BRUSH DRAWING . . .
as applied to Natural Forms
and Common Objects . .

*Over 300 Examples in Monochrome and Colour.*

BY
MAY MALLAM.

LONDON:
GEORGE PHILIP & SON, Ltd., 32 FLEET STREET, E.C.
LIVERPOOL:
PHILIP, SON & NEPHEW, Ltd., 45-51 SOUTH CASTLE STREET.
1905.

*(All Rights Reserved).*

## BRUSHWORK.

To learn Brushwork is to learn to draw with a brush instead of a pencil—in mass instead of in outline. It has been found that children like this method, and find it easy: proportions are more readily grasped, faults are more easily seen in the filled surface, while even the work of a beginner often shows the grace and the spirit of the model. In its first stages Brushwork aims (1) at mastery of the brush; (2) at the use of the brush to draw with. In its later stages it teaches the expression of solid form by means of light and shade, and simple colouring—the beginnings of water-colour painting. Its chief object is to teach bold, simple work; it deals with general effect rather than detail; it is suggestive rather than exact. Much must be left out in using this method, but a wise "leaving out" is one of the secrets of an artist. The pupil is taught to look for the broad effects that mark the modelling, disregarding, for the time, small changes of surface and colour. When the power of doing this has been obtained, a great step has been made, and the pupil will be ready to attack more serious work.

### GENERAL DIRECTIONS.

*Requisites.*—Paper fairly thick and not too smooth. A good cartridge paper for the purpose can be obtained at 1s. 1d. per quire, extra thick.

One or more hollowed palettes to hold colour: they must be able to hold quite a teaspoonful of mixed paint.

A sloping surface for the paper, to ensure the smooth run of the colour; the slope of the school desk will do, but a steeper slope is better.

Brushes not too fine: Nos. 6 or 7 are good.

Blotting paper or duster to wipe and clean the brushes.

A white screen in front of the pupil, i.e., a piece of white cardboard, with a hinged stand, which can be easily made, and a couple of skewers piercing the screen, so that their rings support the specimen to be studied.

For monochrome, a tube or pan of indigo, sepia, or other suitable colour.

SHADED MONOCHROME.—PLATE VI.

An advance on simple monochrome is the monochrome which shews the roundness of the object by taking note of light and shade. It is an advance towards dealing with colour, and it is a useful intermediary, as it accustoms the pupil to further examination of his model and gives him skill in dealing with more than one wash of colour. Very pretty useful work can be done at this stage.

Mix two pans of colour, one distinctly darker than the other, but not too thick, and keep a separate brush for each. The variety of colour is to be used chiefly to show shadow and therefore form, but it is possible sometimes, as in "Love in a Mist" (Plate XIX.), to take note also of different tones of colour, keeping, in this case, the petals of the flower very pale, the foliage dark. The two colours may be laid side by side with a tiny white line between to prevent mixing, if the distinction of colour is very sharp—this is shewn in Nos. 1, 4, and 5; but more often the change will be gradual, and then, being laid on side by side (as in 2, 3, and 6), or in succession one above the other (as on the right hand side of 9, three of the leaflets of 11, and in the grass forms), their edges must overlap, and, both being wet, the paint will run together and make the change gradual. To keep good distinction of tone in this method the paint must not be put on too wet, and yet it must be wet enough to run smooth. Accidental variety of colour must be avoided in "Shaded Monochrome;" any run of paint to the bottom of the coloured surface must be taken up with a clean damp brush. To make a very decided light, a clean, wet paint brush may take the place of one filled with paint; this has been done in examples 7, 8, and 10. The grass and oats (12 and 13) present no difficulty: any ribbon-like foliage is excellent practice in brushwork, needing and forming a firm, free stroke. It will be seen that a white line division marks a difference of surface, a bend over of the blade (it can be seen again in the pear leaves (14)), while a gradual change is made in the way explained above. In 14, notice how the leaves have been grouped so as to be shewn in silhouette; if one part has to cross another as in 15, always work the front one. i.e., the one you can see the whole of, first, and piece in the other behind, using less detail. Sharp lights and shades and much detail bring an object forward, flatter treatment throws it back.

The whole effect should be obtained in one painting (one wetting of the surface), but sometimes fine markings may be added when the first colour is nearly dry; this should be avoided as much as possible. If a fault in colour needs to be corrected by a second wash, take care to wet the whole surface again slightly, with water where the extra colour is not needed; such correction must not be attempted till the first wash is quite dry. Washing out should not be tried except sometimes in fine lines for vein marks and stamens, etc. After the drawing is complete, some of the white lines may be filled in with a little faint colour if they are too conspicuous; fill those on the shaded side rather than on the light side.

In work from nature itself, attend first to placing your model so that there is distinct light and shade shewn—in masses, rather than too much intermixed. If small lights and shades appear in the masses, disregard them for the present, and represent the light as one unbroken surface, the shade as another. This neglect of detail and grasp of mass is an important element in good brushwork. When that has been thoroughly grasped, the detail may come back into notice, but it will be in right subordination to the masses. Work first from easy leaf forms taken singly, then from several on one stem, as in 14, 15, and 16. This introduces more freedom of position and broader differences of light. Work from the largest specimens available, and on a large scale, if possible.

PLATE VI.

George Philip & Son's
SELECT LIST OF
**Brushwork & Colour Drawing**
**PUBLICATIONS.**

32 FLEET STREET,

LONDON, E.C.

### Philips' Manipulation of the Brush, As Applied to Design.

By STANLEY THOROGOOD, A.R.C.A.,
Art Director to the Burslem Borough Council Education Committee.

Third Edition. Revised & Enlarged.

This handsome text-book forms a course of Brushwork for Higher Grade, Elementary, and Secondary Schools, containing 48 plates (over 200 designs), printed in six colours, with 12 pages of introductory letterpress relating to Brushwork as a means of expression, Colour-mixing, Colouring, Practice, and full instructions. Size, 12¼ by 10 inches. Bound in beautifully designed art linen cover with bevelled edges. Price 4s. net.

### Philips' Free Brush Drawing Copy Books. Applied to Pattern.

In three Books of seven stages. Size, 7¼ by 10¼ inches (upright). Price 3d. each, net. (The three Books complete in one volume, stiff cover, Price 1s. 6d. net.) A carefully graded scheme, for use with the Teachers' book, *The Manipulation of the Brush as applied to Design*. Each book contains 24 pages of Designs, printed in colour on good cartridge paper, and is accompanied by full instructions. Each page contains space to copy designs.

Exercise Book for use in conjunction with the above, 24 pages ruled, with one inch squares, or plain. Price 2d. each.

### Philips' Elementary Brushwork Studies. New and Enlarged Edition.

By E. C. YEATS.

Twenty-four Plates of Flowers and Natural Objects, beautifully printed in colours, accompanied by full Directions and Practical Hints by illustrated photographs, in artistic cloth cover. Oblong 4to. Price 5s. net.

[IN PREPARATION.]

### Philips' Brushwork Studies of Flowers, Fruit and Animals.
For Teachers and Advanced Students.

By E. C. YEATS.

Twenty-seven Plates, beautifully printed in colours, accompanied by full Directions and Practical Hints, in artistic cloth cover. Oblong 4to. Price 6s. net.

### Philips' Brushwork Copy Books.
By E. C. YEATS.

In three parts. Size, 8¼ by 7 inches (oblong). Price 3d. each. The three parts bound together, in stiff cover, with Instructions to Teachers. Price 1s. 6d. Each part contains 24 pages of simple exercises and designs, printed in sepia, with spaces for copying same, and directions. These original and varied exercises consist of Flowers, Birds, Animals, etc. The whole course is specially well adapted for use in large classes.

Plain Exercise Books, for use with above. Price 2s. per dozen.

Select List of Brushwork & Colour Drawing Publications.

### Philips' Brushwork Concrete Arithmetic.

By F. F. LYDON.

Four Books. Beautifully printed in simple colours. Size, 10 by 7 inches (oblong). Price 3d. each, net.

### Philips' Brushwork Geography.

By F. F. LYDON.

Three Books. Beautifully printed in simple colours. Size, 10 by 7 inches (oblong). Price 6d. each, net.

### Philips' Nature Study Brushwork Books.

By A. F. LYDON.

Set of three—Leaves, Flowers, Fruit. In simple colours on left of page; portions of outline indicated on right of page. Size, 10 by 7 inches. Price 3d. each, net.

### Ambidextrous and Free-Arm Blackboard Drawing and Design.

By F. F. LYDON.

With 57 Plates and Explanatory Diagrams. A full course of Free-arm work, from simplest elements up to Floral Design. Crown 4to. Cloth. Price 5s. The Plates are also prepared as Drawing Cards.

"The more we look into this book the better we like it." ... From first to last it is admirably conceived,"—Scholastic.

### Four Packets of Free-Arm Drawing Cards.

The 48 plates in *Ambidextrous and Free-Arm Blackboard Drawing and Design*, for use in Class Work.

By F. F. LYDON.

Price 1s. net per packet.

### Geometrical Drawings for Schools.

By F. F. LYDON.

Fully covers the syllabus for Geometrical Drawing for the "D" certificate. Makes special features of Pattern Drawing, Drawing to Scale, and Solid Geometry and Sections. In these latter the illustrative diagrams make clear what is usually the most difficult branch of the subject. Crown 4to. Cloth. boards. Price 3s. 6d. net. 64 Plates, and 32 pages of Notes.

### Model & Blackboard Drawing.

By F. F. LYDON.

Crown 4to. Cloth. boards. Price 3s. 6d. net. Containing 44 Plates, and 52 pages letterpress.

### Philips' Artistic Studies.

COLOURED SERIES—Price 1s. 3d. per set.

OUTLINE SERIES—For Class use. Printed on stout cartridge paper. Packet of 12 assorted designs, price 3d. Packet of 25 of any single design, price 6d.

THE THREE SERIES—(1) Animals. (2) Fruit. (3) Flowers. 12 studies to each set.

### Philips' Primary Drawing Cards.

By F. F. LYDON.

For Firm Point, Flexible Point, Brushwork. 'In six packets, each containing 18 designs in colours, on stout cards. (Plants, Animals, Patterns, Simple Objects, etc.) Size, 10 by 7½ inches. Price 1s. 6d. net per set.

### Philips' Nature Study Drawing Cards.

By A. F. LYDON.

For Firm or Flexible Point, combining Drawing with Nature Study, four sets—(1, Animals; 2, Birds; 3, Insects; 4, Flowers). Sixteen cards each set. Size, 8 by 5½ inches. Each card contains drawing copies and concise description of subject. Prices—

PLAIN SERIES, four sets, 1s. net each.

COLOURED SERIES, four sets, each containing Notes for Composition, 1s. 9d. each net.

### Philips' Nature-Story Studies.

Sixteen Studies. Packets containing one each of 16 Studies, price 6d.; 25 copies of any one design, price 6d.

Stories descriptive of these Studies are contained in "IN NATURE'S STORYLAND," by Edith Hirons, price 2s. 6d.

### Philips' 'Albion' Series of Outline Chalk Drawings,

including Animals, Flowers, and Objects. Adapted also for Brushwork Copies.

In packets of 12 assorted designs, Price 4d. net.

" 25, all one design, " 7d. "

" 12 coloured copies of the above, printed on cards, per packet of 12 assorted designs, Price 2s. net.

GEORGE PHILIP & SON, Ltd., 32 FLEET STREET, LONDON, E.C.

PHILIP, SON & NEPHEW, Ltd., 45-51 SOUTH CASTLE STREET, LIVERPOOL.