Borough Johnson - The Technique of Pencil Drawing

FOR the method I employ it is important to select the right degree and make of lead pencil, for there are so many shades, from very hard to soft lead. I myself generally use a first-grade quality BB, with which degree practically all the drawings in lead reproduced in this book have been executed. The first two illustrations demonstrate the wide range of shades, from the palest grey to deep black, according to the pressure used. The chromatic scale of shading as shown was done with only one cutting of a BB pencil, held in the right manner, on suitable paper. I use the word chromatic, believing that black and white can, in a sense, suggest colour.

The pencil should be held, as shown in Plate III, Fig. 3, between the thumb and the first two fingers ; or, if the pencil is long enough, between the thumb and index finger, but running through the third and little finger, as illustrated in Plate III, Fig. 4. In this way one has great control over the pencil, can keep the edge of the lead point parallel to the paper, and be able to apply pressure of the thumb where necessary in darker tones or decisive touches, all the control coming from the finger tips, in harmony with a flexible wrist. If this method is employed, it is possible, with considerable practice, to render every degree of gradation from the faintest to the deepest shades, with any shape, size or touch, much as a brush can do. The range of effects is infinite ; in fact, this method of pencil drawing or painting is akin to brushwork, as we may see in Frans Hals portraits, and requires keenness of vision with certainty of touch and tone. The beginner should frequently practise the necessary pressure or touch required to mark the scale of tones and shapes he may need in this most difficult of all ways of modelling with the pencil.

Now the cutting of the pencil is important, very important indeed, in order to obtain the number of touches and tones necessary in such a drawing as that of the mans head shown in Plate XV. One must make the lead point last as long as possible to avoid hindrance in re-cutting, and to do this the lead must be supported by the wood on the side not employed, but cut away to expose the facets of the lead used, as in diagrams A, B, C, in Plate II, so as to obtain narrow or broad touches.

One must have a sharp penknife, and hold the pencil firmly in the left hand towards the top whilst cutting.

There are many kinds of papers, and it is interesting to experiment with different surfaces and qualities, but for general use I find a smooth machine-made demy paper the best, such as chemists use for wrapping up bottles, etc. The only disadvantages this paper has are thinness and liability to change of colour under light. Otherwise it is perfect, and gives beautiful qualities in the blacks. Use the smooth side without the grain. Then I have used stouter paper, such as cartridge, and any hot-pressed paper. Bristol board is also suitable.

PLATE I

PLATE II

PLATE III

PLATE IV

If the paper is thin, it is advisable to work over several sheets placed under the drawing in order to give elasticity to the touch, which materially aids one in securing delicacy and subtlety of modelling and good quality in the blacks.