The Practice and Science of Drawing
Book review
I read this book by Harold Speed after I had read his book on Oil Painting Techniques - it probably makes sense to read this one first in the standard artistic progression, but its not necessary.
The book was written over a century ago, which is apparent in the language used, but the advice is timeless and still very relevant today. Like many artists, Speed's appreciation of art stops at the Impressionist period, having concluded that modern art contributed little:
It is no wonder that a period of artistic indigestion is upon us.
And although he believes that this indigestion of art is brought about by the modern age of transport, communication and photography, he has hope for the future of art:
The hope of the future is that a larger and deeper art, answering to the altered conditions of humanity, will result.
So he encourages the aspiring artist to practice and master his craft and suggests how he/she may accomplish this with chapters on line drawing, mass drawing, composition, procedure and materials and extensive chapters on the aspects of rhythm - rhythm of line, rhythm of mass, balance and proportion.
In the chapter on mass drawing he provides a number of exercises mostly aimed at drawing with the paint brush - personally, I think it best to start mass drawing using charcoal as it is the closest drawing medium to paint and the artist can get into the process without worrying about paint or colour. Later, the artist can progress to pastels and then on to paint.
Unity versus variety is an important factor in conferring ‘life’ to art and he explains the variety which can be sought in line (thickness, weight, direction), symmetry, shade and value. However, it is unity of line which he deems to be more important in creating a good composition and when seeking balance between straight lines and curves, he encourages the artist:
Always be on the lookout for straightness in curved forms and for planes in your modelling
He provides a couple of chapters with practical exercises and the book is interspersed with advice drawn from his own extensive practice and teaching. On the subject of portrait drawing he insightfully suggests:
The tendency of a tired eye is to see less differentiation, and to hark back to a dull uniformity; so get in touch at once with the vital differences while your eye is fresh and your vision keen.
The book is a thoughtful reflection on many aspects of drawing including vision, expression and vitality and how the sense of touch influences how we see things, far more than might be realised. As a teacher, Speed is all too aware that it is only the 'academic' aspects that can be taught and it is up to the artist to develop the vitality of expression. The 'perfection of deadness' is an expression he uses to help describe art which is well drawn but lacks a certain 'vitality' which could have set it aside as great art.
