GJ Book Club: Chapter 21, Conclusions

For the GJ Book Club, let's consider the concluding chapter in Harold Speed's 1917 classic The Practice and Science of Drawing, and reflect back on the book as a whole.

Lady Diana Bridgeman, Harold Speed (British, 1852-1957).

Speed begins this final chapter talking about the camera, and the merits and dangers of mechanical accuracy. This is an issue that hasn't gone away, and that people in our community still discuss today.

I'll put Speed's quotes in boldface, followed by my thoughts.

1. There may be times when the camera can be of use to artists, but only to those who are thoroughly competent to do without it.
Speed suggests that truth achieved by mechanical accuracy may be a valuable stepping stone toward true art, but we should use a standard other than accuracy alone to measure our response to art. Art is not merely a collection of objective facts, but rather "records of a living individual consciousness." Whether one traces a photo or some other procedure to achieve mechanical accuracy, one must not lose sight of the driving emotion that guides the choice and placement of elements, and that shapes the rhythms of the artistic statement.

2. The training of his eye and hand to the most painstaking accuracy of observation and record must be the student's aim for many years.
Despite his caution to see beyond mechanical accuracy, Speed argues that accurate drawing is an absolute prerequisite to the kind of evolved subjective vision he advocates. Students must strive for unflinching honesty or sincerity. Seeking originality for its own sake is a trap, leaving the young artist chasing the fashions of the moment, or contenting himself or herself with an easy substitute for the fine craftsmanship that is more difficult to attain.

3. Individual style will come to you naturally as you become more conscious of what it is you wish to express.
Speed argues that young artists should be wary of adopting readymade techniques or design conventions borrowed from other artists. More often than not, those outward stylistic gimmicks don't fit the subject you're painting nor the mood you're trying to evoke. Everything must begin with an artist's idea, and style is simply the most direct means to communicate that idea.

4. Appendix: Phi Proportions
I wish an editor had suggested that Speed delete this appendix—or save it for another book, because I think it contradicts Speed's entire argument leading up to it. After decrying readymade compositional formulas, he proceeds to introduce a readymade mathematical formula for design. It strikes me as an afterthought alien to the rest of Speed's argument. Longtime blog readers know where I stand about via the Golden Ratio (also known as "phi"). You can read my thoughts in my blog series "Mythbusting the Golden Mean" or, if you like, another website called "The Myth of the Golden Ratio."

Final thoughts
Looking back on the book as a whole, I'm struck with how much this book is about aesthetics. When I first encountered the book as an art student, I was primarily interested in materials, methods, and techniques but what I take away from the book at this stage in my life is the importance that Speed rightly places on the thinking, feeling, and intention behind the technique.

I have newly marked up my print copy with pencil notations in the margins, and I have been inspired by the many fresh perspectives that you as blog readers have brought to each chapter to deepen my appreciation of Speed's book. For those who discover this book club weeks or months later, please feel free to add your comments. I'll be able to review it and publish your comments any time, and keep this book club constantly in session.

The next book for the GJ book club will be Speed's book on painting, the sequel to this one on drawing. In its original edition, it's 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." We'll start up with that book in three weeks, on September 18, which gives you time to pick up a copy.

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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 on Pinterest (Thanks, Carolyn Kasper)
GJ Facebook page
Blog post by Paul Foxton about Top-Down (Rembrand) and Bottom-Up (Turner) approaches.
Original blog post Announcing the GJ Book Club
Overview of the blog series
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