonal modeling of clouds. V snail , white paper with a few linear cloud suggestions suffices. Though tone does most of the work in this drawing, line accenting of contours is very important.

Collection, Mrs. Frederic C. Detail of the Chain Gate, Wells Cathedral The tonal patterning on the narrow wall is a typical technique used for rendering masonry. The white shapes which break into the tonal mass serve a two-fold purpose: they create pattern, and they act as a transition to the adjacent wall. Note the diversity of values within the individual stones a purely arbitary variation of tonal reality. A Canal in Venice Sauntering along the canals of Venice, one comes upon dramatic compositional effects that vary with the time of day.

At a time other than that chosen for this sketch, the light and dark effect of this scene would be quite different. The sunlit wall would be in shadow, and the impact of that dark shadow Here I solved the problem of leading into or missing. Reference might also be made to the wall of the distant building, which combines an area of smooth tone with sharply pointed pencil strokes above. There was no need to indicate the structural composition of the wall as I did in the narrow vertical wall at the end of the walk.

Here the indication of a few blocks of stone within a broad tonal mass a Inch tapers off to white paper suffices to give an impression of solid structure. Collection and courtesy, Mr. Donald Holden.

Compare the other rock studies there are three in the book in Figures. In these, the basic pattern structure may not be so obvious. In Figure 32 you will have to search for it. Figure 32 indicates two main divisions in the rock. I call this drawing a jazzy render- ing, being so intrigued with the jumble of broken elements.

But look herein for the. I now call attention to a kind of patterning we commonly use in rendering masonry. I have already written at some length about various technical aspects of this drawing, but I want to refer here to the tonal patterning upon the narrow wall that is isolated.

We have, first, the intrusion of white stone shapes which break into the tonal mass. These white shapes not only create pattern, they also serve as an agreeable transition to the adjacent wall, which is indicated only in outline. This avoids an emphatic and undesirable separation of the two walls. Then, looking within the tones themselves, we note great diversity of values in individual stone members some dark, some light a purely arbitrary variation of tonal reality.

All presumably were of equal value. This effect of patterning of masonry structure is evident in many of the draw- ings, among which I shall point out one other: the paving of the sidewalk in A Canal in Venice Figure To illustrate this, I refer to my sketch of Germain, France Figure With it I show an analysis Figure 38 , in a rough sketch, which I have made to illustrate how a drawing develops upon a positive and felicitous pattern which is.

Figures 37 and Germain, France The little pattern sketch right was done in a minute or two, as a preliminary for the drawing of St. In it, I organized the design, planned the values, and simplified the tonal scheme.

In starting the drawing itself above , I began with the black notes under the awnings, then rendered the dark shaded sides of the buildings and the cast shadow. The roofs came next, then the lightest tones. Last, I drew in the clouds and the curb. I happened upon this scene at a very oppor- tune time. The tall buildings at the left were casting a dramatic shadow upon those on the opposite side of the street.

Had the day been cloudy and the scene devoid of this ready made skeleton pattern, I would have been obliged to create my own. In any event, I would not have left this place without a sketch, which, by the way, is dated by the horse drawn carts. It was made in A similar pattern situation is seen in the sketch and pattern analysis of Old Swiss Chalet, Zermatt Figures 39 and 40 , which were made on one of the few brilliant days I spent in that stimulating town.

In A View of Zermatt Figure 41 , there is no unifying pattern of dark and light; the sketch is nothing more than a factual record of a scene I wished to remem- ber because of the hotel where I put up during my visit there, and to remind me of the rather tortuous approach among the small houses of monotonous similarity. I have included it as an example of the failure to produce an exciting drawing without strong pattern interest.

On many occasions, we make purely factual draw- ings of things that we thus want to remember. Refer to the tree silhouettes Figure The pattern of these trees, so differ- ent from one another in form, is the first aspect with which we are concerned.

We are attracted to trees which are most appealing in their silhouette patterns, and we are insistent upon correctly portraying their silhouette aspect before breaking their.

Often there is little more than a silhouette to be done, especially if the trees are relatively distant in the landscape. But when the trees are viewed at closer range,. Often the foliage is confusing in its monotonous repetition of many unrelated details. Even in rendering distant tree groups those not near enough for focus upon structural details there is the need for textural refinement of the masses in a man-.

Figures 39 and Old Swiss Chalet, Zermatt The chalet makes a picturesque subject for any medium. It is a particularly delightful motif for the pencil artist because its construction deep roof overhang and butt ends of timbers which support the horizontal wall timbers gives the sketcher something very tangible to get hold of. This sketch was made in a favorable light; the sun was falling directlyon the gable end, creating deep shadows of great interest.

Actually, the tone of the gable facade was uniform, but the pencil rendering shows great tonal variety, lightening up the facade by the use of white areas, within which the horizontal timbering is indicated by line.

The accompanying analysis Figure 40 explores the confining light and shade pattern of the chalet. A View in Zermatt This sketch was made principally to record a picture of the hotel where I lived for a few days in The mountain rising abruptly behind the hotel is dotted with simple huts or chalets.

The stream which flows in the foreground seemed as white as milk the mineral deposits from the surrounding mountains. The crazy cluster of little huts which lines the path to the hotel makes little sense esthetically, so I did not try to make a studied composi- tion of them. This sketch is a realistic report of what was there no more, no less.

Cheddar was. It was. Water is always a problem to render in pencil. My usual way of suggesting water is to accent the light tonal strokes with sharp line as I characteristically did in this sketch. I also call attention to the treatment of the banked trees the employment here of accenting lines to give a sense of solidity to the mass and to add technical These line accents variation. Line accents are used around some of the lighter areas of tone within the tree masses. The tree tones were kept very dark at their bases to contrast dramatically with the buildings silhouetted against them.

There, I did intro- duce some light and shadow effects and, as you will see, I have added accents with a sharp point and directional lines within the silhouette mass, which serve to give considerable textural and tonal attraction to what might otherwise have been a.

While referring to that Cheddar sketch, I might speak also of the function of pattern in suggesting water. This combines arbitrary pattern with more than a hint of reflections from the white buildings. I have found that the use of sharp, thin line. But in speaking of non-color. Tone is more appropriate than value in such use, since value has other connotations not involved in black and white drawing. In conclusion, I would say that pattern is the artist’s first consideration in the analysis of any subject he chooses to draw.

It is an anchor for every detail of his. Other shapes are tied to the dominant pattern core. Making rapid analyti- cal pattern aspects of any subject similar to those I made for the St.

Germain drawing Figure 37 is certainly good practice, at least until the time when such. Another Swiss Chalet, Zermatt The darkened passageway between the buildings, which leads upivard and includes the steps, establishes the tonal key for all the other gray areas which focus upon it. This tonal scale conspicuous in the shadow of the roof overhang, which tapers from very dark to is. The principal stroke emphasis on the building, like the timbers themselves, is horizontal.

Monotony is avoided by vertical strokes which offer contrast, but are not insistent enough to destroy the horizontal structural characteristic. Distant hills or mountains are difficult to indicate with the pencil. Should one use tone, or merely line, to suggest them? I have never lost my wonder at shadows. As I write this morning, near noon,’ I sit in our garden, which is enclosed on one side by an exquisite wall of clinker brick built by an Italian craftsman whom I should love to meet.

In the wall, set in an arched recess, is a beautiful sculptured head. It is a copy of an original Mayan head. Now, at this moment, the early October sun brings it to life. It casts a delight- ful shadow that falls upon the unevenness of the textured wall.

Overhead, the ivy. Sometimes it seems we are vouchsafed an unexpected awareness of the beauty of simple things. This has been one of those moments when, in meditation, I recall the words of William Saroyan, quoted in Chapter 2. Read them again. At the first reading you may have overlooked their pro- fundity, perhaps considering them no more than a poetic reference to a common experience rather than a practical prescription as indeed they are. Shadow may be wholly responsible, or practically so, for the pattern seen in many sketches.

A perfect example of such dominant and illustrative pattern is seen in the tonal analysis of my Mousehole sketch Figure Shadows almost always define much of the subjects’ forms and are the basis of pattern in perhaps the majority of sketches.

Without shadows, form is invisible. Paint an object uniform in color and value, illuminate it so that each of its facets receives an identical amount of light, and it disappears from sight. Form can be described by pure outline described, but not portrayed. There are no outlines in appearance, though outline has a useful and an esthetic function in representation to which we have been conditioned from childhood when we began to draw in outline.

This sketch was made when the sun played upon the buildings with a delightful tonal consonance, which left little need for improvisation in designing the shadow pattern. The tones of the foreground, which lead the eye to the center of interest, are the only exception. Note the arbitrary patterning of gray and white on the sunlit walls. The figures at the street’s end serve as tonal accents, and give a feeling of aliveness to the scene.

Hence, the artist insists upon the relative accuracy of their shapes as they appear in nature. Shadows cast by invisible forms hence of no descriptive importance can be treated arbitrarily and used to best advantage in the compositional pattern of light and dark as one sees fit.

In both of these scenes the shadows upon sunlit walls give no hint of the shapes which cast them, so the artist is free to manipulate them esthetically, without obligation to objective reality.

Sometimes, however, the cast shadow is controlled by the nature of the surface upon which it falls. In these two drawings, the surfaces were practically plain walls.

There is a different situation in my sketch of the Rialto in Venice Figure In this case, the shadow on the near end of the bridge has a descriptive function; it. This shadow is the most important feature of the entire drawing. I chose carefully the time of day when it appeared just as you see it in my sketch.

Notice that this shadow is darkened at its delineating edge. And in examining other drawings you will observe the same treatment of shadows. It is common prac-. This effect, which may or may not be present in nature, depends upon the light- ing and the reflected lights that often condition the shadows greatly. But shadows thus rendered with emphasis on the edge give the sketch a positive character and enliven its general aspect.

Even if the shadow is not assertive in the subject, it has an enlivening effect because of the contrast with lighted areas where shadows fall. The accenting of shadows at their edges is an important aspect of the drawing of a mountain peak near Gates Pass in Tucson, Arizona Figure It is evident that here, where exact delineation is really not as important as it is in architectural.

A Canal in Venice At almost any time on a sunny day, sun and shadow effects give Venice’s canals very dra- matic picture effects. The artist can play with the shadows to suit his pictoral needs. My sketch is probably fairly faithful to the shadow pattern that drew me to this particular subject. The shadow that plays upon the building facade at the right combines agreeably with the dark bridge and water reflections.

I treated the building on the left with as little detail as necessary to give it reality. The sunlit walls of the various buildings needed tonal rendering to give them a sense of structure. These very light tones were laid in with vertical, diagonal, and horizontal strokes. I have made special reference in the text to some of the shadow aspects of the drawing.

There are other factors which I might mention. In the majority of my sketches, the skies are cloudless: here the slight cloud indication seemed useful as a tonal bridge to connect the two towering architectural masses, and thus contribute to the compositional unity of the drawing. Representation of water is usually puzzling to the student.

I’ve used extensively is has been available in stores for as long as If there is One of my favorite papers bears the made by Bee Paper Company. Oh yes, the weather! We must not overlook the weather as a factor. On a damp, foggy, or rainy day, paper has a way of responding most unsatisfactorily. Paper absorbs moisture and becomes receptive to to any pencil.

When much do what can be done with Of in this damp when harder leads the weather is scale is scale for specific tonal effects based is upon dry paper and dry. So, tions that certain degrees of lead advised that the designation H grading of pencils their degree of hardness in reminding ourselves that pencil are in the creation of technical harmonies.

In this realize that the numbers that indicate soft pencil labeled we emphasis upon paper, as My references to were involved in used the same manufacturer’s brand throughout. These were not available in is are not made available in soft leads up in leads softer to and includ- my earlier sketching years.

It years ago, now out of print, is a good way to Figure A 3. If this palette all considerable Figure 2 of the numbered pencils are Chinese Stone Head soft pencil lightly applied to a rough-surfaced paper produced the grainy, charcoal-like Darker, smooth tones were achieved by working the sharp point of the lead into the grain of the paper.

I rubbed a stump over the black tones of the headress, and stroked my effect. The lighted side of the face, which contrasts with the tones of the background and shaded areas of the head, 16 is untouched paper. Lightening Tones with a Kneaded Rubber down on your lighten desired areas.

Figure A 5. Cutting Light Accents piece of kneaded rubber pinched to a sharp edge will cut light accents into pencil tone. Tortillon i i imirnm Stump tortillon stump, a tightly rolled paper cylinder which is tapered to a point, should be used sparingly. Used too freely, the stump will destroy the characteristic quality of the pencil. The paper. Usually three or four numbers artist in softest lead will of itself However, become less extreme of the one soon discovers as smooth produce in texture, This scale.

A sketch made exclusively with that one softest lead can be handsome. But at the moment we are concerned with a smoother technique. As the drawings in this book are studied, a good many technical characterother than istics my usual broad-stroke will be noted. There the sharp staccato is needed for drawing members of the palm tree family; thin, vigorous lines for some branches; delicate, sensitive lines for others.

Sharp outlining strokes for rock masses, and staccato short strokes to relieve a too-pallid mass such uses. Sometimes — broad wash-like effect can be dramatic; a few of these are a this is done by hold- ing the pencil nearly lying on the paper, using not the lead’s point, but the side of its length.

Experiment, experiment, experiment! It will so called because the rubber, in is be kneaded between thumb and not smear the graphite Once ing” with this rubber! It as do other Kneaded rubber illustrated in Figure is it One I is soft enough to ever use in pencil does very little “eras- by actually rubbing, the sur- good clean-up down upon it without rubbing, as illus- eraser.

This again. If placed on a radiator for a usually carry an eraser in is squeezed into weather, but a narrow edge. It designed for rubbing tones of pencil, charcoal, or crayon. Figure 6 illustrates how the stump modifies is the effect of direct strokes, giving a wash-like appearance.

Up to this point, I’ve been speaking principally about one aspect of pencil 19 Figure The pencil brass. Figure 8. An Abstraction one of a series, produced for the manufacturers of the Eldorado pencil, designed to demonstrate the many techniques of which it is capable.

This drawing is charm of stroke technique. It is a somewhat laborious tonal method, yet I was surprised to find, after I began this series, that it was rather fascinating. I created the entire series of abstractions on heavy white drawing paper, with three or four degrees of leads.

Some, like the one here shown, were based upon well known forms. Others were entirely abstract. The constructions were placed in a shadow box and illuminated by a watt spotlight to insure dramatic light and shadow effects. Such a polished light that reflects a reflections are globular surface window alive with where this is in the shop reflections.

Aside from the high- drawing was made, muted, and they blend into the darks in smooth all other light transition. We are not conscious of the pencil point in this rendering except, as already stated, for the few forceful line strokes, here and there, which serve to contribute a sense of vibration. The few white strokes are untouched paper, not scraped out as they could have been had the surface been clay coated.

For this drawing used Strathmore’s I Alexis paper. It is probable that the kneaded eraser played rubbing out, but by pressing must be very soft and down and pliable to serve in this The abstraction, Figure 8, was a part in this rendering, not by lifting the tone here also and there.

The eraser manner. In such a a manner. The charcoal very soft pencil on a 3 shows effect of rough surfaced though pencil-paper combination, the pencil lead skims over the paper lightly, except in the very dark areas. In some places, as around the eyes and the lips, a surface, produced the darker, smoother rubbed into front.

The very top of the head piece was black tone with the stump, which was also rubbed lightly on else in the drawing was the stump its used, but the shaded cheek and nose were stroked lightly with the finger for a rather smooth texture. The background by the side of the lead, Figure 9. The tones that fan out with the pencil The Chain Gate, Wells Cathedral, Somerset, England This drawing attests to the pencil’s great versatility and power as a tool for rendering began by making a meticulous rendering of the subject in light and then placed the darkest values to establish the tonal limits of the drawing.

All architectural subjects. I line, other values ivere keyed accordingly. This drawing and that of the brass valve were among those made as advertisements for Eldorado Pencil. An architectural subject like draughtsman who works entirely freehand challenges the benefit of straightedge or ruler. In this case, ferred view, too brief, though very useful, study of archi- me in good stead in rendering this subject. If possible, shadow My 9 always do, without as I I if, had to be it was obliged to for one reason or another, this Sunday morning.

In order a establish my may be none too to obtain the pre- position near the middle of the road lead- ing to the arch. This road soon became a busy thoroughfare for the worshipers bound Sunday morning for the and service, approach. However, these friendly people simply flowed around me, I became accustomed and look over my to a trivial — I I found myself in the path of their have always found the English such detour that created no problem at drawing with wayfarers about, some of shoulder.

This is all right so long as I am all. The first step in the drawing, of course, —giving me freedom ture in light line ning even the that would first line best express Rendering, arches and the main all visits, began with the darkest values visualized the tonal effects — in this case the shadowed accents.

These define the limits of the tonal other values being keyed to them. This upon to begin the tonal rendering. Before begin- had, on previous few black window An essential ing brightly I a meticulous layout of the struc- my impressions of the subject.

Consider, for example, the white accents at the bases of the vertical arch supports. This drawing was made primarily to demonstrate the potential of the pencil in direct, such as you see under the archi- vigorous, broad-stroke rendering, with jet black tones — columns with their Corinthian capitals.

A clay coated paper like most receptive to rendering very dark tones, but it is equally inviting to trave supported by the Video or Media is light values. Notice the sharp, thin lines in the architrave. The clean white lines within the shaded flutes of the columns also contribute to the dramatic effect of the drawing.

In pencil drawing, one always avoids any leaning toward photographic simulation — thus the intrusion of white and the tonal break diversions like that over the upper left masonry rendering, which in window, gives pattern interest to the wall over the small doorway at the right of the main arch. This kind of patterning a device for “getting out of the picture” gracefully. On The is also the left side, this necessity suggestion of sunlight streak- ing into the scene, as noted here above the left arch, can often be used to good advantage in enforcing the impression of sunlight seen — the device if The importance of that dark bush or vine overhanging if it be covered by a piece of white paper.

Let this wall it me refer again to that facing wall at the right of the arch. Photographically, would doubtless present a uniform gray value to the camera eye, although might, to be sure, be somewhat modified by reflected light from adjacent walls. However, in my rendering, the shaded tones vary radically the arched door to lighter tones above, again from very dark value at becoming very dark above, where con- seemed advisable.

It seemed to most appropriately be realized by this is While meticulously delineating the area just over the arch, the detail of the two flanking spires has been treated suggestively; and the forms above are so indefinite as to rely upon the viewer s imagination for completion.

It took no more than twenty minutes. Note the broad-stroke technique used in the tall tree and the dead trunk. The clouds play an important part in the composition, holding together elements that would otherwise be scattered. There is much profit in rapid sketching. It compels a degree of spontaneity which is later reflected in more carefully studied drawings.

It 28 certainly encourages the use of broad-stroke technique, which has a rapid covering effect. I that have referred only to accompany others. This all a limited number of “ways” in this chapter: captions of the sketches reproduced in this book will encompass many seemed to be the most direct means of presenting the subject. Magenta Tulip An hour of intense, concentrated work went into this study of a single bloom in full sunA profound exercise in seeing, I searched out shapes, color contrasts, textures, and shadow patterns.

Though I copied the forms meticulously, no attempt was made to achieve light. Collection and courtesy, Dr. Frederick C. Indeed, transient a nature that look but seeing been we do not made aware of upon our this without a of so is We consciousness. We may we have been The Like makes only asked, for example, to describe the furnishings of a if visiting. We see, really see, when we lose self-consciousness in contemplation of scenes, objects, or events.

Only then can we be said to integrate with the subject, become a part of it as happens when we witness an absorbing drama or watch a major league game. When we really see, we transcend our own individuality, forget self, and become record them. Reclining in a seen a tulip.

Oh, I gaze had looked gloried in their beauty artist’s palette. I my when drew the tulip repro- lawn chair within reach of our full-blown was wholly preoccupied with of relaxation, I fell a serious problem. In tulips. I lazily gamut of on their long stems color on an in gentle breezes, and tremble with seeming disapproval when agitated by gusty winds.

Yes, looked at innumerable tulips in I could remember; yet, until a a had never before long succession of springtimes and hid their colors blazoned like the had watched tulips sway I tulip detached and agreeable kind of way for this occasion, I had never as I had long as really seen one.

V Suddenly, at reached out to me. I was seeing went to moment I began this I a tulip! I was as though they had bloom in full sunlight. It found myself focusing upon was drawn into a single an urge to sketch the flower and I felt it. I my studio for paper and pencil. I like what William Saroyan once wrote about as creative seeing. You and What You make see the object, Now its You see it again.

You relate its reality to such is a thing survival and you love its look steadily and clearly. And he made a mighty good job of it. Clarity, intelligence, imagination point of looking at the object. You admire a seeing: its individuality. The artist employs even more than eyes and brain; his muscles creatively enter into the seeing process. Without making a graphic record, the seeing process the arm and hand make through collaboration of a eye, brain, communication of viewer and of oneself with the may seem like a life The incomplete.

Thus, the intimate experience of knowing, cal is still and muscle, we go beyond knowing about to which the basis of creation. There is object. It is a very of the object, even though metaphysical concept, and it is, real experience, this recipro- merging be an inanimate object. This it yet is it is a very and those of us who draw or paint creatively are well aware of real this phenomenon, intercommuni- cation between artist and object. Consider, for example, our comparative responses graph and drawing directly from the object.

There tween artist 32 a photo- a deeply sensed intimacy be- and object when both are parts of the same scene, both immersed the same atmosphere, as slight is when drawing from and lacking it in detail were. I think this explains drawing and painting for amateurs, although they doubtless are not consciously aware of scends the mere ability to create it a it. The inspiration of “being with” tran- reasonable facsimile.

It is will qualify his be. One painter to take along a large canvas ing light, for example —he will when is would be time. It for one reason or another have not over an hour for for quickly recording some moving action canvas on a windy day or in a is is still confine their outdoor sketching to small panels that —rapidly changThe his sketch. Most painters fit in their paint boxes, or to relatively small watercolor papers. It is —inherent pen sketch 20″ by 30″, but no one would think of doing on the other hand, presents manage that can rower space the pen, is However, a a relatively small scale for a a 20′ x 30′ it.

A make a 20″ x 30″ canvas, painter in oils, a medium mural gracefully. Watercolors are kept within nar- limits, as are pastels. When handled broadly, the pencil — —which, like medium will produce a stroke many times as broad as a pen line. Architects, to be sure, do make point it is in the various technically possible to pencil renderings four or five feet long to visualize proposed buildings for their clients.

But we are discussing sketching, and are not concerned with these elabo- rate drawings intended to illustrate details, suggest textures of building materials, and give an impression of the whole design. Figure Six Drawings These six sketches are dered when The of a Boathouse, Cornish Coast, reproduced at exact size to suggest how the structure might be ren- and most detailed sketch is a how the boathouse would appear at a distance seen at varying distances.

Detail disappears with distance. The answer depends too large? It by way of is illustrating some of these size factors that I have made the six drawings in Figure 14 of the boathouse originally sketched on the Cornish coast of England. They are reproduced at exact structure might be rendered The sketch it largest in pencil, would force the is the is way when has it all and are intended to suggest how the seen at varying distances. In larger drawings, illustrative detail that the big pattern is To draw complete tonal gamut.

As we come nearer, the darks appear. Seen at a distance, light and shadow show But by the big pictorial details at the expense of general effect.

There should be no inactive of the picture must have something to say. Every part devoid of illustrative looks empty. In this connection, refer to the various treatments of the boathouse roof.

In the first four sketches, the roof so small that the textural interest of the pencil strokes themselves satisfies the is need for detail. In the fifth drawing and in the largest one, it we begin to feel the need for greater interest in the roof; was necessary to give patched roof that probably leaks during heavy would look unfinished 36 if a definite impression of rains. The duplicated in the sixth drawing.

They In large scale, artists. They do their make own charm. Painters, accustomed to sizeable pencil notes purely as records with no thought of producing drawings this to delight the eye. These are important. Look- recently — from days when took my camera on walks — pulled out photograph of team and loaded my picture file New York streets ing through through to I I I this cart a standing on South Street Figure Here is a rather fascinating subject, which I probably would have sketched had there been time, that day, before the wagon pulled out from the curb.

All could do was make this photo record, but now it is useful to demonstrate I how one upon the center of interest by removing the camouflage of its environment. The wagon and cargo are clearly silhouetted against the shadowed background, but focuses the horses are lost in the confusion of the darkened buildings.

The tiny pencil sketch reproduced at exact size in Figure 16 demonstrates Figures 17 and Photograph and Sketch of Theatre of Marcellus, Rome Here, the photograph at lower right and final drawing pose a problem of simplification and pattern similar to that in South Street, New York Figures 15 and Both subjects required an illustrative approach that would give the illusion of reality, yet create a pattern that would direct the eye to a desired focal point.

Ponte San Lorenzo, Venice In this drawing, the barges under the bridge constitute the compositional nucleus of the scene. Seeing activity made around the barges, and expecting that they would soon depart, I and incorporated it into the final drawing at the right.

Obviously, this task is the work of very soft leads. The paper was Alexis, a surface with just enough tooth to accept very dark values. In contrast which represents the bridge’s fagade under the balustrade was kept very light just dark enough to display the lighter values of the balustrade and the to these darks, the tone — gracefully arched member that appears to support the bridge.

The patch of very light pavement stones bordering the canal prevents the canal edge from leading the viewer’s attention out of the picture at the right. Perhaps the indication of buildings beyond the canal might have been extended more completely, yet they are of little more than environmental use, without any architectural interest. In Venice, the artist dor of interest; end helps to focus the at the far The photograph and drawing of Rome gradually on the it lighted building facades have been given a sense of completion.

This all Europe, but Venice, the “Pearl of the Adri- kind of bewitchment for the atic,” has a special is in the architecture of buildings; the splen- myriad canals; bridges, that span the ing sublimity of man’s him One with sketchable subjects. I made Such was the say “was” because at that particular time freight barges were tied masses that subjects that are utterly compelling. I when Potite I first the span. Those barges were the dark shapely began to draw them at once Figure 19 , ignoring the structure of the bridge, because, seeing considerable activity on the barges, pected that they were about to be ished saw moved — as indeed they were.

I I sus- had scarcely fin- drawing the boats when two boatmen with poles pushed them out into the canal and out of the picture entirely.

This did not disturb remained and, I suspect, looks exactly the same many me because the bridge years later. Wells Cathedral Tower one of the many drawings I made in that lovely Somerset cathedral town. I careselected a view of the tower that would display its upper reaches.

It is framed at the fully tree, and supported below by a mass of dark foliage. As in all architectural old left by the This is drew the tower meticulously, keeping its shadow tones in a silvery middle gray. Although drawn with architectural accuracy, the shadow strokes are vigorous and direct, avoiding the fussiness and monotony of an unbroken technique. I wanted to attract as little attention as possible to the tree, so that it would not dnert attention from the tower.

I kept the foliage mass as restricted in area as possible, completing its form below merely by white space with hints of its growth form. The light-toned tree The dark foliage delicately rendered at the right is very important as an enclosing element.

Photograph and Drawing of Brooklyn Coal Sheds This drawing, made in and reproduced in a book strating a kind of compositional strategy that has which interest is wide now out of print, is useful in application. I refer to the illu- way in focused at a central point by arbitrarily manipulating the shadows of the projecting coal sheds.

These shaded sides of the structure appear in the photograph uniform values above. I modified these shadow tones in my drawing right , emphasizing dark and light contrasts and concentrating the darkest values near the picture’s center, as which is the natural focal point.

Interest is also concentrated at this point by the variety of detail. Notice the introduction of white elements, such as the flight of stairs, at the focal The shadowy tone that plays up the side of the pier is not actually a shadow; tonal improvisation, a part of the all over compositional strategy. The tower manner as to much too is focus interest a vine covered wall the jewel in a setting upon it which should be treated in such a agreeably, without allowing the setting to absorb of the viewer’s attention.

So the foliage mass was rendered with restraint, very dark against the structure and merely suggested below. Likewise, the tree that fans out about the tower provides an enclosing frame for lightly indicated trees on the right serve that runs along the path below The drawing is a arbitrary manipulation of values and, shall far from doing violence focus attention upon It is to natural vision, a restricted area remember helpful to to focus upon more than whole scene, or a a this how illustrate a at a focal point, we say, we are side, and the The side.

In doing this, aiding what seeks to do: it in — the inability of the eye it of interest. We cannot “take in” a picture of a scene, at a glance. People are not aware of this limita- beam moves over a that the phenomenon tion because the focal scene so rapidly, flitting unconsciously from point is of to point, and he composes it his picture, be it a not noticed. The artist from point well aware painting or a sketch, in such a direct attention to a chosen center of interest, and to prevent the eye indiscriminately is way as to from roaming to point over the entire field of vision.

This purpose was accomplished in the sketch of Brooklyn Coal Sheds Figure 23 , by lightening shadow values upon all peripheral shadow in a restricted area at the center, the area of action, thus bringing to itself, is values, life by concentrating the darkest and by throwing theatrical lighting what, in the photograph, as in the scene drab monotony.

Figures of workers have been introduced, and miscellaneous white shapes and lines have been cut into the dark shadow to enliven the sense of activity. The spot- Figure Vesuvius from Sorrento Cliffs difficult to give the effect of the smoking volcano in the disenough of the immediate foreground to illustrate the dramatic form of the limestone cliffs rising from the Bay of Saples and to have them serve as a frame or foil for the volcano.

It would be impossible to correctly represent the tone of the volcano in pencil. I might better have rendered it in outline. In my sketch, the volcano appears nearer than the fifteen miles away it actually is. Nevertheless, the purpose of the sketch nas accomplished, since no one expects the same degree of literal ness from a pencil In this drawing, it was rather tance, while rendering just drawing is as possible. I from a painting The — in — — which a far greater range of values in addition to color cliffs, accomplished with little effort, is reasonably suc- indication of the added a hint of the shoreline, and a few projecting rocks.

The panoramic view of Vesuvius from the Sorrento Cliffs Figure 24 was sketched from the garden of the Cocumela pension, perched atop the limestone cliffs abut- My view was along ting the Gulf of Naples. This prominence serves as gradually lighten the the side of those as little penciled tone as possible.

Selection would to have little scope for composition in the Notre to appear to be involved here. It Dame was necessary to select areas to receive tion of the tonal darks and those in which the detail is an approxima- brought out into the light, tone being restricted to that which was essential for the expression of forms. This arbitrary division of dark and light sections of the sculptured decoration resulted, I think, in a graph itself. Detail of Ogive Sculptures, Notre Dame Cathedral, Paris The unknown creator of his magnificent sculpture is among the vast company of artists who, during the era of cathedral building, contributed anonymously to a great collaborative achievement for the glory of God.

This drawing was made from a photograph. I could not have been favored with a vantage point from which to make such a detailed rendering. Photographs are not likely to evoke the emotional incentive experienced in direct drawing from the subject. Occasionally, however. I have been so stimulated by unusually fine photographs of sculpture and architectural details, that I could not resist the temptation to draw them. One can readily see that my drawing is not a copy.

The forms, but not the tonality, are copied. Tone is interrupted even in the darkened upper area by white paper accents. Even in line, tonal mass, we do not escape demand of pattern, as may be simply demonstrated by the comparison of Figures 27A and 27B. In A, the drawing suffers from the absence of design interest pro- the vided in B, where the massing of twigs in three different places provides excitement entirely lacking in A. In this chapter, however, — I from refer principally to pattern resulting relationships of tonal masses and shapes, together with the white their relative sizes areas that are associated with them.

Color may be almost entirely responsible for pattern sketch Along the Beach, St. Ives Figure 28 , possibilities, as in my where the color tones of vines which decorate the wall of the principal building, and the color tones of the roofs, constitute the essence of pattern interest. In such a situation, the designing of the foliage becomes the key to the interest of the entire sketch.

The effect That does not matter. The tonal are of importance too, and one is may is or variations impressed relationship of nearly black areas at the left to the light tones at the right, where the observer’s interest is being gently led out of the picture. Interesting value relationships are always a big factor in the creation of pattern. Consider, for example, the impact of the black accents of the Beach, St.

These are pattern interest as vital to as windows seasoning is in Along the to food. In this sketch, also do not overlook the function of line both in line width and line value, in its assertiveness Figure The and Jesuit Church point of interest in this sketch of details. The palm tree is in Sorrento, Italy is the bell tower, where I concentrated fortuitously placed to support the tower; the base serves as a terminating connection with the my delineation and the shrubbc r street.

Analyze, for example, the sketch of tial, basic pattern Figure 30B , which we Rocky Shore 3 Figure First we look for the essen- will hold the entire structure together Figure 30A Next. In Figure 30C, we work within the lighted area of the principal boulder, again seeking the most After that, we get down to rendering. We dominant shapes. As we explore the tonal aspects, we get even deeper into pattern problems.

Yet, if we have become expert and have “taught our pencil,” it takes over very much as I have tried to illustrate in the detail of Rocky Shore 3 Figure Within that small shadow area, pattern continues to dominate our work. And pattern here, as you see, is involved with values and with technical niceties, where directhat, tion and character of stroke conspire with white or light accents within the mass to portray the texture of the rock 52 and to create an agreeable abstract expression.

W -A L JI8. Along the Beach, St. Ives, Cornwall On the shore of almost any harbor in Cornwall, the artist is treated to the delights of ancient towns created to serve the business that for centuries has been the occupation of — this part of old England the sea.

Ives, Mousehole, seaports that have been sketched Newhn. Pattern and value relationships dominate the vine which clings to the main building of this group. How vital to the effect are the two uncovered areas of the wall ami the contrasting dark window sands of artists.

Note the variety of tone in the greenery, graduating mass that creeps over the wall, from the near black foliage where solid tone gives to the very light areas at the right, way to open-line technique as interest trails off for exit at the right. The dark mass of seaweed near the boats contributes an important balancing tonal note, and adds an appro- priate illustrative accessory as well. The rocky outcrops attract geologists and artists alike.

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