transcribed by Lala Ragimov, original spelling kept
An introduction to the general art of drawing.
A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)
CHAP.
XVI.
Of
the Circumferent or out-stroke, and his looseness and a good
Position, as also of keeping of their Parts.
BEcause
we have now made a description of the principal properties belonging
to this art; and necessarie to be known and understood, it is
requisit now (for to make a compleat and perfect work) thorow a short
instruction to show, how the same work must be perfected and
compleated, in exercising the art of drawing: for as much as this
order in drawing is the best, and fittest, viz. first to understand
drawing in its self, and then to begin, and so doing and learning
finish, and compleat the same. I have also bin willing in my
discription and teaching to observe and follow the same.
Scetch.
First,
then I will begin of the schetch, thorow which you must make first
your rude draught (following what manner of drawing you please) being
of a good spirit, aiery and judgement; and after this, with good
observation (following the Rules prescribed herefore in that behalf)
to correct and amend your first and rude draught, in the drawing of
it over again, accustoming or using your self always to represent the
shadows and touches in your draught with a coal, by reason, that you
might be certain of a good Position in your draught. --
Circumferent stroak.
Having
this, then you shall begin to draw your out-stroke, or your
circumferent stroak, taking very great heed, care and diligence to
observe and keep the handsomness, beauty, comeliness and Gentility of
the out stroke, taking also the same care and diligence to observe
and keep his parts; for it happens very often, that the great parts,
thorow several small bendings, are utterly spoiled, which fault
seemeth to be natural in all youth, observing those small bendings so
much, (which always they make greater and bigger then they ought to
be) so that by consequence the greater part of his general (which
nevertheless must represent the thing, and should have dominion over
the lesser parts,) comes to lose very much, by reason whereof it
happens, that in such a figure or figures, no great or stately
Present can be found, which fault may be removed, if Learners would
observe the general parts, and not to observe the lesser parts so
much, before the general parts are perfectly drawn in their due and
proper places, (we speak here of naked and clothed figures, and of
other like things) the other bendings of the smaller parts, can
afterwards with more convenience be put in, and thus they shall
prevent that great and enormous fault of bending or chopping
their
parts in too deep, as I have seen too too often the draughts of young
Practitioners to have been abused, to the shame of their Instructors,
which many times and often do not understand the same, or not desire
to take the pain for to instruct the infancie therein; the truth of
this appears in Nature it self, viz. that in too curious or near
observation of the lesser things, the beauty of the general parts is
oftentimes lost, or at least diminished; for it happens often, that a
man at some distance from us, his visage shall appear more beautiful
and pleasant to us, because we behold his face in general at some
distance; but placing him so near, that we may behold the lesser
things in his face, viz. pockholes, pushes, spots, and the like,
then our eye comes to lose the general beauty which dwelleth upon
that face, observing the smaller things, viz. pockholes, pushes, &c.
which also have their seat there at a nearer distance, and such a one
busies himself so much about the defective parts, that such a face
seemeth not so handsom unto us as it did before; therefore it is to
be noted, that all things seen at a convenient distance do present
their being best of all, caused thorow the condensed Air that doth
intervene; upon which in another occasion I shall further enlarge my
self.---
Strokes on the side of the light to make sweet.
Draughts must be drawn without circumferent strokes,
The life is without strokes.
Example.
If it be so, that you draw with red or black chalk, have
special care that your strokes be not too hard or too sharp,
principally in the light; but in the shadowed part you may make them
stronger and broader, always observing, that in shadowing your
strokes do thus lose and vanish away, that no strokes may remain
more, so that a body might judg your draught to have been drawn
without a circumferent stroke: for in the natural life no stroke can
be seen, but only one cind, or one impaled desisting of bredth and
length of corporal things, passing all sides, or seem to touch each
other; this you may observe in a picture clearly, where the uttermost
parts of all things do agree with the color which is in the midst of
its field; so that the termination of this or that colour doth
represent the circumference without drawing of a stroke about it.
Strokes you must not draw till necessitated.
Small things are drawn without strokes, and appear as if they were.
And
although it often hapneth, that in drawing betwixt white and white,
and against the light, a stroke must be drawn, for to shew the
draught of the one or the other, especially upon white paper, yet
shall you not do the same before necessity compelleth you thereunto,
and there is no other way for to do it, and this you shall do with as
much dexterity of hand as possible.
One
may in many things (especially in little) present against the light
without drawing of a stroke, which nevertheless shall shew so
compleat as if a circumferent stroke was drawn about it; and because
I cannot speak of all causes incident herein, I will pass it over,
putting before your eyes one example for all, giving leave to the
Practitioner to order the rest, according as the spirit of the
Practitioner, the condition of the Work, and his Judgement shall give
him leave.
from a German edition from 1678, digitised
here
In the 1674 English translation this illustration is in reverse
You
see then, that the face drawn with A before, is circumscribed with a
compleat line or stroke; and the face B doth only represent the
shadow that are underneath the Nose and Mouth; Now the question is,
whether there be an error committed in the face B, which in the face A
thorow the out-stroke might be amended? I supposed not; but
contrariwise in the face B is observed a singular and handsom
curiositie, where white against white makes a termination, without a
circumferent or out-stroke betwixt them.
The
meaning of this Example being once well understood, you will accustom
your self to profit there by from day to day, and the beforementioned
looseness and dexterity know and understand with better judgement to
make use of in your drawings hereafter, and shall beget a singular
good manner in drawing, not knowing from whence it cometh unto you.
That
which is said, you must not understand of all manner of drawing, for
a rude Scetch only consisteth in circumferent lines or out-strokes;
nevertheless the dexterousness therein gives it a singular benefit;
by consequence you may apprehend how you may work upon coloured
paper, forasmuch as there is small difference, only that thorow
heightenings you may do much and save many strokes, which cannot be
done upon white paper; therefore in this manner of drawing you shall
more take heed then in any other, to draw strokes in the light,
especially while this may be supplied by heightning; and this is in
short what we have to observe concerning the freeness and dexterity
of the out-stroke.
