Customer Reviews

The Elements of Drawing (illustrated)

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John Rushkin originally published this little volume in the winter of 1856/57. It promptly sold out and went into multiple printings. It is surprisingly still relevant today. Rushkin gives the reader many exercises beginning with a dip pen and ink and later moving to pencil and then watercolor (which in the 19th century was classified under drawing). I was so intrigued I actually bought a speedball dip pen and some india ink and began to practice the many exercises he gives. They work. By the time I finished the ink exercises I noticed a definite improvement from my early attempts compared to the later ones. And I am continuing the exercises.

Another fascinating aspect of this book is the snapshot it gives into the mind of a prominant 19th century art critic. Rushkin not only was a master draughtsman and painter but a widely respected art critic in his day. Monet was quoted by a British journalist to have said, "90% of the theory of Impressionist painting is in Rushkin's Elements of Drawing." A young George Seurat obtained a copy and admitted to having read it carefully. Now I'm no Monet or Seurat but I figure if these guys valued Rushkin's instruction I should certainly pay attention to what he had to say.

Rushkin explains exactly what the goal of each exercise is. He also recommends specific paintings or drawings to examine along with critiques of why this or that area in the drawing/painting is superior or lacking. He strongly believed it more profitable to study in-depth a few highly superior drawings/paintings to a wider assortment of middling/average execution. And he believed this even of famous artist's work - famous or not he advises to ignore for the moment their less masterful work and focus on the truly great ones. Rushkin pulled no punches. The entire treatise is full of his opinions right along side the exercises - yet I would say they are not opinions without merit. He gives you something to think about when looking at works of the art masters and something to strive for in your drawings and paintings so that you can become more than just technically competent. He addresses the heart and soul of drawing and painting. It made me think of why this or that particular line, shading or painting technique in an art master's drawing/painting touches me the way it does.

This is the best marriage between technical competence and artistry. And you grow in understanding that all the exercises he gives are only in service to the spirit of art. It is an emphasis that most modern how-to books don't touch. Analysis this deep in modern art books are left for books that are advertised as art critiques. Since almost all my art books fall under the "how-to" category (as anyone who's read my other book reviews will see) I found this critique aspect rather refreshing and wanting to read more such types of books.

I strongly recommend this book. Despite the lack of photos or modern step-by-step illustrations (the illustrations are line art - the most up-to-date technology for book illustration then available in an affordably priced book) I think it is very worth getting and reading. Perhaps artists who have been formally trained in universities or art academies will find this kind of instruction typical. But for someone like me who is entirely self-taught from the books he/she buys it is a great investment into expanding boundaries and knowledge of art in general.

I am enjoying this book. I'm an experienced draftsman, but feel that following the exercises Ruskin outlines in his book are greatly improving my drawing skills. The Watson-Guptill Illustrated Edition, with Notes by Bernard Dunstan, has added a number of illustrations of the work of Ruskin and his contemporaries, which are very helpful. They have also added additional notes to the margins from Ruskin's other writings that offer additional explanations, also very valuable. However, the modern illustrations done especially for this edition seem to me to miss Ruskin's points and may confuse a novice draftsman. Most obviously, early exercises that Ruskin emphasizes are to be done with careful precision in pen and ink are illustrated with quick, loosely executed, pencil sketches. The patience, sensitivity, and craftsmanship that the exercises are designed to develop I find largely missing from the new illustrations created for the book. I still would highly recommend this edition, advising the reader to study the modern illustrations for content but cast a critical eye on their technique.

As a long time admirer of art and a first time beginner of actually tapping my artistic well, this text is like having a private mentor guiding you through specific progressive exercises. It's language is quaint and cozy to modern ears, having first been written in 1856. But it is practical, clear and encouraging. It dispells the idea that only certain people can draw. And by focussing on drawing with pencil, it provides the foundation for using any other media. A wonderful find.

There is nothing new under the sun and this book originally written in 1850's is a gem. As an artist I found the book and descriptive language immensly readable (I guess that had to write well as diagrams were incredibly difficult/expensive to include). A gresat buy at the price!

I love this book. It's takes a no frills, 'no mercy' approach to teaching drawing. Surprisingly it has very few images but I find the text to be very readable. Written in the 1700's using the language of the time, it is at times very entertaining. It gives you instructions on the bare facts (including the pains required) on how to draw; in stark contrast to most current books which advocate the 'learn-to-draw-in-2-hours' approach. Indeed, Rusking is straight to the point enough to indicate the amount of time required to draw effectively - 160 hours! Ruskin was clearly a genius in the simple and effective approach on how he teaches drawing.

Written in the 1700's I found it to be a very fresh account and framework on how to draw in 2007!

Andrew Borg
[...].

Make sure this is the one! I came across THE ELEMENTS OF DRAWING at the library on a random day, when I was a wayward 16/17-year-old (I am now 23). I had always wanted to draw, but found many of the drawing books to be not very useful/helpful (as the introduction states, in the "elements of drawing" copy/edition that I read).

Many modern how-to-draw books do not instill/nurture/teach/inspire one to develop their own artistic sense, and a keen observation/attention to detail, which are two things I managed to attain (and continue to attain), as a direct result of this splendid book by John Ruskin.

It's not an easy book to read -- in fact, I believe Ruskin himself states/warns in the beginning that some parts/activities will be quite tedious (such as the careful manual shading of gradients) -- he does say that if you really, really want to learn how to draw, you've got to be prepared to put your life into it (to that effect). He says something about having the diligence to put in 150-200 hours into learning how to draw (or how to do anything)...and since time = life, I guess that puts what he says into perspective.

John Ruskin's fine definition of drawing is as follows: "all art is but dirtying the paper delicately." I love the way he presented whatever he had to say/teach about art and drawing -- it's a real sharing/transference of knowledge.

Drawing's turned out to be a lifesaver for me. It's helped me to develop more confidence in myself and what I do...I'm very lucky to have had the good fortune to have been guided by THE ELEMENTS OF DRAWING.

P.S. I think I took a grand total of about 4-5 years to actually get through the book from cover to cover (I read it on and off from the time I was 17-22)...but I'm glad I took the time to gradually let my artistic senses develop.

[...]

I admire several of Ruskin's drawings, and can appreciate his standing in the "art world". However, for the most part I find his work lacking the "big picture"; without a clear focus on important aspects of composition and order. His drawings seem to be very detailed (example: a side of a rocky mountain) without any clear focal point and only a vague sense of what the actual subject really is.

I have the same problem with his book. I have tried to read this book several times but have never been able to get through it, and have walked away without any real gain, and not for a lack of trying. It might be good for others. I noticed that everyone else gave it 5 stars so I felt the need to give a balanced view.

I adore this edition.

I'm always drawn to facsimile reprints and this is an excellent one: an oversized, 1.75 pound paperback with large print and an ample use of white space. And most delightful -- for me anyway -- is the fact that this is a very clear facsimile reprint of the George Allen edition of 1907 which, in itself, was a reprint of the most complete version of Ruskin's book: the 1859 edition.

There's only one modern addition: a helpful index.

I have this book in pdf version on my computer and I wanted a hard copy for easier reading and for carrying from day to day to read during my breaks and lunch period. Without a doubt this book is a classic that would be hard to imagine a better book on the subject of drawing, which is the basis of most all visual art. If you look at some examples of John Ruskin's work you will discover why so many artists were taught and inspired by this gifted man. A faithful reading and application of this book and it's principals will provide a sound structure to any art student and benefit even the most seasoned artist. Learn from one of the best teachers and gifted artist the world has ever known.

This book is a 150 years old, but it is still as fresh today as when it was first published. I have attended quite a few different drawing classes, worked from the antique, tried different methods and in the end I came down to the conclusion that John Ruskin's method is the best there is.

Ruskin was a polymath and a true Renaissance man. His knowledge of art and art history was vast and inevitably it found its way into this book. His method is based on the method of the old masters, especially Leonardo da Vinci, Titian and of course the great JMW Turner, but funnily enough it exerted a strong influence on Monet and Seurat.

Ruskin used to give drawing lessons by correspondence, hence his Elements of Drawing come in the form of three letters to beginners, each letter devoted to a different subject. The first one contains a series of highly original drawing exercises, while the second and the third are devoted to drawing from nature, colour and composition.

The Elements of Drawing was a success in Ruskin's days, but later in his life he changed his mind about his method, because the book did not place enough emphasis on accuracy of measurement and proportion. To correct this omission, Ruskin wrote some years later the 'revised' Elements of Drawing, so to speak, which was a different book entitled "The Laws of Fesole". Amongst others, the Laws of Fesole contained rigorous exercises to train the eye of the pupil in accurate measurement.

Therefore, use the Elements of Drawing in tandem with the Laws of Fesole (especially the first exercises of the latter). These two books, together with Ruskin's Teaching Collection at Oxford (now available online courtesy of the Ashmolean museum under the heading "The Elements of Drawing"), are the best and most complete drawing and painting method available to us today, meant for the serious student. His method will teach you drawing, painting, art history, and most important of all to see and appreciate nature and art.

His exercises, language and way of thinking may appear odd and a bit strange to a modern reader. Indeed, when I first started working with this book, I found some of the exercises funny and perhaps meaningless. Yet, when I overcame my initial prejudice and worked with the book, I realised that each exercise was designed with a specific end in mind and together they formed a complete system. With the proper work and devotion, they will yield very good fruit.

Enjoy!