Harold Speed Discusses Grounds

Welcome to the GJ Book Club. Today we'll cover pages 242-245 of the chapter on "Materials," from Harold Speed's 1924 art instruction book Oil Painting Techniques and Materials.

I'll present Speed's main topics numbered in boldface type. If you want to add a comment, please use the numbered points to refer to the relevant section of the chapter.

In this section of the chapter, Speed discusses grounds for oil painters. By "grounds" he means the prepared surface that you paint on.

Whistler, detail of oil painting (Source MOMA)

1. Advantages of a brilliant white surface.
Better permanency because oil paint always becomes more transparent with age, so a dark ground will show through and influence the painting in time. Oils also darken as they age, so if they're painted on a white ground, if they darken and transparentize, the two effects mitigate each other.

Disadvantage is that it's not always a sympathetic surface because it can be hard to judge values and colors against the bright white.

2. Recommended toned ground
Mix ivory black and raw umber to make a neutral color, thinning it with turpentine and applying it with a clean rag. Wiping with the rag gives an even tone and brings out some of the grain of the canvas.

3. Texture of ground
Speed says, "A perfectly smooth surface is not often used nowadays, although beautiful work has been done on it in the past. It is essentially the surface for very thin painting and high finish when soft brushes are used. The paintings of the pre-Raphaelites were done on such canvases.

4. What the ground should do
The surface texture should "pick the paint off the brush evenly without any scratchiness." And it should "hold the first touches painted sufficiently firmly for other touches to be painted evenly across them, without picking up the under paint unduly."

Speed complains about canvas manufacturers making prepared canvases with a slippery, soapy surface, which makes the paint slide around uncontrollably. A prepared canvas shouldn't be slippery and smooth; it should have a "bite" to it, a slightly gritty feel.

5. Coarse vs. fine canvas
A coarse canvas is good for large, simple masses of color—"the grain of the canvas breaks up the surface slightly and gives it a little movement, whereas on a smooth canvas, it is dull and lifeless." Beginners should start with a medium-grained canvas and then experiment with rougher and smoother options.

6. Absorbent canvases
Although paintings done on absorbent canvases may dry matte, the surface will absorb the oil, which tends to darken with time. Absorbent surfaces are suited to high key paintings, but they're not as good for dark subjects.

Dry, matte-surfaced paintings should be framed under glass, as dirt will settle into the rough surface of the paint. When Speed says, "Dirt is the great enemy of permanency in our modern cities," remember, he's talking about a London that was regularly blackened with coal smoke, and it really damaged paintings more than today.

Next time— Palettes

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In its original edition, the book is called "The Science and Practice of Oil Painting." Unfortunately it's not available in a free edition, but there's an inexpensive print edition that Dover publishes under a different title "Oil Painting Techniques and Materials (with a Sargent cover)," and there's also a Kindle edition.

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Harold Speed Talks Brushes

Welcome to the GJ Book Club. Today we'll cover pages 237-242 of the chapter on "Materials," from Harold Speed's 1924 art instruction book Oil Painting Techniques and Materials.

I'll present Speed's main points in boldface type either verbatim or paraphrased, followed by my comments. If you want to add a comment, please use the numbered points to refer to the relevant section of the chapter.

In this section of the chapter, Speed discusses the brushes for oil painters.

1. You can use cheaper paints when you're a student, but even if you're poor, you shouldn't skimp on brushes.
I totally agree with Speed on this one. He says "A cheap brush is useless from the start and has, luckily, a very short life as they wear very badly. The best brushes last much longer."

2. Cleaning brushes. "Soap and water cleans them most thoroughly and is the best way of cleaning them. But it is a most tedious process after a hard day's work."
Here's a previous post on "How to Clean out a Brush"

3. After washing them out, the brushes "should be lovingly sucked to bring the hairs together." 
Never heard that one before. One would want to make sure to remove all the lead, cobalt, barium, and cadmium first. Or maybe pass on that idea.

4. "When thoroughly dry they have plenty of spring in them, whereas the slightest dampness gives them a flabbiness."
He's talking about bristle brushes here. It's really true. Damp brushes are flabbier.

5. Flats and Rounds: Flats are better for "laying a perfectly even tone, but give a nasty thin sharp edge...For figure work and form expression generally, one wants a brush that will lay the paint in even, flat tones without thin sharp edges." 
He's referring to flat brushes with rounded corners, alternately the modern filbert option, which has a flat cross section but a rounded tip. The image above shows a set of Simmons filberts.

6. Fashion for soft haired brushes used for flowing strokes (in the 1920s).
Speed notes that some of the inspiration came from studying Frans Hals, who apparently used such brushes. Speed generally prefers stiffer hogs' hair bristles.

7. "Always work with the biggest brush that will do what you want."
Then choose the next size bigger. Speed notes that a big flat brush is really several brushes in one, because you can use the corner and the edge for very different strokes.

8. "The brush makers have an absurd habit of making the size of the handle fit the size of the brush, instead of the size of the hand that will have to hold it." 
He continues, "Very small brushes need a very firm grip to control them as they are only used for very delicate work. And yet they are often given a handle no thicker than a match."

I totally agree, and I've always wondered about this, too. Pencils, pens, knives, and golf clubs have constant sized handles. Why don't brushes?

9. Only German brushes have an indented ring round the metal holder (ferrule) to prevent the tip falling off the handle.
Now crimped ferrules are pretty standard even on cheap brushes.

10. Cheap brushes "appear to have been sharpened off to make them a good shape, after being roughly put together; instead of the good shape being the result of a careful placing of the individual hairs."
Here's a video about how they make Escoda brushes

(Link to video)

More on brushes at:
MacPherson Arts / "Brush Basics"

Next week— Painting Grounds

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In its original edition, the book is called "The Science and Practice of Oil Painting." Unfortunately it's not available in a free edition, but there's an inexpensive print edition that Dover publishes under a different title "Oil Painting Techniques and Materials (with a Sargent cover)," and there's also a Kindle edition.

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Harold Speed on Pigments

Welcome to the GJ Book Club. Today we'll cover pages 227-237 of the chapter on "Materials," from Harold Speed's 1924 art instruction book Oil Painting Techniques and Materials.

I'll present Speed's main points in boldface type either verbatim or paraphrased, followed by my comments. If you want to add a comment, please use the numbered points to refer to the relevant section of the chapter.

In this section of the chapter, Speed discusses the pigments available to artists in his day.

Portrait by Harold Speed

1. Permanency: "The oils and mediums used, and repainting before the under coat is thoroughly dry are much more the usual causes of lack of permanency [than the pigments] in modern painting." 
I hadn't heard this before. Also, when he talks about permanency, I wonder if he means lightfastness or stability/cracking of the emulsion.

2. "The fewest colors possible should always be used."
This in contradiction to the usual advice to have a warm and cool red, warm and cool blue, plus earth colors, etc. Speed goes on to say: "The more brilliant colours have a fascination for the young students. Prone to messy handling and dirty brushes, they rush to the brighter pigments in the hope of getting themselves out of a mess; whereas with cleaner handling what is wanted could better be got by simple earth colours, the use of which gives one an excellent training in clean handling. The fine, dignified colouring of a Titian, or, among the moderns, a Watts, is greatly due to their extensive use of earth colours."

3. Flake (lead) white: more crisp, better body than zinc. Blackens when exposed to sulpheretted hydrogen" from gaslight. 
Zinc White: shower at drying.
Speed describes titanium white as a "new white, said to be permanent, that has recently been discovered."

4. Earth colors are permanent with good body.  He says: "Always do as much as you can with earth colors, especially early in the early stages of a picture."
I agree. Best to stay restrained in chroma and value in the underpainting, and save punch for final painting.

5. Ivory black
Safe, but slow drier. You can use an accelerator like copal to speed it up. Use for rich shadows. Good to have a blue-black to and to use warm and cool blacks.

6. Notes on specific pigments
Yellow ochre. Useful. Can mix with cadmium to brighten.
Terra vert. Olive green, good permanency, poor body. Good for modifying reds in flesh. Used by early painters for underpaintings.
Cadmium Yellows. He raises permanence issues, but I believe they have been settled in the pigments' favor according to modern manufacturing standards.
Emerald Oxide of Chromium. Speed recommends care because it's dangerous in the sense of being a strong acid color that can overpower a painting.
Madder reds. Again Speed cautions against intense red pigments in inexperienced hands, and he hadn't even seen the quinacridones and the naphthols invented after his day.
Alizarins. Modern substitutes are more permanent.
Rose doré. Good tinting strength.
Vermilion. He recognizes that the traditional pigment turns black (and is toxic).
Cobalt blue. "most useful blue on the palette."
French ultramarine. Best for dark shadows. Permanent. Not as opaque as cobalt.
Cyanine blue. Mixture of cobalt and Prussian.
Cobalt green. "beautiful opaque blue-green."
Cerulean blue. "opaque blue of lighter tone." Good in tints.
Lemon Yellow. "pale brilliant yellow of very light tone."

Next week—We'll continue with brushes on page 237.

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In its original edition, the book is called "The Science and Practice of Oil Painting." Unfortunately it's not available in a free edition, but there's an inexpensive print edition that Dover publishes under a different title "Oil Painting Techniques and Materials (with a Sargent cover)," and there's also a Kindle edition.

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Harold Speed on Oil Painting Mediums

Welcome to the GJ Book Club. Today we'll cover pages 217-227 of the chapter on "Materials," from Harold Speed's 1924 art instruction book Oil Painting Techniques and Materials.

I'll present Speed's main points in boldface type either verbatim or paraphrased, followed by my comments. If you want to add a comment, please use the numbered points to refer to the relevant section of the chapter.

1. Oil is a more challenging medium than watercolor because it often tends toward muddiness and it doesn't lend itself to accidental effects.
Another way to say it is that in inexperienced hands, it's easier to get an awful painting in oil, but harder to get a great painting in watercolor.

Oil painting by G. Hayes before and after cleaning
(and maybe some Photoshop) from Oil Painting Restoration blog

2. Modern painters should use a more primitive medium, such as mosaic tiles.
How about aerosol spray cans, silk screen, and house paint? It's as if Speed got his wish. Oil paints are expensive, slow to apply, slow drying, and comparatively dull, so it's no wonder that modern painters adopted other methods.

3. Artists should have the experience of mixing their own paints.
He says we can learn something from house painters, who in Speed's day would still mix their own paints. By mixing your own paints, you can control all the variables of the paint mixture

House painter circa 1915-1920

4. House painters mix their early coats "sharp" 

Sharp means 'mixed largely with turpentine which leaves a dull surface with a good tooth to take the final coat; this final coat being mixed with more oil or varnish.'

5. Painting material books that Speed recommends:

• The Chemistry of Paints and Painting by Sir Arthur Church

• The Painter's Methods and Materials by A.P. Laurie

• Materials for a History of Oil Painting by Charles Eastlake

6. Oil mediums and varnishes inevitably darken.
He notes that the early tempera pictures of the Italian school haven't darkened. Therefore, Speed recommends using as little oil or varnish as possible.

7. Linseed oil.
Regular state is a good drier; boiled linseed oil is a quicker dryer. Don't use too much or the surface may wrinkle in time.

8. Poppy oil.
Lighter than linseed, doesn't darken as much. Slower dryer

9. Turpentine spirit.

Test gum turpentine for purity by letting some dry off a white rag to see if it leaves a residue. He discusses how turpentine may be a factor in paint becoming more transparent over time.

10. Petroleum spirit.
Used in mixtures for oiling out. Use as little oil as possible when applying oil to freshen surface.

11. Copal, mastic, and amber varnish.
He says copal and amber are harder, used as painting mediums. "Picture copal" should be used only for a finish varnish. Mediums often include equal mixtures of oil and turps, or oil, varnish and turps.

12. Mastic varnish used in Speed's day for a finish varnish.
Speed recommends not varnishing unless you need to. As long as the painting doesn't depend on a lot of rich darks colors, relatively matte surfaces can show the colors better and be less subject to yellowing and darkening.

Next week—We'll continue with pigments on page 227.

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In its original edition, the book is called "The Science and Practice of Oil Painting." Unfortunately it's not available in a free edition, but there's an inexpensive print edition that Dover publishes under a different title "Oil Painting Techniques and Materials (with a Sargent cover)," and there's also a Kindle edition.

----
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Harold Speed on Painting: Preface and Intro

Let's resume the GJ Book Club with Harold Speed's 1924 classic The Science and Practice of Oil Painting, which continues where his previous book, The Practice and Science of Drawing left off.

I'll present his points in bold either verbatim or paraphrased, followed by comments of my own.

1. "Painting is drawing (form expression) with the added complication of tone and color."
One of Speed's great contributions as a teacher is to narrow the gulf in students' minds between drawing and painting. As he says, the key is to break down the problem into easy stages and to take one thing at a time. In his previous book, he talked a lot about "mass drawing," by which he meant seeing form in terms of tone. The jump from charcoal to monochromatic oil isn't that great. His book is a good lifeline for those who have been frustrated by all the variables of a full-color painting.

J. S. Sargent, portrait of Charles Stuart Forbes

2. The impressionist movement has required a reformulation of the course of study in art schools because of the new vision that the movement has given us.
From the standpoint of British art schools in the early 20th century, this impressionist way of seeing would have been regarded "Continental" or foreign, and not altogether acceptable. Eventually the British painters adopted the ideas of broken color and direct painting, but there were many in the Royal Academy who resisted it.

3. There are two modes of teaching: hard drilling on technical methods or leaving the student to figure out a technique on his own.
Some of the great teachers have come from both camps. Frank Reilly was more of the former, while Howard Pyle was more of the latter. But, Howard Pyle had the luxury of incoming students who had already been drilled on academic methods. The problem with the first method, Speed suggests, is that the student can get lost in technical issues and lose sight of their unique expressive potential. Later in the introduction Speed suggests that any art school should nurture the natural impulses of each individual student while providing the technical tools.

4. Every work of art starts with a nebulous idea.
This is true for me, and my thumbnail process is so important to work through. The buzzword for this process these days is "iteration." A lot of people seeing a finished painting assume the artist just sits down and renders out an idea fully formed.

5. "The best definition of a genius I have seen, is that he is described as the man most under the influence of these mental uprushes from the subconscious."
I know what he means, but I think the statement could be misleading. So many great geniuses like Michelangelo define genius as "eternal patience," or "the infinite capacity for taking pains" or "90% perspiration." Those uprushes from the subconscious only arrive, in my experience, in the context of steadfast effort. Patience, steadfastness, hard work, and an insatiable dissatisfaction. Who else but Sargent would have the intense application to wipe out a portrait again and again after 15-20 false starts.

6. Conscious / unconscious
Speed talks a lot about the relationship between the conscious and the unconscious. I love the idea that we should study consciously and paint intuitively. His preoccupation with the unconscious was very much of his time, as Henry James and other psychologists were building on what Freud had posited about the workings of the creative mind.

More recently, neuroscientists have explained the process by which skills are internalized. Beginners focus consciously on each skill, and then gradually, through practice, the neural pathways migrate into deeper subcortical regions of the brain.

7. Practical / intuitive
In the later part of the introduction, he sets up for the analytical approach that he'll use in his course of study, without neglecting the value of intuition and elusive rhythms that are harder to dissect. He wisely chooses to avoid the mysteries of the origins of creativity and to stick with more practical and rational matters.

At the end of the chapter, he decries the loss of drawing as a commonplace skill practiced by non-artists, perhaps a consequence of mystifying the process and undermining the value of traditional skills.

He ends with a great quote: "It is only those you cannot discourage who are worth encouraging."

I'd love to hear your thoughts in the comments.

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In its original edition, the book is called "The Science and Practice of Oil Painting." Unfortunately it's not available in a free edition that I know of, but there's an inexpensive print edition that Dover publishes under a different title "Oil Painting Techniques and Materials," and there's also a Kindle edition.

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Previously on GJ
Speed's drawing book: Chapter 1: Preface and Introduction

GJ Book Club: Chapter 3 "Vision"

On GJ Book Club, we're studying Harold Speed's 1917 classic The Practice and Science of Drawing.

The following numbered paragraphs cite key points in italics, followed by a brief remark of my own. If you would like to respond to a specific point, please precede your comment by the corresponding number.

1. The photographer's camera and the camera obscura are constructed on the same principle as the human eye.

There has been a lot of scientific research in recent years about the differences between the eye and the camera, as summarized in this recent video "Eye vs. Camera":



(YouTube link) True, light goes through the lens and forms an image on the retina, but who is looking at the retina? In fact, image processing begins happening right away at the level of the photoreceptors. In a way, this new science confirms the fundamental point that Speed is trying to make, which is that we don't see with our eyes, but rather with our brains.

Recent science also tells us that our  perception of edge contours or lines is a basic part of visual processing. See previous post "Lines and the Brain" or Wikipedia on "Edge Detection."

2. The sense of touch vs. the sense of sight.

This notion of connecting drawing with the sense of touch is a powerful one. As I understand it, Speed is making the distinction between the sense of touch and the sense of sight in order to build toward his overarching teaching idea, which is to distinguish line drawing from "mass drawing." By mass drawing, he means tonal, impressionistic drawing.

I've been thinking this week about this idea of drawing as an extension of touch, and it occurs to me that a lot of the things we draw are kind of untouchable: a cloud, a mountain range, the silhouette of a skyscraper—or that cute model at the sketch group.

But for small still life objects, having an awareness of the feel of things can add so much to the conviction of the drawing.



3. The commonplace painter will paint a commonplace picture... 

In this section, he makes an interesting point that you can put two artists side by side painting the same scene, a beginner and a seasoned painter, and the experienced artist will recognize greater depth and power in the same scene. This is not due to technical tricks or better materials, but to their different way of seeing.



4. A. Type of first drawing made by children showing how vision has not been consulted. 
B. Type of what might have been expected if crudest expression of visual appearance has been attempted.

Harold Speed (Dover ed

I love the "A" and "B" diagram! At first I thought he was saying one way of seeing was better or more advanced than another, but I think in the end he's saying that they're just two different ways of seeing, and that we have to cultivate both.

Am I getting this right? Maybe I'm missing something. I look forward to your thoughts. 

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The Practice and Science of Drawing is available in various formats:
1. Inexpensive softcover edition from Dover, (by far the majority of you are reading it in this format)
2. Fully illustrated and formatted for Kindle.
3. Free online Archive.org edition.
4. Project Gutenberg version
Articles on Harold Speed in the Studio Magazine The Studio, Volume 15, "The Work of Harold Speed" by A. L. Baldry. (XV. No. 69. — December, 1898.) page 151.
and The Windsor Magazine, Volume 25, "The Art of Mr. Harold Speed" by Austin Chester, page 335. (thanks, अर्जुन)
------
GJ Book Club Facebook page  (Thanks, Keita Hopkinson)
Pinterest (Thanks, Carolyn Kasper)

Overview of the blog series
Announcing the GJ Book Club
Chapter 1: Preface and Introduction
Chapter 2: Drawing
Chapter 3: Vision
Chapter 4: Line Drawing
Chapter 5: Mass Drawing
Chapter 6: Academic and Conventional
Chapter 7: The Study of Drawing
Chapter 8: Line Drawing, Practical
Chapter 9: Mass Drawing
Chapter 10: Rhythm
Chapter 11: Variety of Lines
Chapter 12: Curved Lines
Chapter 13: Variety of Mass
Chapter 14: Unity of Mass
Chapter 15: Balance
Chapter 16: Proportion
Chapter 17: Portrait Drawing
Chapter 18: Visual Memory
Chapter 19: Procedure
Chapter 20: Materials

Harold Speed, Chapter 2, "Drawing"

John Elliott Burns by Harold Speed, 1907

Today we continue with the GJ Book Club. Together, we're studying Harold Speed's classic The Practice and Science of Drawing.

The following numbered paragraphs cite key points in italics, followed by a brief remark of my own. Your thoughts are most welcome in the comment section of this blog. If you would like to respond to a specific point, please precede your comment by the corresponding number.

1. The expression of form upon a plane surface.

Speed's definition of drawing emphasizes form. That is consistent with most academic training. For the purposes of this chapter at least, he is not focusing on other qualities of drawing, such as the ability to capture texture or atmosphere.

2. Apelles

Apelles was a renowned artist of ancient Greece. His actual original paintings and drawings are lost to history (except for supposed copies), but he is known from his reputation in written sources. More on Wikipedia.

3. Drawing, although the first, is also the last thing the painter usually studies.

Many great artists such as Rembrandt kept drawing central to their practice throughout their lives. Some, such as Adolph Menzel, pursued drawing relentlessly into their old age. For composers like Beethoven and Bach, keyboard or chamber music occupied a similar place. 

4. Colour would seem to depend much more on a natural sense and to be less amenable to teaching. 

As an author of a book about color, I have to disagree with him here. There's a lot to teach about color, especially given what we've learned since Speed's time about visual perception and optics. Even though color can be approached subjectively and personally, the aesthetic aspects of color can be taught. In fact, Speed himself must have changed his mind on this topic, because he includes two excellent chapters on color in his subsequent book on oil painting (Oil Painting Techniques and Materials), which we'll study after we get through this one.

5. To express form one must first be moved by it. There is in the appearance of all objects, animate and inanimate, what has been called an emotional significance, a hidden rhythm that is not caught by the accurate, painstaking, but cold artist. 

Speed's definition of rhythm recognizes how emotion drives artistic choices. Rhythm therefore is not merely a design principle.

Charles F. A. Voysey by Harold Speed, chalk, 1896

6. Selection of the significant and suppression of the non-essential.

These choices, so central to a successful work, usually happen unconsciously, driven by the emotion the artist feels at the outset. The challenge is hanging onto that guiding feeling in the labor of making the picture.

7. Fine things seem only to be seen in flashes.

In my experience, I find this to be true not only of the process of drawing, but in my creative life more generally. In the fields of character development, scriptwriting, and world-building, the deeper inspirations come unexpectedly in torrents, separated by periods of steady craftsmanship.

8. Art thus enables us to experience life at second hand.

Through great art, we see the world in a more meaningful or enhanced way. After a visit to the picture galleries, our senses are heightened. This effect is even stronger to a student who makes a faithful copy of a master painting or drawing.

9. One is always profoundly impressed by the expression of a sense of bulk, vastness, or mass in form. 

Later he talks about lightness. It's always good to think about gravity when drawing. Muscles are always pulling against gravity. Wings struggle to lift a bird through the air against the pull of the earth. Drawing someone off-balance generates interest, but balance and imbalance are factors of gravity.

10. In these school studies feeling need not be considered, but only a cold accuracy....These academic drawings, too, should be as highly finished as hard application can make them, so that the habit of minute visual expression may be acquired.

In the French schools at least, there were different aesthetic criteria applied to studies from the model. Student studies were expected to be as accurate and finished as possible, and more interpretive works, which allowed for much more distortion and interpretation. A lot of schools in recent decades, needing to cover a lot of ground, tend to skip over the exacting practice of these coldly accurate school studies. It is like playing scales for the musician, or knowing the rules of grammar for the writer, as Carol Berning mentioned in the comments last time.

11. Drawing, then, to be worthy of the name, must be more than what is called accurate.

Harold Speed (Dover ed.)

This point was illustrated by Sargent's portrait of Carolus-Duran in a recent blog post. Speed concludes that "Artistic accuracy demands that things be observed by a sentient individual recording the sensations produced in him by the phenomena of life." Art, then, becomes life filtered through a consciousness. This is a very idealistic view of drawing, and it sets up for next week's Chapter 3: "Vision"

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The Practice and Science of Drawing is available in various formats:

1. Inexpensive softcover edition from Dover,
2. Fully illustrated and formatted for Kindle.
3. Free online Archive.org edition.
4. Project Gutenberg version

Articles on Harold Speed in the Studio Magazine The Studio, Volume 15, "The Work of Harold Speed" by A. L. Baldry. (XV. No. 69. — December, 1898.) page 151.
and The Windsor Magazine, Volume 25, "The Art of Mr. Harold Speed" by Austin Chester, page 335. (thanks, अर्जुन)
------
GJ Book Club Facebook page  (Thanks, Keita Hopkinson)
Pinterest (Thanks, Carolyn Kasper)

Overview of the blog series
Announcing the GJ Book Club
Chapter 1: Preface and Introduction
Chapter 2: Drawing
Chapter 3: Vision
Chapter 4: Line Drawing
Chapter 5: Mass Drawing
Chapter 6: Academic and Conventional
Chapter 7: The Study of Drawing
Chapter 8: Line Drawing, Practical
Chapter 9: Mass Drawing
Chapter 10: Rhythm
Chapter 11: Variety of Lines
Chapter 12: Curved Lines
Chapter 13: Variety of Mass
Chapter 14: Unity of Mass
Chapter 15: Balance
Chapter 16: Proportion
Chapter 17: Portrait Drawing
Chapter 18: Visual Memory
Chapter 19: Procedure
Chapter 20: Materials