In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words. The written word is necessarily confined to the things of the un...

It was not until some time after having passed through the course of training in two of our chief schools of art that the author got any idea of what drawing really meant. What was taught was the faithful copying of a series of objects, beginning with the simplest forms, such as cubes, cones, cylinders, &c. (an excellent system to begin with at present in danger of some neglect), after which more complicated objects in plaster of Paris were attempted, and finally copies of the human head a...

The Practice and Science of Drawing by Harold Speed is a classic instructional text on the fundamental principles of drawing. Aimed at both novice and experienced artists, the book provides a comprehensive examination of the technical and artistic aspects of drawing, emphasizing both the craft and the intellectual understanding needed to excel in it. Speed, an accomplished British artist, blends practical advice with insightful commentary on the deeper elements of artistic expression.The b...

Much of the learning to practice as well as to appreciate art is concerned with understanding the basic principles. One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other.

In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words.The written word is necessarily confined to the things of...

Harold Speed’s *The Practice and Science of Drawing* stands as a timeless bridge between artistic intuition and disciplined technique, offering readers a rare blend of classical wisdom and practical instruction. This book is not just about learning how to draw—it is about understanding why drawing works. Speed carefully unravels the deeper principles behind line, tone, rhythm, and composition, guiding aspiring artists to see beyond the surface and into the structure of visual reality. His ...

Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pag...

Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pag...

"The best things in an artist's work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist." Thus writes Harold Speed in the very first line of his introduction to the book in which deconstructs the process of drawing by subjecting it to lucid intellectual inquiry. Published in 1913, "The Practice and Science of Drawing" balances its practical advice with...

"The best things in an artist's work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist." Thus writes Harold Speed in the very first line of his introduction to the book in which deconstructs the process of drawing by subjecting it to lucid intellectual inquiry. Published in 1913, "The Practice and Science of Drawing" balances its practical advice with...

The Practice & Science Of Drawing by Harold Speed..

This classic approach to the dynamics of drawing by a brilliant teacher is filled with insights and practical advice on line drawing, mass drawing, visual memory, materials, and much more. Throughout, the author offers historical backgrounds and specific exercises. 84 plates and diagrams reinforce Speed's clear presentation.PREFACEPermit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding wrinkles on how to draw ...