Landscape Sketching in Pen and Ink Page 7

  The original texture of the ground is so irregular in its blacks and whites that the mechanical tone lightens without making the ground look at all like a mechanical texture.

  The third and last example is a sketch that I made myself from a group in my large altar-piece in the Garrison Church, Chatham. The ground on which this black-and-white panel is drawn is really a paper mosaic. Before I started the sketch I stuck white paper in the centre and "Burlingham" grey paper on the sky edges and foreground. Thus, although a perfectly workmanlike surface on which to build up an elaborate pen drawing, the ground is varied. Where there is a great deal of white needed, the white ground is better than the grey, but for deep tonal passages this "Burlingham" grey gives a rich quality to the pen work and the device saves an enormous amount of time.

  (Cavendish)

  FIDDLER'S BEACH

  I think you will agree that the effect is as rich in its varying greys as a wash drawing, and has the advantage of being reproducible on the cheapest and flimsiest paper as on a heavy " art " surface, and has, moreover, the enormous advantage over a halftone inasmuch as it can be printed with the type.

  With these few hints to beginners, advice to fellow-workers, and greetings of love and respect to living masters of line—of which some account is given in Part V—I must here leave the subject and the problems of sketching in pen and ink.

  (Cavendish)

  THE WISE MEN

  PART V

  A GALLERY OF CONTEMPORARY PEN AND INK LANDSCAPES

  Illustration by Frank Brangwyn, "At Zutphen in Holland," from A Book of Bridges (Lane)

  Illustration by Frank Reynolds, from Punch

  Illustration by F. L. Griggs, "Hurstmonceux Castle," from Highways and Byways in Sussex (Macmillan)

  Design for a Five-Room House by Angus McD. McSweeney, Architect (San Francisco, CA)

  Design for a Five-Room House by Clyde E. Light, Architect (Detroit, MI)

  Design for a Five-Room House by Charles A. Markley, Architect (Utica, NY)

  Design by Hubert G. Ripley, Architect (Boston, MA)

  Design by William R. Schmitt, Architect (New York, NY)

  Illustration by Bernard Partridge, "Tour de l'Horloge, Vire"

  Illustration by D. Y. Cameron, “A Road in Tuscany”

  Illustration by E. W. Charlton, "On the Quay, Lymington"

  Illustration by Mortimer Menpes, “Osaka, Japan”

  Illustration by Beresford Pite, "The Italian Marienkirche, Vienna"

  Illustration by Ernest Peixotto, "High Street, Lincoln"

  Illustration by Otto Fischer, "A Study"

  Illustration by Albert Gos, “Weisshorn”

  Illustration from Harper's Magazine, 1887.

  Illustration by W. L. Wyllie, “Toil, Glitter and Grime on the Thames”

  Illustration by F. L. Griggs, "Newport Castle"

  Illustration by Herbert Railton, "Old Houses on Eve Island"

  Illustration by Joseph Pennell, "Market Square at Chartres"

  Illustration by Joseph Pennell, "A Street at Martigues"

  Illustration by Alfred Parsons, “Shakespeare’s Country”

  Illustration by Charles A. Vanderhoof, “On the Manasquan River”

  Illustration by W. H. Drake, “A Shipbuilding Yard”

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