GIC WAND " SHILLING SERIES " U 2 la A LIGHTNING SKETCH LECTURE by GEO. M. MUNRO LONDON GEORGE JOHNSON 24 Buckingham Street, Strand ^ WILLYS A. MYERS American Vice-Consul ART IN TEN MINUTES f A LIGHTNING SKETCH LECTURE by GEO. M. MUNRO LONDON GEORGE JOHNSON 24 Buckingham Street, Strand FOREW^ORD The presentation of this amusing * ' Lightning Sketch- ing " act involves no particular skill. Very little practice is required to produce the drawings that illus- trate the booklet. The sketches have been somewhat crudely executed, purposely with a view to making the work of the learner very easy. Those who have any skill in art will quickly apply their knowledge to the improvement of the designs, but this need not deter the veriest tyro from presenting the ** lecture." The author has localised his story, but the enter- tamer would be well advised to adapt it to the vicinity in which he happens to be — local colour adds humour when judiciously applied. Having made sure of the " art " section, the learner should make equally certain of the accompanying "patter." Soundly equipped with both, he may rest assured of an appreciative, and we hope, hilarious reception. The Publisher. 4 ART IN TEN MINUTES A Lightning Sketch Lecture * by GEORGE MUNRO The only necessaries required for exhibiting the per- formance herewith described are, an ordinary artists' easel, two sheets of paper — the paper can be obtained in rolls quite cheaply from any paperhanger, and cut by oneself to size — a board on which to fix the same, some black chalk, charcoal, or crayons, and a dozen or so long drawing pins. If aids to memory in the presentation of the sketches are required, this can be quite simply done by having the finished sketch on a card, and placing it horizontally at the side of the easel, so that only the lower edge could be seen by the audience. PRESENTATION It seems a step backward that the latest legislation should increase the years to be spent at school. We have so little time, and there is so much to learn nowa- days, that it must be learned quickly. We are told that science can concentrate the powers of the Ox into a jar of Bovril. This evening I propose to show you how experience can concentrate the powers of the artist, and how each one of you can pose as an R.A. in the eyes of at least one important section of the public. Nothing is more pleasing than to be able to make children happy. My lecture is for parents, but it will be of interest to you all. If some of you are not yet parents, you all hope to be, some day. When that day comes, and your little boy is able to run about, you will find that occasionally he wants to be amused. TTie day is wet; he is tired of play; your powers of story-telling are exhausted. What is to be done? Pay attention to what I am about to teach you, and you can both delight him and elevate yourself in his eyes as a great graphic artist ! You think that you know nothing about drawing, but I will show you that you know a great deal, and that you have quite enough skill to draw pictures, without a copy and without a model, both with ease and rapidity. Give me your attention, and you will be surprised how quickly you will discover this fact. See here Is there any of you who cannot do that ? None ! Well, then, what are these? (Fig. 1 . A.) A. # ♦ • • • • • a. • # • "Dots," you say. Not at all. These birds are flying ! They are far away, you cannot see their shape. But see here; you can all draw a short flat line with a dot just below the middle like this. (Fig. 1 .B.) Now they are drawing nearer. But it is too slow drawing them in that way. It is much easier for you to draw them in one stroke this way (Fig. 1, B.I), just as when you check the various items of an account, thus : — (Fig. I.e.) Novy they are getting more into shape; but your small boy will probably wish to see them closer still. So I will show you the nearest artistic point to which you can safely take them. You can each do that, can you not? (Fig. l.D.) And you can add that to it, showing the light on one side of the wings and the shadow on the other. But your small boy will complain that it has no head or tail ! If so, this is what you do (Fig. 1 , E.7). Draw two triangles crossing each other in that way. Now add a slight curve to indicate the head, round the breast a little, and you have brought your bird almost as near as you ever see him when on the wing. (Fig. l.F.) 8 Art IS not photography, and photography is not always art, as you will find if you have a friend who owns a Kodak. For instance, the camera will tell you that a flying bird is as often found with his wings this way. (Fig. 1 .G.), as well as the way I have just shown you. But have you ever seen a bird like that? Or do you think a bird ever looked to an artistic eye like that? Unless it was the unhappy Jackdaw of Rheims after he had received the Cardinal's terrible curse, or as he must be to-day if he is still alive and sees the Cathedral of Rheims. -^^ H. Fig. I a You see, however, that I am not tying you down to any stiff model. You will find your bird on the wing at any angle, so you can place them thus. (Fig. lA.) Now I will throw in a few extra Birds just to show- how numbers make little difference when once you get the idea as to how they are done. The great Gustave Dore frequently made use of numbers to give space and perspective to his pictures, so you are following a great master. (Fig. 2.) le Having your sky and birds, your small boy would like some clouds, so you throw in a few this way, like the smoke from a railway engine. TTiese are good and elevating, but what more refreshing than a sight of the sea? I wonder if any of you could fail in drawing the sea ? There it is ! Thalassa ! That is a drawing of a particular sea. It is neither the Atlantic nor the Pacific Ocean. It is the North Sea, and no other. How can one tell ? Wait a little, and you will know that also. The straighter and simpler you can make a drawing of the sea the more natural it will appear. It is said to have a curve of five feet to the mile; but you need not allow for that. But an unlimited sea of this description, " water, water everywhere," in time palled even on "The Ancient Mariner"; so I will tell you how to remedy that simply and artistically. There is, in the North of Scotland, a Lighthouse standing on a long promontory called " Tarbet Ness." It is visible from nine counties. When Queen Victoria visited the Duke of Sutherland, she admired it so much that she had it placed upon all her pennies. You all remem- ber, no doubt, the controversy and jealousy in regard to Eddystone and the Channel Fleet, which led to its removal from the coinage. If you should forget what it is like, you will still find it on one of Queen Vic- toria's older pennies, or, better still, on Tarbet Ness, when visiting one of the nine counties. But perhaps you can draw it from mv illustration; here it is. (Fig. 3.A.) .JS^ Fig. 3 Small Holdings have been created by the Govern- ment near the foot of it. You can create one for yourself, thus. (Fig. 3.B.) Now, it happens, that opposite Tarbet Ness, is Dor- noch, an old Cathedral Town with a famous Golf course, and beyond that Dunrobin Castle (where Queen V^ictoria stayed) with a Hill just behind and a colossal 12 statue on the tpp — a Duke of Sutherland, by Chantrey. There, you see, you have drawn all these things — Dornoch, its Golf course, and Cathedral — Ben Vraggle and the colossal statue of the Duke of Suther- land, by Chantrey, on the top! (Fig. 4. A.) You are now able to draw seascajjes and landscapes ! But this prolonged sight of the sea will lead your small boy to demand ships. Anyone can draw a Battleship. A. Fig. 4 They are always just on the horizon, or below it, or out of sight, or concealed in a smoke screen. (Fig. 4.B.) But there is no need for you to take refuge in Battle- ships, as all ships are easily drawn. Here, for in- stance, is a simple, straightforward example of a yacht. 13 You draw a triangle, thus. Add a straight line, thus. Put a stroke below, add a shadow in the water for the effect, and there you are ! (Fig. 5. A.) For distant yachts you have only to set your triangle upside down in the most unstable way possible, thus, and you will give at once an accurate impression of a yacht in the rough waters off shore, and a landsman's feelings when on board. {Fig. 3.B.) \'ou will note tKat the peculiar shape taken by the sail is due to the action of the wind. Seen somewhat nearer, it would appear thus. (Fig. 5.C.) If you now v/ish to round off your picture by putting in a sea beach, you have only to draw a series of rolls, such as you find in any baker's window, thus. These are really stone, rounded and washed sm.ooth by the Ispping of the waves on the shore. They, long ago. furnished the illustration, "asking for bread and getting a stone." (Fig. 5.D.) Add to these a few flat strokes to represent sand. Your picture is now complete, as shown in Fig. 6. You can now point the moral of your work to your infant son. \ ou can assure him that the scene which you have brought to his youthful eyes is a real one. 14 -^/f_l_ c^ ^ R Fig. 7 i8 easily drawn, though you may throw in a few sword- fish (Fig. 7. E), but advise you at once to proceed to a master stroke in the whale which swallowed Jonah. Naturally, it will be a fish of somewhat larger dimen- sions than the others you have drawn, and have a mouth of conspicuous capacity. (Fig. 7.F.) Your small boy will probably object that it still appears too small for its particular mission. This ob- jection you must show to be unfounded by depicting the prophet himself, and undertaking your first atten\pt at the human figure. Your previous effort at Tarbet Lighthouse will aid you. You must not forget the Arab costume. (Fig. 7.G. & H.) Here you observe the flowing drapery protecting the head from the sun, the dark com.plexion and upright carriage. Whether the prophet would have emerged in such spotless attire from his late residence is a point which need not concern you. If challenged, you can claim the protection of allegory, his clothing being symbolic of his restoration to purity and uprightness of conduct. From being limp, squalid, and degraded, he is seen restored to dignity and vigour. You may have observed the same change in those who at first held back in the late war after they had taken the decided step and clothed themselves in their countries' uniform. 19 ^ ou perceive, that by placing this figure near the whale, that animal is, by a mental acijustment of pro- portions, enormously increased in size. But you still want some local colour to impress the scene yet more strongly on your young boy's mind. To do this you will add a few palm trees. These are quite simple — an upright stem with a few leaves at the top. If your unaided imagination is not enough, you can procure tea leaves as models. (Fig. 7J.) *• u ^ %-^ Fig. 8 Then the desert beyond. What is it but a flat limit- less sea — you know how that is done — A Garden of Allah, by Hitchins. 20 You add a few dark shadows on the sand to show the scorching sun; add some touches to the shore. You place his staff in his hand, indicate the way he has to go, and there, you have the rep>entant prophet setting out for Nineveh. (Fig. 8.) 21 Notes on the "Birds" Sketch 1 . Perspective must be attended to. In drawing the tails of birds, the stroke across the foot should be parallel to one joining the tips of the wings, as " " li hus. Not thus." Fig. 7.) 2. All small birds should be kept above the sea line. 3. The larger the boat the further it must be below the sea line. This does not apply to birds, as they are not bound down to one plane like boats. 4. When a bird is represented near the surface of the water a dark shadow placed below, it will give " atmosphere." and indicate its distance from the water and from the spectator. 5. The sea line should be ruled across, the simpler and straighter the better. A boxwood glass-cutter's T square marked in inches is handy. 22 THE RESTLESS FAYS Many years ago an alphabet was designed bearing the title "The language of the restless Fays." Cer- tain grotesque figures resolved themselves into the com- plete alphabet and, though at first glance, the Fays bore but little resemblance to printed characters, closer inspection showed that the formation of letters was fairly closely adhered to. The root idea is roughly indicated in Fig. 9, but the strokes are very heavily drawn, and, when the bud- ding artist has grasped the notion, he can quickly sketch figures of light and airy grace. In the illustration, an old humorous affect with the hand, wrist and arm is shown. In passing, it may be as well to state that the performer of this delectable experiment has concealed in his hand an appliance which, by pressure of the thumb, produced a sharp sounding "click." The little instrumeni has of late been introduced into Jazz Orchestra, and is purchasable as most musical instrument dealers. The right arm Is held in front of the body, I., and the I a w: IS Fig. 9 hand strikes the arm at the elbow joint. The arm assumes the position II. Still with the aid of the left hand, the right hand is suddenly jerked into position III. Then moves III. and IV. are repeated ad lib. At each movement the very audible " click," is usually productive of much mirth The artist may well draw the sketches and then illustrate the moves to his audience. The "patter" may proceed somewhat as follows : "In order to be- come a true artist, Ladies and gentlemen, you really require what is called an Automatic Arm. I will draw it for you. There we are, this slightly-built gentle- man has the true automatic arm. When you can do 24 this exercise properly, you will probably be able to produce far worse drawings than I have inflicted upon you this evening. This is how it works. (He illus- trates.) One (click). Two (click). Three-four. Three-four (repeat (click) several times). \'ou will find this a wonderful aid to bad art. but you must be careful not to let your hand drop off." In the final illustration (Fig. 10) we have depicted an amusing effect, the Electric Chair, frequently seen on the stage. Incidentally, further positions of the Restless Fays are introduced. 1. Invitation. "May I have the assistance of a gentleman from the audience? " 2. Speculation. " You observe this is just an ordinary chair. Sir. Will you please be seated?" 3. Co-operation. " Quite comfortable. Sir?" 4. Sensation. (Incidentally — Elevation !) 5. Irritation. (The spectator: "What the !" 6. Pacification. " My dear Sir, I assure you that there is nothing the matter with the chair." 7. Tack-sation. (The performer turns and ad- dresses the audience.) "You see it is quite an ordi- THE RESTLESS FAYS ^