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ACKNOWLEDGMENT |
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The
Project Gutenberg EBook of Pen Drawing,
by Charles Maginnis
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Title:
Pen Drawing
An
Illustrated Treatise
Author:
Charles Maginnis
Release
Date: January 12, 2006 [EBook
#17502]
Language:
English
Character
set encoding: ISO-8859-1
***
START OF THIS PROJECT GUTENBERG
EBOOK PEN DRAWING ***
Produced
by Robert J. Hall
PEN
DRAWING
AN
ILLUSTRATED TREATISE
BY
CHARLES D. MAGINNIS
F.A.I.A.,
LL.D.
FELLOW
AM. ACAD. ARTS AND
SCIENCES
FORMERLY
INSTRUCTOR IN ILLUSTRATION, COWLES
ART
SCHOOL
INSTRUCTOR
IN PEN DRAWING, BOSTON
ARCHITECTURAL
CLUB
SEVENTH
EDITION
ACKNOWLEDGMENT
To
Mr. David A. Gregg and to Mr. Bertram G.
Goodhue, who have
generously
made special drawings for
this little book, and to
the
Publishers
who have courteously allowed
me to make use of illustrations
owned
by them, my thanks and my cordial
acknowledgements are
due.
C.
D. M.
LIST
OF ILLUSTRATIONS
FIGURE
1.
JOSEPH PENNELL. From The
Century Magazine (The
Century
Co:
New York)
2.
MAXIME LALANNE. From "La
Hollande � Vol d'Oiseau," by H.
Havard
(A. Quantin: Paris)
3.
MAXIME LALANNE. From "La
Hollande � Vol d'Oiseau," by H.
Havard
(A. Quantin: Paris)
4.
RESTORATION HOUSE, ROCHESTER,
ENGLAND. Drawing
from
a Photograph
5.
JOSEPH PENNELL. From "Highways and
Byways in North
Wales"
(Macmillan Co:
London)
6.
BERTRAM G. GOODHUE. Drawn
for "Pen Drawing"
7.
HERBERT RAILTON. From "Coaching
Days and Coaching
Ways,"
by W. Outram Tristram (Macmillan &
Co: London)
8.
BERTRAM G. GOODHUE. Drawn
for "Pen Drawing"
9.
C. D. M. Drawn for "Pen
Drawing"
10.
C. D. M. Drawn for "Pen
Drawing"
11.
MARTIN RICO. From La
Ilustracion Espa�ola y
Americana
12.
C. D. M. Drawn for "Pen
Drawing"
13.
DANIEL VIERGE. From "Pablo
de S�govie," by Francisco de
Quevedo
(L�on Bonhoure: Paris)
14.
MARTIN RICO. From La
Ilustracion Espa�ola y
Americana
15.
ALFRED BRENNAN. From
St.
Nicholas (The
Century Co: New
York)
16.
LESLIE WILLSON. From
Pick-Me-Up
(London)
17.
DRAWING FROM PHOTOGRAPH. From
Harper's
Magazine
(Harper
& Brothers: New
York)
18.
JOSEPH PENNELL. From "The
S�one: A Summer Voyage,"
by
Philip
Gilbert Hamerton (Seeley &
Co: London)
19.
JOSEPH PENNELL. From "The
S�one: A Summer Voyage,"
by
Philip
Gilbert Hamerton (Seeley &
Co: London)
20.
JOSEPH PENNELL. From Harper's
Magazine (Harper
&
Brothers:
New York)
21.
E. DANTAN. From L'Art
(Paris)
22.
J. F. RAFFAčLLI. From Gazette
des Beaux-Arts (Paris)
23.
C. D. M. Drawn for "Pen
Drawing"
24.
D. A. GREGG. From "Architectural
Rendering in Pen and Ink,"
by
D.
A. Gregg (Ticknor & Co:
Boston)
25.
DANIEL VIERGE. From "Pablo
de S�govie," by Francisco de
Quevedo
(L�on Bonhoure: Paris)
26.
DANIEL VIERGE. From "Pablo
de S�govie," by Francisco de
Quevedo
(L�on Bonhoure: Paris)
27.
HARRY FENN. From The
Century Magazine (The
Century Co:
New
York)
28.
REGINALD BIRCH. From
The
Century Magazine (The
Century
Co:
New York)
29.
JOSEPH PENNELL. From The
Century Magazine (The
Century
Co:
New York)
30.
BERTRAM G. GOODHUE. From
The
Architectural Review
(Bates
& Guild Co:
Boston)
31.
JOSEPH PENNELL. From "Charing
Cross to St. Paul's,"
by
Justin
McCarthy (Seeley & Co:
London)
32.
LEONARD RAVEN HILL. From
Pick-Me-Up
(London)
33.
DANIEL VIERGE. From "Pablo
de S�govie," by Francisco de
Quevedo
(L�on Bonhoure: Paris)
34.
P. G. JEANNIOT. From La
Vie Moderne (Paris)
35.
PORCH OF AN ENGLISH CHURCH.
From a Photograph
36.
D. A. GREGG. Drawn for "Pen
Drawing"
37.
37. NORMANDY MOAT-HOUSE. From a
Photograph
38.
38. C. D. M. Drawn for "Pen
Drawing"
39.
STREET IN HOLLAND. From a
Photograph
40.
C. D. M. Drawn for "Pen
Drawing"
41.
C. D. M. Drawn for "Pen
Drawing"
42.
GEORGE F. NEWTON. From
"Catalogue of the Philadelphia
&
Boston
Face Brick Co."
(Boston)
43.
C. D. M. Drawn for "Pen
Drawing"
44.
C. D. M. Drawn for "Pen
Drawing"
45.
FRANK E. WALLIS. From
The
Engineering Record
46.
HARRY ALLAN JACOBS. From The
Architectural Review
(Bates
& Guild Co:
Boston)
47.
D. A. GREGG. From "Architectural
Rendering in Pen and Ink,"
by
D.
A. Gregg (Ticknor & Co:
Boston)
48.
D. A. GREGG. From The
Brickbuilder (Rogers
& Manson:
Boston)
49.
HERBERT RAILTON. From "Coaching
Days and Coaching
Ways,"
by W. Outram Tristram (Macmillan &
Co: London)
50.
D. A. GREGG. From The
American Architect (The
American
Architect
and Building News Co:
Boston)
51.
WALTER M.CAMPBELL. From The
American Architect (The
American
Architect and Building News
Co: Boston)
52.
HERBERT RAILTON. From "Coaching
Days and Coaching
Ways,"
by W. Outram Tristram (Macmillan &
Co: London)
53.
A. F. JACCACI. From The
Century Magazine (The
Century Co:
New
York)
54.
CLAUDE FAYETTE BRAGDON. From
The
Brickbuilder
(Rogers
& Manson: Boston)
55.
HARVEY ELLIS. From The
Inland Architect (The
Inland
Publishing
Co: Chicago)
56.
C. E. MALLOWS. From The
British Architect (London)
57.
C. D. M. Drawn for "Pen
Drawing"
58.
C. D. M. Drawn for "Pen
Drawing"
59.
C. D. M. Drawn for "Pen
Drawing"
60.
C. D. M. Drawn for "Pen
Drawing"
61.
A. B. FROST. From Scribner's
Magazine (Charles
Scribner's
Sons:
New York)
62.
ALFRED G. JONES. From a Book
Plate
63.
WALTER APPLETON CLARK. From
Scribner's
Magazine
(Charles
Scribner's Sons: New
York).
64.
A. CAMPBELL CROSS. From Quartier
Latin (Paris)
65.
MUCHA. From a Poster
Design
66.
HOWARD PYLE. From "Otto of
the Silver Hand," by
Howard
Pyle
(Charles Scribner's Sons: New
York)
67.
WILL H. BRADLEY. From a Poster
Design for The
Chap-Book
(Herbert
S. Stone & Co: Chicago)
68.
P. J. BILLINGHURST. From a Book
Plate
69.
"BEGGARSTAFF BROTHERS." From a
Poster Design
70.
EDWARD PENFIELD. From a
Design for the
"Poster
Calendar"
(R. H. Russell & Son:
New York)
71.
LOUIS J. RHEAD. From a
Poster Design for
"Lundborg's
Perfumes"
72.
J. W. SIMPSON. From a Book
Plate
CONTENTS
CHAPTER
I.--Style
in Pen Drawing
CHAPTER
II.--Materials
CHAPTER
III.--Technique
CHAPTER
IV.--Values
CHAPTER
V.--Practical
Problems
CHAPTER
VI.--Architectural
Drawing
CHAPTER
VII.--Decorative
Drawing
CHAPTER
I
STYLE
IN PEN DRAWING
Art,
with its finite means,
cannot hope to record the
infinite variety and
complexity
of Nature, and so contents itself
with a partial
statement,
addressing
this to the imagination for
the full and perfect meaning.
This
inadequation,
and the artificial adjustments
which it involves,
are
tolerated
by right of what is known as
artistic convention; and as each
art
has
its own particular
limitations, so each has its
own particular