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The British Front
I MOTORED to St. Omer, G.H.Q., on May 25th, and immediately on arrival reported myself to the Provost Marshal General (General Bunbury). He was a genial gentleman and promised me passes to any point I thought desirable to reach.
Pacific Coast And Alaska
ON JUNE 8th, 1916, I married Elizabeth Van Hook Thomas, only daughter of Mr. Edwin Ross Thomas and Mrs. Thomas, of Buffalo. Mr. Thomas was formerly vice-president of the Canada Cycle and Motor Company, of Toronto, and afterwards president and owner of the Thomas Car Company, of Buffalo, from which position he retired some years ago.
Impressions Of The Orient
JapanTHE 11th of October, 1922, I embarked for Japan and on the 25th arrived at Yokohama. It was a bright, clear day and the mountains stood out strongly in the early morning sunshine.
Hong Kong
I ARRIVED in Hong Kong just as the setting sun was gilding with its golden rays the mountains, which encompass this great British port in the Far East.
Looking Backward - Bibliography
The Ryerson Genealogy, by Albert W. Ryerson. Printed privately by Edward L. Ryerson, Chicago, 1916.
Introduction
NOW that mechanical and photographic means of reproduction make it possible for an illustrator to employ practically any graphic means he may prefer, from a full-bodied oil colour to the most delicate pencil point, it is hardly necessary to limit our consideration in speaking of 'Illustration' in general to any particular medium-and an Academy picture will serve as readily for an example as the cartoon in this week's Punch.
Whistler On The Content Of Art
IT may be thought that Whistler, in a very effective defence of some of his own work, has disposed of any claim that Illustration might make for inclusion among the arts, except as a hanger on. The following is an extract from the Gentle Art of Making Enemies, pp. 126-128 : 'My picture of a ' Harmony in Grey and Gold ' is an illustration of my meaning-a snow scene with a single black figure and a lighted tavern. I care nothing for the past, present or future of the black figure, placed there because the black was wanted at that spot....
Purely Pictorial Art
ALL traditional art has hitherto fallen into one of two categories so as to give rise to a question as to whether it is primarily concerned with the presentation or illustration of facts or of ideas-yet there is a third possibility open to the artist ; and it may perhaps be useful to explore it.It has been said that there are only twenty-seven stories or jokes in the world...
Thought Forms And Colours
EFFORTS have been made by clairvoyants to set down the form and colour of thought and emotion,and even to represent the soul itself in terms of colour; and an illustrated book upon the subject, has been published. From a sympathetic review of the book we learn that 'black indicates hatred and malice. Red of all shades shows anger-brutal anger is shown by flashes of lurid red from dark brown colours, while ' noble indignation ' is a vivid scarlet. Clear brown denotes avarice, while dull grey-brown shows selfishness...
Automatic Drawing And The Power Of Suggestion
IN experiments in automatic drawing, a tendency to a repetition of similar shapes and penstrokes is visible on analysis ; and this may be set down rather to the fact that the fingers taking the line of least resistance, will be affected by the alternate play of the flexors and extensors in such a manner that, while the forearm remains at rest, aradiation of strokes becomes inevitable if the line is to remain continuous.
Object And Subject
ANY art that contains or suggests a reference to something outside itself to the extent that it depends for its interest upon that reference may be said to be an illustration whenever the reference is to a fact or to an idea expressible in other terms.
Vivid Vision Of Facts
THE pendulum swings perpetually between an acceptance and recreation of the visible world, and the imposition of a world of idea from which, no matter how much it has derived from theworld of fact, the visible world has been put away as far as may be.There is a point in the swing, where, to the happy, the world of fact and the world of vision coincide.These are the golden moments of art, when the mind can bask as in a high-walled garden.
Form And Line
THE shape of the space occupied by any object animate or inanimate is that by which it is primarily and finally differentiated from others. It is tangible in the dark-a blind man may know it by touch-and a line that will mark off this limit of occupied space will be the simplest means of recording on a flat surface its existence and kind.
Symbolism
SYMBOLISM is a matter that is commonly looked upon as something misty and vague, though its object is rather to express vividly in simple, concrete and familiar terms, the abstract, the unfamiliar, the invisible, and the intangible. The strategist at dinner will explain the course of a battle with a knife and a fork to represent the trenches, breadcrumbs for battalions, and aspoon for headquarters...
Cartoons
THE work of the cartoonist involves many considerations from the highest to the lowest. As it provides a ready vehicle for ridicule, and as ridicule is perhaps the greatest destructive power in the world, the artist entrusted with the use of such a weapon should have a strong sense of responsibility if he hopes to carry any weight.
Study Of Style
IT is advisable that the student should be familiar not only with the work that is being contemporaneously produced, so as to keep abreast of current taste, but should have a wide knowledge of the outstanding work of the past, so that tradition will not be over-thrown by the ignorance of it, nor by craze of fashion or prejudice, but only by improvements on it.
Consistency With Original Impulse Essential In Art
DOUBT and hesitancy frequently crop up during the progress of a work. The more mind a man or woman has the more inclined they are to change it from time to time, and to take sides against their own point of view, as a model will rest on one foot after another, alternately. It is a salutary process, but should not be indulged in while a work of art is in progress. Art is a statement not of doubt or hesitancy, but of passion and conviction.
Flexibility Of The Pen Line
THE pen consisting of a pliable pair of points has this in common with the brush ; that it is capable of a line that can be thick or thin at will, with all degrees between its finest and its broadest capacity. This gives the pen draughtsman his one small advantage over the etcher, since the etcher's line is not variable in like manner, having to be of the same thickness throughout its length. Strict line drawing with the pen being even more severely restricted in its means of expression than those legitimately employed in etching...
Composition And The Principle Of Groups
THE principles underlying the harmonious arrangement or grouping of lines are to be derived from nature. It is only necessary to observe how two or more people brought into any relation by a common interest, such as walking together, conversing, reading from the same hymn-book, or watching a balloon will immediately, no matter what their individual differences, form a harmonious group, focussed as they are upon their common interest.
On The Use Of Models
THERE is a popular idea that to 'do a thing out of your head' is in some way a mark of superiority. A. S. Hartrick, on being asked 'How do artists do ideal heads ?' replied, 'Mostly from models.' The novelist of a certain order is fond of a situation in which the artist is in despair until he can find the exact model for some situation, and his epoch-making masterpiece is consequently hanging fire until she (it is generally she) can be found and induced to sit.
Phil May And Beardsley
IN studying the work of Phil May, the first thing noticeable is how much of value he put into it by a process of leaving out. It is as though he put his extraordinary amount of observation into a sieve, and riddled away everything but what was essential to his purpose. Concision of statement was characteristic of his mind : he disliked long legends beneath his drawings...
Botticelli And Progressive Interest
BOTTICELLI made a series of drawings to illustrate the works of Dante - the 'Inferno,' the 'Purgatorio,' and the ' Paradiso.' The 'Inferno' appears to have been too fierce a subject for the suave and gentle spirit of the artist, who, while not shrinking from it, treats it in a curiously untouched and naif manner, as something far off and not realized, quite unlike the text.
Sandys And Boyd Houghton
FOLLOWING closely upon the Pre-Raphaelites with their devoted and high-minded fastidiousness came the school of domestic illustrators of the Sixties-aiming in general not so high, and taking their task with a lighter heart. Millais himself relaxed, and most of his work in later days was of less importance than that of Sandys, Houghton and Keene of the same time. The charm of this work lay largely in its robustious common sense, and common humanity.
Blake
IT has been said of Blake that he attempted the impossible and nearly succeeded. It is when he comes nearest to attempting the realization of living character that he breaks down most severely. His written defence of his plate for Chaucer's 'Canterbury Pilgrims' is a document of far greater interest and value as a clue to the mind of Blake than is the plate itself...
Millais And The Illustration Of Verse
IF the drawing is as fine as can be in its appeal to the aesthetic faculties, it stands to reason that the pleasure taken in it will be still greater if it intrigues other faculties of the mind in addition, but its primary appeal must always be to the aesthetic sense. This, however, being satisfied, the more fully charged the drawing with interest the better.
Dore And Scale
AN important matter to consider in a composition is the relative scale of the figures to theirsurroundings, so that there is no conflict of interest between them. If it is desired to represent facial character and expression it will be necessary to take a fairly close view of the figures, which will then naturally be made to dominate their surroundings ; but if they areso placed that the emphasis of the composition falls so evenly that a doubt might be felt as to where lay the primary interest of the designer...
Reduction Of Drawings By Process
WITH the introduction of process it was found, provided moderate care was taken in the etching, that it was possible to obtain the finest lines the sharpest pen was capable of making, and toprint them too. Success depended more upon the rapidity of the press and the quality of the paper used than upon any extravagant demand on the skill of the block-maker.
Some Limitations And Possibilities In Black And White Convention
THERE is always interest and excitement to be got from exploring the limits imposed by the use of any given medium, and nothing is more instructive than experiments conducted with this view,or even, and probably this is more general, without any idea that a judicious use of the medium does impose limitations. Full tone effects, with faces elaborately drawn and strictly modelled in shadow or half tone against the light, will strain the medium of pen drawing further than it is in general wise to carry it, and disappointment is almost inevitable.
Suggestions To Be Found In Copper-plate Engraving For Pen Drawing
WHILE the mediaevally inclined among book illustrators have been inspired by the work of the wood-cutter of line, since his work was designed to be printed in the same manner as letterpress,and frequently with it, there is as much or more reason why he should look, not to the wood-cutters but to the engravers on copper as exemplars of strict style, if he must look backwards for inspiration, since the burin naturally yields a line much more in correspondence with our modern steel nib than the line left by the wood-cutter's knife, and is equally reproducible.
'Line' And Lines
THOUGH the pen has its special characteristics and advantages, these should not be strained in order to make a display of 'penmanship' at the expense of the form expressed. Line, Line, Line, and always Line, as expression of the essential form in the simplest and most direct manner should be the aim of the stylist with the pen, as with any other point.
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