P R E F A C E .

T H E t e x t-boo k s of t h e N a t i o n a l D raw i n g Co u rs e a r e i n t e n d ed

p a r t i c u l a r l y for p u b l i c school t ea chers b u t t h i s book i s w r i t t e n,

n o t o n l y for p ub l i c s c h oo l t e a c h e r s , b u t for a l l a r t s t ud e n t s a n d

o t h e rs i n t e r e s t ed i n a r t ed u ca t i o n . I t s u pp l eme n t s t h e fi r s t

bo ok of t h e s e r i e s F r e e-H a n d D ra w i n g a n d s h ow s h o w t he

me t h od s e xp l a i n e d in i t ma y b e app l i ed i n t h e s t udy of l i g h t

a n d s h ad e .

Good i n s t r u c t i o n in d raw i n g mu s t be ba s ed upon t h e p r i n

c iples w h i c h u n d e r l i e t h e b e s t i n a r t , a n d t h e r efo r e a n y book

w h i c h i s i n t e n d ed for t h e s t ud e n t a n d e l eme n t a ry t e a c h e r mu s t

p r e s e n t t h e s e p rin c i ple s , a n d mu s t a l s o s h o w h ow s t ud e n t s

m a y b e l e d t o s e e, t h i n k , a n d w o r k i n d e p e n d e n t l y .

T he book s “F r e e-H a n d D r aw i n g ,

“M e c h a n i c a l D r aw i n g ,

a nt C o l o r S t u dy fo rm a n e c e s s a ry pa r t of t h e N a t i o n al

D r aw i n g Co u r s e , a s t h e y co n t a i n t h e l e s s o n s i n t h e s e d iffe r e n t

s u bj e c t s w h i c h a r e t o b e g i v e n ac co rd ing t o t he o rd e r s p e c i fi ed

i n t h e t e a c h e r'

s “Ou t l i n e s of L e s so n s .

” “ L i g h t a n d S h ad e

co n t a i n s n o l e s s o n s o r o th e r w o rk ca l l ed for i n t h e p l a n of

s t ud y of t he p r e s e n t s y s t em, for i t i s n o t c o n s id e r ed w i s e t o

a t t emp t l ig h t a n d s h ad e in t h e p u b l i c s c h oo l s u n t i l p u p i l s

h av e g a i n ed mo r e ab i l i t y i n fr e e-h an d d raw i n g t h a n t h e y now

g e n e r a l l y a c q u i r e b e l ow t he h i g h s c h oo l . I n p r e s ent i n g , i n t h e

Ou t l i n e s ofL e s s o n s ,”

wo rk i n o u t l i n e s imp l y , t h e a u t h o r do e s

not w i s h t o b e un d e r s t ood a s in fav o r of t h i s wo rk on l y , o r

iv P /i'

E lv‘

A CE .

a s h o l d i n g t h e o p i n ion t h a t l i g h t a n d s h ad e c a n n o t b e t a u g h t

i n t h e p ub l i c sc h oo l s w i t h ad v an t age i n g rad e s b e l o w t h e h i g h

s c h oo l s . On t h e co n t ra ry , h e b e l i e v e s t h a t t h i s s u bj e c t ma y

u n d e r s u i t ab l e co n d i t i o n s b e p rop e r l y i n t rod u c ed i n t o g ra mma r

s c h oo l s w h e n p up i l s a re ab l e t o d raw i n o u t l i n e w i t h s om e

d eg re e offac i l i t y a n d t r u t h .

T h i s book i s w r i t t e n for t h o s e who w i s h t o s t ud y t h e fi r s t

p r i n c i p l e s of l ig h t a n d s h ad e,a nd t h e d e t a i l s c onc e r n i n g

m ed i ums , t e c h n i q u e , a n d t h e ma n y po i n t s u pon w h i c h t he

s t ud e n t m u s t be i nfo rmed . I t i s w r i t t e n w i t h t he h op e t h a t

i t m a y a s s i s t s t ud e n t s , a n d pa r t i c u l a r l y t h o s e who wo rk a t h om e ,

t o s t udy i n t e l l i g e n t l y,s o t h a t a l l m a y go t o N a t u r e a s t h e fi r s t

a n d b es t t ea c h e r,an d be p r epa r ed t o d i s co v e r i n her t h e t r u t h s

s h e u nfo ld s t o t h os e w ho s t udy her s e r i o u s l y .

M a n y of t he i l l u s t ra t i o n s of t h i s book a re from s t ud e n t s'

d raw i n gs , an d t h ou g h t h e y do n o t r ep rod u c e t he d ra w i n g s

p e rfe c t ly , t h e y g i v e a n i d e a of w h a t m a y b e a c comp l i s h ed by

s t ud e n t s who a r e t a u g h t t o w o rk a r t i s t i c all y , a n d t o d e p e n d

upon t h em s e l v e s a n d upon s t udy of n a t u r e .

F ig s . 43, 44 , a n d 58 a re by s e co n d -y ea r s t u d en t s of t h e

M a s s a c h u s e t t s N o rma l A rt S c h oo l ; t he o t h e r c h a r coal d ra w

i n gs of C h ap . V a re by s t ud e n t s of t he e n t e r i n g c l a s s of t he

s ame s c h oo l , a s i s als o F ig . 6 2 . F i g s . 63, 64 .a n d 6 5 a r e by

s t ud en t s of t h e S c h oo l ofD raw i n g an d P a i n t i n g oft he M u s e um

ofF i n e A r t s , B o s t o n .

S u c h wo rk c a n s e l d om be don e i n t he p u b l i c s c h oo l s u n t i l

c o nd i t i o n s a re v e ry d iffe r e n t from t h o s e now ex i s t i n g ; b u t

t e a c h e r s ca n g i v e i n s t r u c t i o n ofa n a r t i s t i c n a t u r e w h i c h w i l l b e

i n h a rmo n y w i t h t he wo rk of t he be s t a r t i s t s , a n d w h i c h w i l l

p r e pa re for wo rk s u c h a s t h a t i l l u s t ra t ed .

C25 . V

On l y t he e s s e n t i a l s c a n b e g i v e n i n t h i s book . T h os e

w h o w i s h t o go mo r e d e epl y i n t o t h e o r i e s a nd pr i n c i p l e s w i ll

fi n d ma n y i n t e r e s t i n g book s . A mo n g t h e s e t he wo rk s of S ir

j o s h u a R ey n o ld s a re p a r t i c u l a r l y v a l u ab l e , a s he i s a p rom i n e n t

e x ample of a g re a t a r t i s t who h a s a l so w r i t t e n u pon a r t , an d

a l l a r t s t u d en t s a re a d v i s ed t o s t u dy h i s w r i t i n g s w i t h c a r e .

T he a u t h o r d es i r e s t o e xp r e s s h i s o b l ig a t i o n s t o Rob e r t W.

Vonnoh , G . A . H i l l,a nd A my S wa i n , w h o h a v e k i n d l y r e ad t he

p roofs h e e t s a n d fu r n i s h ed h i m w i t h ma n y va luab l e s u g g e s t i o n s .

A N SON K . C ROS S .

B osrox , October 1 2 . 1 396 .

L I G H T A N D S H A D E .

C H A P T E R I .

C H I A R O-OS C U R A , OR L I GH T A N D S H A D E .

Ch i a ro-oscu r a .—

'

l‘

he word “c h i aro-oscu ra m eans t h e a r t of

p roduci ng t h e appearan ce of rea l i ty and of so l id i ty by a d rawing

w h ic h repres en ts t h e d ifferen t l ig h ts an d darks seen in n at ure .

S igh t due to educa t ion. We see w h a t we h ave been educa ted to

s ee . T h e i nfan t re ac h es out h i s h an d to grasp t h e moon,an d even to

adu l ts appearan ces are so decep t i ve t h at w h en t h e moon is r i s ing o r

t h e sun i s s e t t i ng, i t i s d ifficu l t often to be l i eve t h a t t h ey are no t j us t

b eyond some h i l l i n t h e m idd le d i s tan ce , a nd i f t h e d i stan ces were n ot

fixed by sc i en ce t h ey wou ld be con t i nua l ly under d i scuss ion . Th ere

i s no c h an ce fo r d isc uss ion con ce rn i ng t h e fact s , but upon quest ion s

of a rt sc i en ce i s of l i t t l e a ss i st ance . H ence d iffe ren t peop l e v i ew

ing t h e same t h i ngs wi l l g i ve ve ry con tr ad i ctory reports of w h at t h ey

s ee,an d eac h w i l l be pos i t i ve t h a t w h at h e h as seen i s w h at a l l

s h ou l d see and a l l t h a t can be seen .

S igh t is imperfect . A ny on e w i l l b e su rpr i sed to d i scover h ow

l i tt l e h e rea l l y see s,even of t h e obj ec t s abou t h im every day

,i f h e

w i l l a t t empt to descr ibe f rom memory,e i t h e r by words or by mak i ng

any ki n d of a d raw i ng,t h e facts con ce rn ing any bu i l d ing w h i c h i s

seen da i l y . On compar ison of h i s descri p t i o n or d raw ing w i t h t h e

b u i l d i ng,h e w i l l be a ston i s h ed to d i s cove r t h at h e h a s n eve r real l y

seen t h e bu i l d i ng,for h e can no t de sc r ib e correct ly even i ts p ri n c ip a l

p arts ; a nd as fo r de ta i l s , many of t h e mos t impor tan t h e n eve r s ees

un t i l h e compa res t h e bu i l d ing w i t h h i s descr i p t ion .

S igh t due t o memory . T h e ac t of see ing depends upon t h e

b ra i n more t h an upon t h e eye , fo r s ig h t sen s at i on s a re refe rred

2 S /I A D E .

by t h e m ind to know l edge prev ious ly ob ta ined conce rn ing s im i l ar

sen s at ion s . S ee i ng i s t h u s l a rge ly a mat ter of memory, and s ig h t

sen sa t ion s are read,no t by carefu l s tudy of t h e fac ts of t h e image

i n t h e eye , b ut by mean s of t h e kn owledg e ga in ed from al l so u rces

con cern i ng ob j e c ts w h i c h h ave occ as i oned s im i l ar sen s at ion s . T h e

n at ura l eye i s an exac t i n s trumen t w h i c h reco rd s t ru ly t h e apparen t

form and co l o r of a n ob j ec t . T h e same imag es a re formed i n a l l

n ormal eye s w h i c h v iew a ny obj ect f rom t h e same pos i t io n , bu t t h ese

images w i l l be read d ifferen t ly by m inds d iffe r ing i n capac i ty and t ra in

i ng ; a nd of a dozen d i fferen t peop le w h o see t h e s ame obj ects , no two

are l ike ly to agree i n t h e i r descr ip t ion of t h em . T h e person who h as

no t s tud ied d raw ings looks a t a c i rc l e an d w a s a c i rc l e,regard l ess of

t he'

posit ion of t h e c i rc l e h e looks a t a w h i te obj ec t an d sees w h i te

of on e unvary i ng va l ue h e looks at a t ree and sees green w h en t h e

eye may record not a s ingl e spo t o f green . T h e un cul t i v ated eye

sees obj ec ts in out l ine and of t h e i r l oca l co lo r,and even t h ose of

art i s t i c t emperament and educat ion requ i re muc h s t udy to rea l i z e

t h a t a ny obj ec t o f on e co lo r appears of ve ry d iffe ren t co lors , none of

w h i c h may be t h e loca l co lo r .

Objec t s a re seen by cont r a sts of ligh t a nd da rk . Obj ec t s are

s e en t h roug h t h e ac t i on of l ig h t w h i c h t h ey refl ect to t h e eye i n d i f

ferent degrees and of d ifferent co l o rs,and eve ry obj ect appears

l ig h te r on on e s id e , darke r on t h e oppos i t e s ide , and t h ro w s a s h ado w

upon some ot h e r obj ec t . Ob j ects a re v i s i b l e bec au se of con tras t s

of l ig h t an d dark ,eac h one appear i ng e i t h er l ig h t e r o r darke r t h an

i ts s ur round ing s , o r appear ing l ig h te r t h an t h e background i n on e

par t an d darke r i n anot h e r . I ftwo obj ect s of t h e s ame co l or refl ec t

l ig h t equa l ly to t h e eye , t h ey appear of t h e same va l ue , and i f any p ar t

of on e i s i n f ron t of t h e ot h e r . i ts o ut l i n e i n t h i s pa rt can no t b e s een .

A monoch rome.—Th es e con t ra st s of l ig h t , dark , and co l or m ay

be represen ted by con tras ts o f l ig h t and dark , u s in g s imply on e co lo r .

S uc h a d rawi ng or paint ing i s c al l ed a WWW/1 1 1mm,and may be o f

any col or , t h oug h bl ack or some da rk neut ra l co l or i s gene ral ly us ed .

A monoc h rome i s a l ig h t a nd s h ad e d rawi ng ,w h et h e r i t i s mad e

w i t h o i l or wa ter co l or o r col ored c rayon,and any d rawi ng repre

sen t i ng va l ue s s imply i s a l ig h t an d s h ade d rawing,w h et h e r made

wi t h t h e b ru s h . c h a rcoa l , crayon . pen and i nk . or ot h er med i um .

CH /A /i’O—OS CU A

'

A , [JG/{ T A A’

D S H A D E . 3

Al l obj ec ts i n n at ure a re co lo red,and rep resen t ing t h ese co lo rs by

b l ack an d w h i t e o r by d ifferen t tones of any one p igmen t give s a

conven t ion a l t re atmen t,w h i c h

,t h oug h fa r s upe r io r to out l i n e , may

fa i l i n exp ress in g al l t h e fa ct s obse rved,to do w h ic h even co lo r i s

s ome t imes in suffic i en t ; but a l ig h t and s h ade drawi ng i s capab l e of

exp re ss i ng muc h concern i ng any obj ect . I t i s mo re sat i sfacto ry

t h an out l in e , becau se t h e s h adow on an y obj ect var i es wi t h t h e fo rm

of t h e obj ec t,and t h u s de scr ibes i t ; a nd a l so because t h e cas t

s h adows vary bo t h w i t h t h e form of t h e obj ect w h i c h cas t s t h em an d

w i t h t h at of t h e obj ec t w h i c h rece ives t h em , so t h a t t h ey de scr ib e

t h e fo rms of bo t h . T h e s h adow and cas t s h adow wi l l of t en s h ow

facts of fo rm w h i c h t h e out l i n e or contou r of t h e obj ect does not

s h ow at al l .

E ffect s ofdifferent ligh t s. Obj ect s are seen under very d iffe ren t

i l l um i n at ion s ; t h ey may be exposed to d i rec t l ig h t , e i t h er sun l ig h t ,moon l ig h t

,or any art ifi c i a l l i g h t

,and t h i s l ig h t may be st rong or

weak ; or t h ey may be seen under t h e d i ffu sed l ig h t of a gray day ,or of a room wi t h s h aded w indows

,or of a s ta rl ig h t n ig h t . T h e

d i rec t l ig h t m ay come from on e source o r from seve ral,and t h e d if

fused l i g h t m ay be s trong or weak , t h oug h to a le ss ext en t t h an d i rec t

l ig h t . I t i s ev id en t t h at t h e effect s p roduced by t h ese d iffe ren t l ig h t s

mus t b e so n ume ro us and so v a r i ed t h a t to fo rmu l ate ru l es fo r t h e

p roduct ion of l ig h t and s h ade drawings i s imposs ib l e . B ut by s t udy

of t h e e ffects ce rta i n p r i n c ip l es may be d i scovered w h i c h w i l l h e l p

t h e s t ud en t of l ig h t an d s h ade j us t as t h e s tudy of t h e p r in c ip l es

of free—h an d perspec t i ve a ids i n t h e s t udy of out l i n e drawing .

T H E S PH ER E .

Sphere illust ra t es a ll li g ht a nd sh a de cont ra st s. We wi l l s tudy

t h e effec ts of sun l ig h t by mean s of t h e sp h e re, w h i c h i s we l l adapted

to p res en t a l l t h e l ig h t an d s h ade effec t s v i s ib l e i n n atu re .

S unlig h t effect s . Th e rays of sun l ig h t are s t ra ig h t , an d d iverge

from t h e sun,but i n t h e s t udy of s h adows are gen e ra l l y con s ide red

as pa ra l l e l. One h a l f of t h e s u rface of t h e sp h ere wi l l t h en rece iv e

d i rect rays of l ig h t,and t h e o t h er h a l f w i l l rece i ve n o d i rect r ays .

T h e h a lf. w h i c h re ce i ve s t h e d i rec t rays appears l ig h t , an d i s cal l ed

4 A A'

D S H A D E .

t h e [lg/1 1 , t h a t w h ic h rece i ves no d i rec t rays appears dark i n con t ras t

wi t h t h e l ig h t,and i s c a l l ed t h e T h e l ig h t and t h e s h adow

a re sepa rated by a grea t c i rc l e upon t h e sp h e re w h i c h i s perpen

dicula r to t h e rays of l ig h t . Th e po in ts i n t h e c i rcumfe ren ce of

t h i s c i rc l e a re t h e po in ts upon t h e s urface of t h e sp h e re a t w h i c h

t h e rays of l ig h t are t angen t to t h e sp h ere . T h ese tangen t rays

fo rm a cy l in d r i c a l su rface w h i c h extends be low t h e sp h e re t i l l i t

i n tersect s t h e ground or ot h e r s ur

face . T h e part of t h i s o t h e r s urface

wi t h i n t h e cyl i nd ri ca l su rface re

ceiv es no d i rect l ig h t a nd i s c a l l ed

t h e m y ! Any obj ect ex

posed to d i rec t l ig h t h as a l ig h t

s ide and a s h adow s ide , and t h rows Aa cast s h adow .

Di v iding line ofligh t a nd s h a de.

— Th e above fac ts are s h own by Figs . 1 and a Fig . i i s a s ide

Fro . 1 .

v i ew represen t i ng t h e ground by A B,t h e h ig h e s t and l owes t r ays

o f l ig h t by 16 an d A ) , t h e l ig h t by L , and t h e s h adow by S . T h e grea t

c i rc l e w h i c h sepa rates l ig h t f rom s h adow i s repre sen ted by C D ,and

i s ca l l ed t h e (lira/mg line iffig/I fmm’s/zm/c. Obse rva

t i on of a w h i te sp h ere w h i c h i s exposed to sun l ig h t

w i l l make t h es e poi n ts p l a in . B ut i f F ig . i i s n o t

un ders tood,l e t t h e s t uden t ro l l a s h ee t of paper i n to

a t ub e w h i c h w i l l j us t rece i ve a b al l o r ot h e r sp h er i ca l

ob j ec t . H e w i l l find t h a t t h e cy l in de rw i l l touc h t he sp h e re i n a c i rc l e w h i c h

i s at r ig h t angl e s to t h e ax i s of t h e cylin

der and w h i c h appears a s tra ig h t l i n e

w h en t h e cy l i nder i s p l aced as in Fig . 1 .

Fig . 2 rep resen ts t h e sp h e re w h en i t i s be low t h e eye wi t h t h e

e l l i pse of cas t s h adow v i s ibl e . and so t h a t t h e c i rc l e separa t i ng l ig h t

f rom s h adow appears an e l l i pse.

L igh t a nd s h a dow on t he moon. fam i l i a r obj ec t w h i c h i l l us

t rates t h e appearan ce of t h e d i v id ing l i n e of l ig h t a nd s h ade on t h e

sp h ere i s t h e moon . of w h i c h h a l f t h e s u rface i s l ig h t ed by t h e sun ' s

rays and t h e ot h e r h al f i s i n s h adow . T h e moon i s cons t a n t l y

Fro . z.

E l l /A A'

O 051 1 L ]Gl/7 A A 1 ) S i /A I f. 5

c h ang i ng i t s pos i t i on wi t h re fe ren ce to t h e eart h and t h e su n h ence

i ts c i rc l e , w h i c h s eparates l ig h t from dark , i s be ing seen at d i ffe r

e n t angl es , a n d t h e d iffe ren t p h ase s of t h e moon resu l t .P hotog ra phs do not gi ve sh a rp di v iding lines oflight a nd sh a de.

— I n F ig . 3 , w h i c h i s m ade from a p h otograp h of a w h i te sp h ere

w i t h a smoot h s urf ace , t h e re i s n o s h a rp d iv i d ing l i n e of l ig h t an d

s h ade . T h e l ig h t came f rom a wi ndow fac ing nort h,and we mus t

now con s i de r t h e c ause for t h e d iffe ren ce between Figs . 2 and 3 .

Reflect ions. I n order to dete rm in e t h i s we mus t remember t h a t

Frc . 3. From Photogra p h .

l i g h t i s reflect ed from any smoot h , po l i s h ed su rface suc h as t h a t o f

a m i r ro r , so t h a t t h e angl e of i n c idence i s equa l to t h e angl e of

refl ect i on,an d a perfec t image of t h e obj ec t i s p roduced . Very l i t t l e

of t h e l ig h t fa l l i ng on t h e su rface is absorbed by i t , and a lmost

a l l t h e rays are regul a r ly refl ected so t h a t t h e i mage i s a lmos t as

br ig h t a s t h e obj ec t . I ft h e m i rror i s no t q ui te smoo t h o r regul ar. a

d i s tor ted image wi l l be p roduced . and as t h e roug h ness of t h e sur

fa ce i s i n c reased , i t s power to refl ec t l ig h t dec reases ; moreove r t h e

l ig h t i s refl ected i r regu l a rl y , so t h at no image i s p roduced .

Effect depends upon posit ion. T h e d iffe rence i n t h e appearan ce

of t h e d ifferen t par t s of t h e sp h e re of Fig. 3 i s c aus ed en t i re ly by t h e

d iffe ren t posi t i on s of t h e va r i ou s parts of i ts su rface wi t h refe re n ce to

6 A l l ? )

t h e l ig h t . Th e l ig h t e s t pa rt i s no t , as i s common l y s ta ted , t h e pa rt

w h ic h rece ives t h e mos t l ig h t,t h a t i s

,t h e pa rt a t r ig h t ang l e s to t h e

d i rect i on of t h e l ig h t , bu t i s t h e part w h i c h i s s i t uated so as to reflec t

t h e l ig h t most d i rect ly to t h e eye . T h e d arkest par ts of t h e s u rface

a re t h ose w h i c h se nd to t h e eye none of t h e d i rec t rays an d t h e

fewest ray s t h a t s t ri ke t h e s urface afte r be i ng re fl ec t ed f rom some

o t h er su rface .

T he h ig h ligh t . T h e su rface of t h e sp h ere i s con t inua l l y c h ang

i ng. One point i s s i tuated so t h at i t refle c t s t h e ray w h i c h i t

re ce iv e s d i rect l y to t h e eye . T h i s po in t gl i t te rs,an d i s ca l l ed t h e

b ig /1 lig /r/ or g /[f/cr Away from t h i s po i n t t h e rays a re refl ec ted

l ess d i rect ly to w ard t h e eye , and t h e fa rt h er from t h e h ig h l ig h t a

po int in t h e l ig h t i s s i t uated,t h e fart h e r f rom t h e eye i t refl ec t s t h e

l ig h t i t rece ives .

T h e h ig h l ig h t i s t h eo re t i ca l l y a po i n t w h en s een w i t h on e eye

a nd w i t h d i rec t sun l ig h t , and i f t h e sp h ere i s one w h ose su rface

i s a perfe c t mi rro r . Wit h a ny stud io o r o t h e r l ig h t a nd t h e us ua l

cond i t i on s . t h e h ig h l ig h t i s a fig u re o f defin i t e fo rm ,w h i c h i s t h e

refl e c t ion of t h e w indow or sou rce of l ig h t , and w i t h in i t w i l l be found

t h e imag e of a l l t h e b arsw h i c h d iv id e t h e w in dow . I f t h e s p h e re i s

not pol i s h ed . t h e re w i l l be i n s tead of t h e h ig h l ig h t a spot w h os e s i z e

dep ends upon t h e s i ze of t h e w indo w o r l ig h t , a nd w h i c h i s br ig h t er

t h a n a ny o t h e r pa rt of t h e S p h e re . H ence we h a ve a g l i t t e r poi n t o r

i t s equ i va l ent on t h e su rface of every sp h ere .

Th e h a lf lig h t — T h e po i n t s i n t h e c i rc l e w h i c h sepa rate l ig h t

f rom s h ado w do not reflect a ny d i rec t rays to t h e eye . fo r t h ese rays

a re tan g ent to t h e S p h ere a t t h e se po in t s , w h i c h , s i n ce t h e y rece iv e no

d i rec t l ig h t , must appea r very dark . From t h e h ig h l ig h t toward

t h e s e point s t h ere i s a gra dua l d im in u t i on i n t h e appa r en t brig h tnes s

of t h e sp h ere . a nd at t h e se . point s t h e l ig h t su rface ceases . T he

grad at i on i s very gradua l t h roug h t h e l arger part of t he l ig h t , an d i s

most not iceab l e n ea r t h e d i vi d ing l ine of l ig h t and s h ade : t h is l a st

part i s ca l l ed t h e Mi l/"

li g h t

T h e reflec ted ligh t — T he s t rong es t pa rt of t h e s h adow upon

t h e sp h ere i s t h e c i rc l e w h i c h separates t h e l ig h t from t h e s h adow .

i e tween t h i s c i rc l e a nd t h e ou t l ine of t h e sp h e re a part of t h e s h adow

is cons id erab l y l ig h t e r t h an t h e res t of t h e s h adow . T h i s i s caused

U lt'

A A'

Z)

by l ig h t w h i c h i s refl ec ted to t h e sp h e re f rom t h e obj ec t on w h ic h i t

re s t s o r from ot h e r obj ec ts,an d i s ca l l ed reflex/ml fizz/i f. T h i s refl ected

l ig h t i s a lways p resen t , and t h e en t i re s h adow part of t h e sp h ere

w h i c h i s v i s ib l e mu s t rece i ve and send to t h e eye some refl ected

l ig h t ; were t h i s n ot t h e c as e a l l d et a i l s of t h e s h adow s i de woul d be

as i n v i s ib l e as t h e d ark p ar t of t h e moon . T h e power o f refl ected

l ig h t i s s h own at t h e t ime of new moon w h en al l t h e s urface of t h e

moon i s v i s ib l e ; a smal l p a r t be ing br ig h t ly i l l um i n ed by t h e d i rec t

rays of t h e sun,and t h e l a rge r part fa i n t ly l ig h ted by t h e rays

refl ec ted to i t f rom t h e earth and t h en sen t back to e ar t h aga in .

I f t h e s urface of t h e Sp h ere i s po l i s h ed-

a nd a br ig h t obj ec t i s

p l aced n ear t h e s h adow s ide , i t w i l l b e refl ec ted b r ig h t an d s h arp ly

defi n ed ; and upon a sp h e re of po l i s h ed meta l t h e refl ec t ion s would

be so br ig h t a s to des t roy t h e effec t of l ig h t an d s h adow . W h en t h e

s urface i s no t po l i s h ed o r no t even smoot h , t h e refl ected l ig h ts a re

muc h weake r and may often be h a rd ly not i c ed .

The ca st sh a dow .

and c l ear ly defin ed , i t s o ut l i n e be ing s h a rpe r n ear t h e sp h e re t h an

far t h e r away . T h e cas t s h adow,l ike t h e s h adow , i s da rke r in parts

an d l ig h te r i n o t h er parts,owing to t h e unequa l amoun ts of refl ected

l ig h t w h i c h t h es e pa rts rece iv e an d t h en refl ect to t h e eye .

P hotog r a phs not a lw a y s t rue to na t u re. P h otograp h s do no t

gi ve t h e va l u es and re l a t i on s w h i c h t h e eye sees , but t h ey often

give t h e pr i n c ip al effe ct s so n ear l y as t h e eye sees t h em t h a t t h e

s tuden t may l e arn muc h from t h em i n conn ec t i on w i t h s t udy of t h e

obj ec ts t h emse l ves,and t h u s many of t h e i l l u s tra t ion s of t h i s book

are from p h o tograp h s . Al l w h o s tudy t h es e no tes a re advi sed to care

fu l ly s tudy s im i l ar obj ec t s p l aced so t h a t t h ey are l ig h ted as i n t h ei l l us t rat ion s . T h e d i rect i on of t h e l ig h t an d t h e s i z e of t h e w i ndow

from w h i c h i t comes i n fl uen ce t h e effec t so s t rongly t h at s eve ra l

exper imen ts may be n ecessa ry to obta in effect s s im i l ar to t h os e of

t h e figu res .

T h e cas t s h adow in Fig . 3 i s s een to be dark

T H E CU B E .

Gen era l ly t h ree fa ce s of t h e cube are i n l ig h t and t h ree i n s h adow ,

an d s i x edges s epara te l ig h t f rom s h adow and form t h e d i v id i ng l in e

o f l ig h t an d s h ade .

8 L /G/l'

f A N !)

Fig . 4 rep resen ts a w h i te cube p l aced ag a i n s t a g ray b ackg ro und

and a p iece of c h a rcoa l res t i ng agai n s t t h e cube . T h e l i g h t come s

from above,be h ind , and at t h e l eft of t h e spectato r .

The ligh t . T h e fron t l ig h t face is l ig h tes t at t h e f ron t edge and

gradua l l y becomes darke r as i t recedes : i t i s l ig h t e r t h an t h e to p

face . I ft h e c ube i s perfec tl y c l ean and i ts faces a re eq u a l l y w h i t e ,a nd t h e l ig h t comes f rom su c h a d i rec t ion t h at t h e top face and t h e

fron t face refl ect i t equal l y to t h e eye , t h ese face s wi l l app e ar equal ly

From l‘ lmt u g mph .

l ig h t , and t h e edg e sepa ra t ing t h em w i l l be i nv i s ib l e . I f t h e top

face refl ect s more l ig h t to t h e eye t h an t h e f ron t fa ce,i t w i l l appea r

t h e l ig h te r .

The s h a dow . T h e s h adow s ide of t h e cube i s da rke r t h an t h e

foreg round a nd backg round , l ig h te r t h a n t h e ca s t s h adow , a nd muc h

l ig h t e r t h an t h e c h a rcoal i t i s da rkest a t t h e fron t edge and

g radual l y becomes l ig h te r a s i t reced es . I t i s a l so da rke r ne ar t h e

bot tom w h e re t h e d ark cast s h adow refl ects da rk .

The ca s t s h a dow . The cast s h ado w i s da rkes t a n d s h a rpes t

n ea re s t t h e cube . T h e c h arcoa l seem s to cas t a s h adow w i t h i n t h a t

of t h e cube ; bu t as t h e c h arcoa l i s w h o l ly wi t h i n t h e s h adow of t h e

cub e a nd rece i ve s no d i rec t rays , i t i s ev id en t t h a t t h e da rkeni n g of

https://www.forgottenbooks.com/join

I O L /Gl / T A A'

Z)

i t i s from t h e h ig h l ig h t , t h e fart h e r from t h e eye i t refl ec ts t h e l ig h t

w h i c h i t rece i ves ; and fin al ly we reac h t h e s h adow e l emen ts,w h i c h

separate t h e l ig h t f rom t h e s h adow . T h e rays of s un l ig h t are tangent

to t h e surface i n t h ese e l emen ts w h i c h,rece iv ing n o d i rec t l ig h t ,

appear ve ry dark ; toward t h e h ig h l ig h t f rom t h ese e l emen ts we h ave

wi t h sun l ig h t a b road and s impl e mass of l ig h t,marked by t h e gl it t e r

F I G . 5. From Photogra p h .

e l emen ts and by t h e h al f l ig h t w h i c h gi ves t h e gradat ion i n to t h e

s h adow and w h i c h i s mos t marked near t h e s h adow e l emen ts .

Gra da t ion in t he ligh t . Wi t h a stud io l ig h t t h e grada t ion from

l ig h t to dark i s more gradual , and from t h e h ig h l ig h t we fi nd a

gradua l ly i n creas ing ton e w h i c h in creases in s t rengt h n ear t h e

s h adow e l emen t and gradual ly becomes s h adow . We find al so i n

an y l ig h t , grad at ion f rom t h e gl i t te r e l emen t in oppos i t e d i rec t ion s .so t h at a t t h e con tour e l emen t i n t h e l ig h t t h e tone i s d arke r t h an at

any e l emen t between t h e con tour an d t h e g l i t t e r el em en t . T h e

Ol t ’ [JG/I T A A'

D S I I A D E . I I

d rawi ng impe rfec t l y represen t s t h i s grad at i on in w h i c h t h ere i s n o

s udden c h ange f rom on e e l emen t to t h e n ext .

T h e base i n l ig h t w i l l gen era l l y appear da rkest w h e re i t comes in

con t ras t w i t h t h e l ig h te s t p a rt of t h e cu rved s urface .

Gra da t ion in t he sh a dow . T h e s h adow e l emen t rece i ves no

d i re c t lig h t, an d gene ra l l y i t re ce i ve s l es s refl ec ted l ig h t t h an t h e

o t h e r e l emen ts i n t h e s h adow,so t h a t t h e s h adow i s genera l ly darkest

at t h e s h adow e l emen ts . T h e con tou r e l ement on t h e s h adow s ide i s

gen e ra l ly dec i ded l y l ig h te r t h an t h e s h adow el emen t , and between

t h es e e l em en ts t h e s h adow i s gene ra l ly affec ted by refl ected l ig h t s

so t h a t i t s l ig h t es t p a r t i s be tween t h e con tour and t h e s h adow

e l emen t .

The ca st sh a dow . I n Fig. 5 t h e cas t s h adow is darke r upon

t he ver t i ca l t h an upon t h e h o r i zon t a l s urface,a l t h oug h i t may be t h e

o t h e r way w h en t h e l ig h t comes from ano t h er d i rect ion . T h oug h no t

s h own by t h e p h otograp h , a smal l p ar t of t h e cas t s h adow n eares t

t he cy l i nder wa s t h e darkest par t of t h e cas t s h adow . T h e con tour

of t h e cas t s h adow i s composed of s tra ig h t l i n es,w h i c h a re t h e

s h adows of t h e two s h adow e l emen ts of t h e cy l i nde r,and of a cu rve

w h i c h is t h e s h adow of h a l f t h e c i rcu l a r edge of t h e upper base .

S h a dow s soft en a s t hey recede from t he object . T h e soften ing

oft h e s h adow,as i t re cedes f rom t h e obj ec t w h i c h cast s i t

,i s due in

a ll t h e figures to t h e fac t t h a t t h e lig h t comes from a window severa l

fee t i n w id t h . From eac h s id e o f t h i s w i ndow t h e rays p as s t angen t

to t h e obj ec t so “t h a t t h ey c ross e ac h o t h e r and p roduce a ser i es of

s h adows ove rl app ing eac h ot h e r, and w h i c h i n crease gradua l ly t h e

s t rengt h of t h e s h adow un t i l i t s f u l l d ep t h i s found beyon d t h e

boundary of t h e su rface from w h i c h t h e cy l i nde r cu ts off p art bu t

n o t a l l t h e rays w h i c h en te r t h e w i n dow. N ea r t h e obj ect t h i s p a r

t i a l o r soft s h adow cove rs very l i t t l e space, and at t h e obj ect pra ct i

c a l l y non e,so t h a t t h e cas t s h adow w h e re i t begi n s i s very keen an d

becomes softe r as i t recede s, un t i l oft e n wi t h a s tud io l ig h t i t may not

e xpress t h e form of t h e obj ec t t h a t ca use s i t.

1 2 [JG/I T S I /A D /f.

T H E CON E .

The lig h t a nd t he sh a dow . t h e cone i s d i re c ted toward

t h e l ig h t,a l l i t s c u rved su rface i s l ig h t an d t h e b ase i s s h adow ; w h en

d i rec ted from t h e l ig h t , t h e base i s l ig h t an d t h e c u rved s urfac e is

w h o l ly s h adow .T h e curved su rface may be bo t h l ig h t an d s h adow

i n an y proport i on . T he l i g h t an d s h a dow are separat ed by el emen ts ;but t h oug h t h ey may be oppo

s i t e e lemen t s . as i n t h e cylin

der,t h e p roport i on of l ig h t to

s h adow wou ld s e l d om be the

same .

The h ig h li g h t a nd t he

lig h t . t h e cu rved

s u rface of t h e con e (Fig. 6)

i s part i a l l y o r w h o l l y i n l ig h t.

one e l emen t w i l l refl ec t t he

l ig h t d i rect l y t o t h e eye a nd

be t h e gl i t t e r o r h ig h l ig h t .

From t h i s h ig h l i g h t the

c u rved surface extends in

bot h d i rect i on s t o w ard s t he

s h adow e l emen ts , w h i c h re

flec t no d i rec t l ig h t to t h e eye

and w h i c h a re t h e d arkes t

el em en ts . T h e n eare r a m

e l em en t i n t h e l ig h t i s t c

t h e s h adow e l emen t, t he

fa rt h e r from t h e eye i t refl ec ts t h e l ig h t , and so , a s i n t h e case ofth<

cyl i nde r , t h e re i s a perfec t g radat i on of ton e from t h e h ig h l ig h t t (t h e deep s h adow of t h e s h adow e l emen ts . T h e c h ange i s gradua

and mo s t marked n ea r t h e s h adow e l emen t s i n t h e h a l f l ig h t s, s<

t h at as we go from t h e s h ado w el emen ts t oward t h e gl i t te r e l emen '

t h e effec t i s t h at of a mass of l ig h t .

The sha dow . Th e s h adow el emen t genera l l y refl ec t s to t h e ey i

l es s refl ec ted l ig h t t h an t h e o t h er e l emen ts i n t h e s h adow,and t il l

da rkes t s h adow upon t h e con e i s g ene ra l l y a t t h e s h adow el em en t

F I G . 6 . F rom Pho tog ra p h ,

Cl/l A A’O—OS CU A

’

A , Oli'

[JO/{ T A A ’I ) 1 3

From t h e s h adow e l emen t toward t h e con tou r e l emen t on t h e s h adow

s i d e t h e re is grad at io n due to t h e reflect ed l ig h t,w h ic h i s s tronges t

between t h e con to ur an d s h adow el em en ts . T h e con tour e l emen t

i s usual l y l ig h t er t h an t h e s h adow e l emen t .

Wh en t h e v i s ible c u rved surface i s w h ol ly o r l argely s h adow , t h e

d arkes t s h adow i s gen eral l y on t h e n earer pa rts,and t h e s ame i s t rue

of t h e cy l i n de r w h en t h us p l aced .

The ca st sh a dow .— T h e cast s h adow in Fig . 6 i s bounded by

s t ra ig h t l i n e s w h i c h a re t h e s h adows of t h e s h adow el emen ts,and

,as

in t h e o t h e r figure s , i t i s s h arpes t and darkes t n eares t t h e con e .

E ffect s a re a ccent ed a t t he v er t ex .— T h e l ig h t an d dark a re

c oncen t rated at t h e ve rtex of t h e co ne and pyram id and are t h us

a ccen ted ,so t h a t t h e s h adow on t h e con e i s darkes t and t h e l ig h t

l ig h t e s t n ea res t t h e v er tex .

Gra da t ion in a ll pa rt s. Fig . 6 does no t perfec t ly i l l us trate t h e

effe c t, w h ic h s h ou l d be th a t of a gradua l l y i nc reas ing ton e f rom t h e

g l i t te r e l emen t to t h e s h adow e l emen t , and t h e same i n t h e o t h er

d i rec t ion , so t h at t h e ton e a t t h e con tou r e l emen t a t t h e l ef t s h ou ld

be darke r t h an t h a t upo n any e l emen t between t h e con tou r and

g l i t te r e l emen ts .

T H E P Y R A M I D .

A s quare pyram id i s rep res en t ed i n Fig . 1 4 w i t h ot h er obj ec ts , but

w i ll s erve to i l l us t ra te t h e remarks upon so l id s of t h i s type .

The lig h t a nd t he sh a dow . I f t h e apex i s d i rec ted towa rd t h e

lig h t,a l l t h e l a tera l faces wi l l b e l ig h t an d t h e base s h adow ; ift h e

a pex is d i rec t ed from t h e l ig h t , a l l t h e l atera l f aces wi l l b e s h adow

a nd t h e bas e wi l l be l ig h t . Gen era l l y some of t h e faces are in l ig h t

a nd ot h ers i n shadow,and t h er e i s grad at ion an d var i at i on i n a l l .

The lig h t est fa ce.— Th e l ig h tes t face i s t h a t w h i c h refl ect s t h e

l ig h t mos t d i rect l y toward t h e eye , an d i t i s l ig h tes t n eares t t h e eye

w h ere i t co n t ras ts w i t h t h e adj o i n ing face .

The da rkest fa ce. T h e darkes t f ace is t h e on e w h i c h sends t h e

leas t l ig h t to t h e eye ; i t appears d arkest a long t h e l a te ra l edge

w h i c h i s ne are st t h e eye, an d w h i c h separa te s i t from t h e ad jo in i ng

lig h t e r face .

I 4 L l Gl-I T A /VD S H A D E .

Gra da t ion due to perspect i ve a nd t o cont r a st .— T h ese e ffec t s

are due to t h e fact t h a t a dark s urface appears l ig h t e r as i t recedes ,and a l ig h t surface appears d arker, and a l so to t h e fac t t h a t con tras t s

of l ig h t and dark,or of any two d iffe ren t tones , i n crease t h e i r d iffe ren ce

w h ere t h ey j uxtapose by caus i ng t h e da rk to appear d arke r and t h e

l ig h t to appear l ig h t er

S ligh t differences in v a lue t o be represent ed.

base an d t h e l ig h t l at era l f ace appear to h ave t h e same va l ue . I n

n ature t h e bas e was s l ig h t l y da rke r t h an t h e fa ce ; t h i s d iffere nce

s h ou ld be expressed i n any l ig h t a nd s h ade d raw i ng af ter t h e effec t

of t h e masse s w h i c h t h e i l lu st rat ion gi ve s h as been rep resen ted .

I n Fig . 1 4 t h e

OBJECTS o r D I F F ER E NT COL OR S .

A colored ob ject h a s ligh t a nd sh a dow upon i t . T he so l id s

represen ted h ave a l l been of un i form w h i t e co lor, and t h e d i ffe ren t

l ig h ts and darks h av e been due so l e l y to t h e effect of l ig h t and s h ade .

19 10 . 7, From l’lln ln g ra pll .

Fig . 7 represen t s two sp h eres . on e w h i te and t h e o t h e r red , an d

i l lu st ra tes t h e fac t t h a t t h ere i s l i g h t an d s h ade upon a da rk obj ec t

j us t a s t h ere i s upon a w h i t e one . Th e d iffe ren ce between t h e l i g h t

an d da rk i s not as g rea t upon t h e red sp h e re as upon t h e w h i t e .bu t

CH /A A'

O—OS CU A’

A , Ol t’

L l G/I'

I'

S H A D E . I S

t h e re i s t h e co n t ras t of t h e s ame masses of l ig h t and dark, a nd i neac h mass t h e re a re t h e s ame grad at ions as i n t h e co rrespond i ng

mass upon t h e w h i t e S p h ere . Th e red sp h e re,h owever

,appears

l ig h t er at t h e l e f t p a r t of i ts con tour t h an ne are r t h e h ig h l ig h t . T h i si s d ue to t h e fac t t h a t t h e sp h e re was h ig h ly po l i s h ed

,and refl ec ted

so muc h l ig h t from t h e su rround ing obj e ct s t h a t t h e effect of t h e

pr i n c i p a l l ig h t f rom t h e w in dow was dest royed by t h e s trong reflec

t rons.

The sh a dow s differ in v a lues — A p iece of c h arcoa l i s seen i n

t h e s h adow of t h e red S p h ere . I t appears muc h d arker t h an t h e

sp h e re , an d i l l us tra tes t h e fac t w h i c h s tuden ts a lways fa i l to real i ze ,’

t h a t co lo r a l ways s h ows t h ro ug h t h e s h adows so t h at t/ze slza o’

ozos

upon oly'

erfs of rlzfil w u t colors a nd la mina r/f] a re a lw a y s ofdifferent

v a lues.

Ca st sh a dows reflect da rk .— T h e cas t s h adows a re muc h s h arpe r

a nd da rker n e a r t h e sp h e r es t h an fa rt h er away,an d they refl ec t upon

t h e sp h ere s so as to darken t h e p art s n ear t h e con tou rs .

The h igh lig h t prominent in a da rk ob ject . Th e h ig h l ig h t i s

m uc h more no t i ceab l e upon t h e red sp h ere t h an upon t h e w h i t e one,

fo r t h e S p h e re s are po l i s h ed , and t h oug h t h e red on e does n o t refl ect

as m uc h l ig h t as t h e w h i t e on e , i t s h ig h l ig h t i n con tras t w i t h t h e

dark red co lo r seem s more p rom in en t t h an t h at of t h e w h i te sp h ere,

i n con t ras t w i t h w h i te .

A da rk color ma y a ppea r ligh t er t h a n a lig h t color . T h e figure

i l l u s t ra tes t h es e pr in c i p l e s,b u t does no t gi ve a l l t h e re l a t ion s tru ly .

I t i s t h e fi rs t to S h ow t h e most impo rt an t effect of l ig h t and S h ade

upon co lo rs w h ic h i s to m ake llze lz'

g lzt (y a (l o/36 color (Jim appea r

big/[fer t/zmz llze sl ur/low of a [lg /1 1 rolof .

T H E S A M E S U BJECT U N D ER D I F F ER E N T L IG H TS .

T h e i l l u s t ra t i ons s t ud ied h ave repre sen ted t h e effec ts du e to a

s t ud io,t h e l ig h t com ing from t h e l ef t an d from above an d be h ind

t h e sp ect ato r . We wi l l n ow compare t h e effec ts produced upon t h e

s ame obj ect s by lig h t s f rom d i ffe ren t d i rect i on s an d of d ifferen t k in ds

an d st rengt h s .

1 6 [JG/I T How ) S H A D E .

N u k'

l'

H S TU D IO L I G H T .

L ig h t a t t he S ide. lu g . 8 re p re sen ts a g roup of w h i te dra wingmode l s p l aced in a st ud io upon a s h e l f a nd aga inst a background

covered w it h da rk gray cart r idge paper , t h e l ig h t com ing f rom above

at t h e l e ft a nd s l ig h t ly b e h i nd t h e spec tato r . Th e effec ts of l ig h t

Fm . 9 . F rom Pho to g ra p h

and s h ade upon t h e d ifferen t ob j e c ts a r e suc h as h ave been descr ibed.

but owi ng to t h e impe rfect i ons of t h e p h otog rap h and i ts reproduc

t i on , t h e gradat ion s in t h e masses of l ig h t upon t h e d ifferen t obj ec ts

a re not wel l expres sed . T h u s t h e l eft-h and con tour of t h e con e

s h ould be darke r t h an an y e l ement between i t a nd t h e g l i t t e r e l emen t.

T h i s e l emen t does n ot appea r. b ut s h ou l d be about as fa r from t h e

l eft con tou r as t h e s h adow e l emen t i s f rom t h e r ig h t con tou r : and

t h e S h ade upon t h e sp h e re s h ou ld grad ua l ly in crea se i n s t ren g t h f rom

t h e h ig h l ig h t towa rd t h e contou r i n a l l d i re ct ion s : a nd t h a t upon t h e

https://www.forgottenbooks.com/join

I 8 L I GH T A N D S H A D E .

S K'

N I J G H T A T T H E S I D E .

Fig . 9 represen ts t h e same group w h en exposed to t h e d i rec t rays of

t h e sun from a d i rec t i on abou t t h e s ame as t h a t of t h e l ig h t i n F ig. 8 .

Effect s a re lig h t . T h e fi rs t po in t to be n ot i ced i s t h at t h e effec t

i s muc h l ig h t e r t h an t h a t of Fig . 8 . T h i s i s due to t h e fac t t h a t o ut

l’ln . l' rom Pho t og ra p h .

doors t h ere a re s t rong refl ected l ig h ts com ing from a l l d i re ct ion sw h ic h l ig h t en a l l s h ado w s and cas t s h adows to a grea t ex ten t

.

Ca st sha dow s a re sh a rp . N ex t we not i c e t h a t t h e cas t s h adows

are as s h arp and d i s t i nc t a s t h e edges of t h e obj ec t s . T h i s i s a lways

t h e case w h en t h e cas t s h adows a re n ea r t h e obj ec ts t h a t ca s t t h em.

On t h e o t h e r h an d , t h e g reate r t h e d i s ta n ce between an y edge an d

i t s s h adow, t h e soft er i s t h e con tou r of t h e s h ado w,because t h e rays

of sun l ig h t are no t qu i t e pa ra l l e l,and t h u s soft en t h e cas t s h adows

w h i c h a re d i s tan t , as expl a i n ed on pa g e 1 l .

(‘

I I I A l i’O Ol t’ L I GH T A IVD S H A D E . 1 9

Gra da t ion in sh a dows a nd ca st sha dow s. T h e cas t s h ado w s

a re s h a rp i n o u tl i n e and more n e arl y of on e va l ue t h an i n Fig. 8 ,bu t

t h ere i s gradat i on in t h em and a lso i n t h e s h adows . Th us t h e

cas t s h adow of-t h e p l i n t h upon t h e cy l i n de r refl ect s dark upon t h e

s h adow s i de of t h e p l i n t h an d upon t h e cast s h adow of t h e p l i n t h

o n t h e foregro und . T h e s h adow s i de of t h e p l i n t h h as n ear l y t h e

same va l u e as t h e fo reground,i n s tead of be i ng darke r as in Fig . 8 .

D irect ions ofca st sh a dow s. T h e cas t s h adow of t h e pen c i l i s a

con t i n uous band w h i c h run s al ong t h e s h e l f,t h en up on t h e vert ic a l

s i d e of t h e p l i n t h , and t h en a long upon t h e top of t h e p l i n t h , w h ere

i t s d i rec t i on i s t h e s ame as upon t h e s h e l f,fo r 20/s t/ze r/mrlozo of (my

line fi ll/5 upon p a ra llel fur/(ms f/ze slur/low I l a : t lze sa me (fired /on on

ea r/z smfizmT h e cas t s h adow of t h e pen c i l upon t h e s h e l f an d of t h e cone upon

t h e b ackground are cu rved by t h e un even su rface of t h e paper .

TH S TU D IO L IG H T B EH I N D T H E S P ECTA TOR .

E ffect is a ma ss of ligh t .— Fig. I O represen t s t h e same group

p l aced in a s tud io a nd l ig h ted by a win dow d i rec t ly be h i nd t h e spec

tato r . T h i s l ig h t c ause s t h e v is i b l e s u rfa ces of t h e obj ect s to be l ig h t

s u rface s an d t h e effec t o f t h e w h o l e group to be t h at of a mass of

l ig h t,fo r t h e cas t s h adows are be h in d t h e group and are l a rge ly

i n v i s ib l e . T h e obj ec t s a re d i s t i ngu i s h ed from eac h o t h er by sl ig h t

d iffe ren ces i n v al ue,an d t h e gradat ions of tone upon any on e are

very d e l i c a te . T h e con e,cy l i n de r

,and sp h e re eac h h ave a gl i t te r

po i n t o r l ine . T h ese l i g h ts are upon t h e n eares t p arts of al l t h e

so l ids,and from t h em t h ere i s a tone w h i c h gradua l l y in creases i n

s t rengt h towa rds t h e con tou rs . T h e p l in t h a l so h as a p art w h i c h

is l ig h t er t h an an y ot h e r pa rt of i t s su rface ; bu t h ig h l ig h ts are

se l dom foun d upon pol y h ed ron s,even w h en t h e i r s u rfa ces a re po l

ished,for i n o rde r to gl i t te r a p l an e surface m us t as a w h o l e refl ec t

t h e l ig h t d i rect l y toward s t h e eye .

L i t t le cont ra st oflig h t w i t h sha dow . T h e v i s ib l e cas t s h adows

are sm a l l i n F ig . 1 0,a nd are a l ways smal l w h en t h e l ig h t i s be h i nd

t h e spect ato r,u n l es s t h ey are cas t by par ts w h i c h over h ang and

caus e cas t s h adows to fa ll upon t h e v i s ib l e l i g h t su rfa ces . T h ere i s

20 L /G I / I'

A A'

D S /I A D lz'

.

a l so se l dom t h e con t ras t of a l ig h t s urface w i t h a s h adow surfac e ,

a nd t h e refo re i n gen e ral very l i t t l e con t ras t of l ig h t an d dark .

E ffect s too difficult for st udent s. T h i s pos i t i on o f t h e l ig h t i s

no t su i tab l e fo r s tud en ts . I t requ i res t h e ab i l i ty of an art i s t to

rep resen t sol id i ty and atmosp h e re by t h e d el i c at e grada t ions g i ven

F I G . I O. F rom Photogra p h .

bv a l ig h t be h i nd t h e a rt i s t , no matte r w h et h er t h e l ig h t be t h a t of a

stud io,sun l ig h t

,or an y o t h er l ig h t .

Cont ra sts a re la rgely due to color . T h e prin c i pa l con t ras t s o f

l ig h t and dark wi t h t h i s l ig h t a re g en eral l y due more to con t ras t s

of local co lo r t h an to con t ras t s of l ig h t an d s h ad e .

Th e p rocesses employed to make t h e i l l us t rat ions do not giv e t h e

fine con tras ts of t h e l ig h t . t h e gl i t t e r l ig h t , a nd t h e more d e l i c at e

g rad at i ons w h i c h t h e st uden t mus t observe by study of n atu re . I n

t h i s case t h e pen c i l i s t h e onl y dark obj ec t i n t h e group an d t h e

onl y one w h i c h s h o w s t h e g l i t t e r l ig h t .

Ob jec ts reflec t st rongly in t he foreground. T h e refl ected l i g h t

from t h e en d of t h e cy l i nd er to t h e fo reg round i s so st rong t h a t even on

OA ’

L I GH T A JVD S H A D E . 2 I

t he ro ug h p ape r i t g i ves a c l e ar refl ect i on of t h e edge oft h e cy l i nde r .

T h e cas t s h adow of t h e camera fe l l upon t h e fo reground and

d arken ed i t ; were i t no t fo r t h i s s h adow,t h e n eare s t part of t h e

fo reground would be t h e l ig h t es t .

A S'

rU D I o L IGH T I N FRON T or T H E S P EC TA TOR .

E ffect la rg ely sh a dow . Fig. 1 1 rep resen ts t h e group w h en

p l aced in fron t ofa studio w in dow . T h i s pos i t i on c ause s t h e v i s ib l e

su rfaces to be l a rge ly s h adow su rfaces .

T h e l ig h t st r i ke s, h oweve r, t h e top pa r ts oft h e c ube , t h e cy l i nde r,t h e sp h e re

,and t he p l i n t h , and t h ese su rfaces a re l ig h t ; bu t i n o ut

Frc . i t . From Photogra p h .

doo r subj ec ts t h e upper s u rfaces of obj ect s a re gen era l l y i n v i s ib l e ,an d t h ere i s l es s l ig h t t h a n i n F ig. 1 r .

T h e c as t s h adows are dark and p rom inen t i n t h e effec t, as t h ey

a re w h ol l y v i s i bl e a nd ex ten d toward t h e spect ato r . F ig. I I , i n con

2 3 L l G'

l/T A /Vl) S H A D E .

t ras t wi t h Fig . 1 0,presents a m a s s of dark w h i c h i s t h e genera l

effec t in doo rs or outdoo rs w h en t h e l ig h t i s be h i nd t h e obj ec t s ; i t

a l so s h ows t h at t h e s h adow su rfaces wi t h t h e cas t s h adows form t h e

l a rger part of t h e s ubj ec t .

S t rongest sh a dows on t he nea rest pa rt s. T h e i n c re ase i n t h e

s t rengt h of t h e s h adow upon t h e con e towa rds i ts vert ex i s we l l

s h own,and al so t h e fac t t h a t t h e s t ronges t darks a re gen era l l y on t h e

par ts neares t t h e eye .

S t rongest ligh ts on t he contours. T h e st ronges t l ig h ts are on

or near t h e con tours of t h e ob j e c ts . On t h e p en c i l t h e gl i t t e r l ig h t

i s at t h e con tou r,an d makes t h e b l ack penc i l l ig h te r t h an t h e l ig h t

p art s be h i n d i t .

D I F FU S ED S TU D IO L IG H T .

Fig . 1 2 represen ts t h e same group w h en i t i s l ig h ted by weak d if

fu sed l i g h t coming from bot h s id es and from be h i n d t h e spec tato r,

Fm . m. From Photogra p h .

l /A A’O—OS CU A ’

A , L I GH T A 1V1) S l/A D E . 2 3

an d produc i ng about t h e same effe c t as w ou ld be obt ai ned in a room

h av i ng seve ra l w i ndows w h o se cu rt a in s are drawn .

Delica t e lig h t a nd sh a de cont ra st s.— We fin d t h e re are severa l

f a i n t , sof t s h adows and no s trong con t ras ts . I n t h i s respec t t h e effec t

is s im i l a r to t h a t of F ig . 1 0,bu t very muc h d arke r

,a fact no t we l l

s h own by t h e figure .

D a rk object s ma y h a v e st rong lig h t s — T h e gl i t t e r l ig h t upon

t h e pen c i l i s p rom in en t,an d we l l i l l u s tra tes t h e fac t t h a t even t h e

d arkest obj e c ts w h ose surface s a re po l i s h ed may h ave upon t h em

t h e s t ronges t l ig h t s of t h e group .

A RT I F IC I A L L IG H T A T T H E S I D E .

F ig . I 3 repres en ts t h e s ame group w h en exposed to t h e r ays of a

v ery powerf u l l amp p l aced n ear t h e group .

S t rong cont ra st s of ligh t a nd sh a de. T h e effect i s due to t h e

con t ras t of st rong l ig h ts and d eep s h adows , and at fi rs t gl an ce we

F I G . I 3. F rom Photogra p h .

2 4 [ JG/I T A A’

I ) S /I A D E .

fee l t h e s imp l ic i ty of t h e masses of l ig h t an d s h adow . Fig . I 3 makes

t h e se mas ses more s imp l e t h an t h ey real ly were , fo r i t does no t give

t h e de l i ca te gradat ions . Th e l ig h t and dark upon t h e cone , fo r

i ns tance,would

,excep t n ear i ts base

,rep re sen t a pyram id for t h ere

i s so l i t t l e gradat i on near t h e s h adow e l emen t t h a t t h e id ea of round

n ess i s not wel l expre ssed . U pon t h e sp h e re t h e c i rc l e (e l l i p se)t h a t separates l ig h t from s h adow i s a l so ve ry s h arp .

S h a rp a nd da rk sh a dows. S h a rpn ess i s , h owever, a d i s t i ngu i s h

i ng featu re of t h e s h adows of obj ects t h a t are exposed to on e st rong

ar t ific i a l l ig h t. and t h e s t ronge r t h e l ig h t , t h e greate r t h e con t ras t

b etween t h e masses of l ig h t and s h adow,and t h e l e s s t h e grada t ion

from on e to t h e o t h e r upon rounded ob j e c ts . T h ere i s , of cou rse

grad at ion upon roun d ed obj ec ts,bu t I t I s ve ry de l i c a te t h roug h a l l

t h e mass of t h e l ig h t,and i s pri n c ipa l l y confined to a ve ry smal l

space n ear t h e s h adow e l emen t .

M a sses of da rk very simple. Ano t h e r effec t c h arac te ri s t i c of

a s ingl e a rt ific i a l l ig h t i s t h e st rengt h and s imp l i c i ty of t h e mass es

of s h adow formed by t h e s h adows an d cast s h ado w s . T h e base

of t h e cy l i n de r and t h e ca s t s h adow of t h e cyl i nd er i l lu st ra te a

common effec t , name ly , t h a t i n w h i c h t h e s h adow an d c ast s h adow

ad jo i n ing are n ear l y of t h e same val ue . T h e s h adow s ide of t h e

cube i l l us t rates ano t h e r effect , t h a t i n w h i c h t h e s h adow and cast

s h adow a re of t h e same , or so n ear ly t h e s ame , val ue t h a t t he

contour of t h e obj ect i s l os t i n t h e mass of s h adow . T h e s tuden t

w h o works wi t h l ig h t and dark or wi t h colo r s h ou ld be carefu l not

to represen t con tou rs w h i c h can not be seen,fo r muc h of t h e i n te res t

and art i s t i c effec t of t h e d ra w ing depend s u pon i t s be ing t rue ton atu re in t h i s respect .

MooN L I G H T .

S imple ma sses. Th e gi ven i l lu stra t i on s cove r t h e most common

effect s w i t h t h e excep t ion of t h os e d ue to moon l ig h t . M oon l ig h t i ss imply weaken ed sun l ig h t , and p roduces effec ts s im i l a r t o t h ose of

s un l ig h t i n re spec t to t h e con t ras t of s imp l e masse s of l ig h t an d

dark and t h e s h a rpn ess o f t h e cast s h adows . T h e p r in c i pal masses

of l ig h t an d dark a re m uc h more p rom inen t t h a n by sun l ig h t , and

fe w det ai l s a re seen i n t h e masses . T h e mass es of d ark are espe

https://www.forgottenbooks.com/join

2 6 L I GH T A N D

face t h e b r ig h te r t h e h ig h l ig h t , a nd t h e more pe r fec t l y i t refl e ct s

t h e co lor of t h e i l l um ina t i n g l ig h t . A po l i s h ed me ta l vas e o r any

gl az ed obj ec t w i l l g i ve a perfec t i mage of t h e sou rce of t h e l ig h t .

I n a s tud io,for i n st an ce

,i t w i l l r efl ec t t h e w i ndow wi t h i t s c ross

bars,and t h e col o r of t h e h ig h l ig h t w i l l b e t h a t of t he sky or w h a t

ever else sends t h e l ig h t t h roug h t h e w i ndow to t h e obj ec t .

I s colored .— P up i l s are gene ral l y so decei ved by t h e b r ig h tn ess

F I G . I 4. From Photogra p h.

of h ig h l ig h t s , espec i a l l y t h ose on dark gl az ed obj ec ts , t h a t t h ey fa i l

to see a ny co lo r i n t h em , and represent t h em by pu re w h i t e,even

w h en t h ey h ave a w h i t e obj ec t i n t h e group . T h ey s h ou l d rememher t h a t su c h l ig h t s al w ays refl ec t t h e co lo r of t h e l i

gh t c aus i ng

t h em ,a nd a re darkened b y t h e co lo r of t h e obj ect on w h i c h t h e

l ig h t fa l l s . I ft h ey w i l l t ry t h e expe r imen t of b l u r r ing t h e fo rm ou t ofa ny h ig h l ig h t by h o l d i ng t h e b l u r g l ass as fa r from t h em as poss ib l e

,

s t i l l Obta in i ng in i t t h e image of t h e h ig h l ig h t , t h ey w i l l read i ly see

t h e col or b l u e i n case t h e Ob j e ct refl ec ts t h e b lu e sky. T h i s experi

CH /A R O—OS CU A‘

A , OA’

L I GH T A /Vl) S H A D E . 2 7

men t s h ows t h at t h e h ig h l ig h t upon a gl az ed ob j ec t may b e darkert h an t h a t upon a w h i t e obj ec t

,even if ungl az ed

.

Va ries upon different colors. E very obj ect refl ec ts d i rec t ly

s ome w h i t e l ig h t . T h e rema i n de r of t h e w h i te l ig h t ente rs t h e

F I G . I 5. From Photogra p h .

obj ec t a l i t t l e d i s ta n ce w h e re some i s absorbed , an d t h e rema i nde r i s

t u rn ed back and refl ec ted in a l l d i re ct ion s,t h e refl ec te d rays h av i ng

t he s ame co lo r as t h e obj ec t . Now a dark obj ec t refl ec t s l es s of

t he lig h t w h i c h e n te rs i ts s urface t h a n a l ig h t obj ect , and h en ce t h e

h ig h l ig h ts upon pol i s h ed obj ec ts of d iffe ren t co lo rs a re no t equ al l y

li g h t w h e n t h e s urface s are eq ua l l y smoo t h . B y con t ras t t h e h ig h

2 8 [JG/I T A 1 v1 )

l ig h t upon a dark gl azed obj ec t may appear l ig h t e r t h an th a t upon

a l ig h t and equa l ly gl a z ed obj ec t,but i t i s re al l y no t as l ig h t .

Gen era l ly a co lo red obj ect i s not a smoot h an d perfec t m i rro r,

an d t h e co lo r of t h e obj ec t i s fe l t qu i t e s trongl y t h roug h t h e h ig h

l ig h ts . For t h i s reason t h e refl ec ted co lo r i s often da rkened so t h a t

t h e h ig h l ig h t o n t h e gla zed bl ue vas e,for in s t an ce , i n F ig. 1 5, is

not as l ig h t as t h e l ig h t upon t h e w h i t e cast , w h i c h i s q u i t e roug h

i n compar ison wi t h t h e vas e . T h e roug h e r t h e obj ects,t h e more

l ig h t t h ey absorb , and t h e more i rregu l ar ly t h ey refl ec t w h at i s not

absorbed ; and i n p l ace of h ig h l ig h t s t h ere w i l l b e on unpol i s h ed

obj ec ts , s uc h , fo r i n s t an ce , as common p l as ter cas ts , l igh ts w h i c h

gradua l ly grade i n to t h e del i cate s h ades t h a t a re seen i n t h e mass

of t h e l ig h t .

Loca l color not seen in h igh lig h t . T h e loca l colo rs of obj ects

are no t seen i n t h e h ig h l ig h t s,even w h en t h e obj ects a re no t po l

ished ; fo r w h en t h e h ig h l ig h ts do not refl ec t t h e co lo r of t h e l ig h t,t h ey are so h e ig h ten ed by t h e s t rong l ig h t t h ey rece iv e t h a t t h ey do

not give t h e effect of t h e l oca l co l o r of t h e obj ec t ; and as a matte r

of fact t h e h ig h l ig h t s upon t h e h uman face a re of ten coo l an d even

b lu i s h i n tone .

Gener a lly ca used by rounded surfa ces — Gl azed obj ects w h i c h

are round or bounded by cu rved su rfaces w i l l gen e ra l l y h ave h ig h

l ig h ts i n a ny pos i t i o n of t h e specta to r . A p l ane su rface w h ic h gl i t

t e rs t h roug h out Inus t be ve ry sma l l . W h en an obj ec t bounded by

p l an e su rface s i s so p l aced t h a t on e su rfa ce gl i t t e rs,t h e s l ig h tes t

c h ange i n t h e posi t i on of t h e eye may en t i re ly c h ange t h e effec t ; fo r

a surface w h i c h gl i t te rs w i t h t he eye i n on e pos i t ion w i l l n ot gl i t te r

i f t h e eye i s moved a s h ort d i s t an ce,and i n s tead of appear ing t h e

h ig h es t l ig h t , i t may appear d ark i f i t s l oca l co lo r i s dark .

Va ried in form. T h e form of t h e gl i t te r l ig h t i s dependen t upon

t h a t of t h e w i ndow o r ot h e r sou rce of l ig h t,an d al so upon t h a t of

t h e ob j e ct . U pon a curved su rface s t ra ig h t l i n es gen era l l y refl ec t

a s cu rved , and upon a p l an e surfa ce t h ey refl ec t a s s t ra ig h t .I ridescent color.

— T h e mos t beaut i fu l co l o r effect s a re found i n

t h e h ig h l ig h ts upon i r i des cen t obj ec t s , and t h e s t udy of t h e se l ig h t swrll ass i s t t h e s t uden t to real i ze h o w c h angeab l e a re t h e co lo rs a n dt h e v a l ues of t h e same Obj ect .

Gi l /A R O—OS CU A'

A , OA’

L I GH T A A'

I ) S I I A U L‘

. 29

Must be ca refully dra wn.— T h e effe c t of a gl a zed obj ect can

b e gi ven on ly by carefu l l y draw i ng t h e h ig h l ig h t s upon i t,and t h ey

m us t be repres en ted w i t h dec i s i on,

1 fo r w h en gradua l ly soften ed in to

t h e mass of l ig h t , t h e effe ct of an ungl az ed obj ect i s gi ven .

Found upon ev ery rounded part — A h ig h l ig h t i s found upon

eve ry po l is h ed su rface w h ose pos i t i on i s s uc h t h a t i t refl e cts t h e

F I G . 1 6 . From Photogra p h .

l ig h t d i re c t ly i n to the eyes . I n Fig . 1 6 t h e re are two l ig h ts upon

t h e body of t h e bot t l e,bec ause t h ere were two d iv i s ion s in t h e

w i ndow from w h i c h t h e l ig h t came . Fig . 1 4 s h ows h ow h ig h l ig h ts

a re fou nd upon t h e edges of obj e cts , and upon al l r idges or mou ld

in gs . Figs. 1 5, I 7, an d 1 8 s h ow t h at t h ese h ig h l ig h ts are found i n

r e l at ive ly t h e s ame pos i t ion upon t h e d ifferen t cu rved parts of t h e

same obj ect , so t h a t t h ey may be sa i d to ex i s t on a s in gl e e l emen t

1 S ee pag e 99 .

30 L I GH T A A'

I) S I I A IJ E .

of t h e s urface . I n t h e con e and cy l i nde r t h e e l emen t i s s t r a ig h t,but i n t h e bot t l e o r vas e t h e co rrespond i ng l ine or e l emen t i s curved ,a nd may be regarded as t h e outl in e of a s ect io n of t h e obj ec t made

by a p l an e pass in g t h ro ug h t h e ax is i t i s fo res h o rten ed so t h a t, i n

Fig . 1 8,for i ns tan ce

,i f t h e l ig h t w e re d i rec t ly be h in d t h e s pec ta to r ,

t h e d i fferen t h ig h l ig h ts upon t h e vas e wou l d come i n o ne vert i ca l

l in e,— t h e cen te r l i n e of t h e vase .

T H E L IG H T .

Th e effec t of t h e l ig h t upon t h e p r inc ipa l geometr i c so l i ds h a s

been st ud i ed,and i t h as been s h own t h a t w i t h ou t regard to t h e co lor,

any obj ect h as a l ig h t s ide and a s h adow s ide,and t h a t t h ere i s

l ig h t an d s h ade upon even t h e b l a ckes t obj ec t .

S t rongest on t he lig h t est ob ject .— W h en obj ec t s a re of d ifferen t

col ors,t h e l ig h t es t col o r w i l l reflec t t h e mos t l ig h t

,an d t h e l ig h t s i de

of a w h i t e Obj ect w i l l b e l ig h te r t h an t h e l ig h t s i d e of a ye l low obj ec t

w h i c h h as t h e s ame pos i t i on ; and i f t h e pos i t ion s of a l l t h e obj ec t s

w i t h respect to t h e l ig h t a re t h e same,t h e l ig h t of t h e yel low i s l ig h ter

t h an t h a t of an orange obj ec t ; t h a t of t h e orange i s l ig h t er t h an

green,t h e green t h an red

,t h e red t h a n b l ue

,t h e b l ue t h a n v io l e t

,

a nd t h e v io l e t i s l ig h t er t h an b l ack .

1I t i s we l l fo r s t uden t s to under

s tan d t h i s fact , but t h ey mus t remember t h a t t h ey cann ot app l y t h e

p ri n c ip l e ins t ead of obse rv at ion of n atu re ; for t h e d iffe re n t co lors

i n n ature w i l l n ot be p l aced so t h ey rece i ve eq ua l amounts of l ig h t,

and con sequ en t ly an y co lo r, a s orange , or even a darke r co lo r, may

rece ive so muc h l ig h t as to appear l ig h te r t h an ye l l ow o r even w h i t e,

w h i c h may h appen to be so p l aced t h a t i t refl ec ts l ess l ig h t to th eeyes t h an t h e d arker co l o r .

P hotogr a ph s ofcolors not t r ue in v a lues . P h o tograp h s do not

gi ve t h e val ues of col o rs ; t h us p h o tograp h s of ye l low a re muc h too

d ark and t h ose of b l ue are too l ig h t . T h e ye l l ow bot t l e i n F ig. 2 0

seems almost as d ark as t h e uprig h t v ase , w h i c h was green , an d darke r

t h an t h e bot t l e ; a nd t h e vase i n F ig . 1 5 seems qu i te l ig h t , w h i l e t h e

obj ec t was dark b lu e . B u t t h e p h otograp h s w h i c h are rep roduced

bri ng ou t t h e mos t i mport an t fact regard in g t h e mass of t h e l ig h t of

1 T he colors are supposed to be t h e six st andard spectrum colors .

CH I A A’

O—OS C U A ’

A , OI I’

L I GH T A A’I ) S H A D E . 3 1

an y obj ec t ; for t h ey a l l s h ow h ow simp le i t i s , and a rt i s t i ca l ly t h ey

are muc h more s at i sfac to ry t h an t h ey wou ld be if t h ey gave al l t h e

de t a i l t h e eye co u ld s ee , bu t at t h e expens e of t h e loss of t h e broad

m as s of l ig h t .

The st udent ex a ggera t es det a il in t he lig ht . Th e en t i re l eaf i n

F ig . 1 5 i s covered w i t h vein s w h i c h t h e l ig h t s i de of t h e l eaf h ard ly

s ugges t s . I n a t tempt i ng to repres en t t h es e ve i ns t h e s t uden t i s

a lmos t cert a i n to exaggera te t h e i r s t rengt h so t h a t t h e e ffect of t h i s

h a l f of t h e l e af i s t h a t of a mass of gray, or more Of te n of a ser i es

of ba nds of l ig h t an d dark a l te rn at i ng . T h e s t uden t exaggerat es

b ecause con tras t effec t s make det a i l se em st ronger t h an i t rea l ly i s,

and a l so bec aus e t h e eye sees on ly a sma l l p art a t one t im e , and

t h at par t w i t h t h e amoun t of l ig h t w h i c h t h e eye rece ives adj us ted

so a s to br in g o u t a l l de ta i l s of t h i s p a rt . T h us i f we go from t h e

s un l ig h t i n to a da rken ed room,we see a t fi rs t non e of t h e obj ec ts i n

t h e room,bu t gradua l ly t h e pup i l of t h e eye expands to admi t more

lig h t ; and i f t h e room i s no t too d ark, t h e Obj ec ts appea r on e after

ano t h e r,un t i l t h e eye i s fu l ly adj ust ed to t h e l ig h t an d al l Obj ect s

a re seen . I f now we go i n to t h e s un l ig h t , we are b l i nded by t h e

l ig h t,and t h e l ig h t s i d es of obj ect s s eem a b l az e of l ig h t w i t h no

de t a i l,un t i l t h e pup i l c lo se s and s h ut s ou t mos t of t h e l ig h t . Wh en

t h i s h as h appen ed,a s urf ace w h ic h s eemed on e un ifo rm gl ar in g l ig h t

is seen to be cove red wi t h de t ai l .

The v a lue of a ny pa rt seen only by compa rison. I t i s ev iden t

t h a t t h e t rue effec t of any obj ec t can n ot be s een i f t h e st uden t fi xes

h i s eye upon e i t h e r i t s m as s of l ig h t o r i ts m as s of dark, fo r h i s eye

wi l l adj us t to t h e l ig h t o r t h e s h adow , as t h e case ma y be , so t h a t no

det a i l i s seen excep t in t h e p ar t s t ud i ed ; t h u s t h e deta i l i s no t seen

i n i t s p rop e r re l a t io n s to t h e w h o l e , and d eta i l can on l y b e seen i n

i t s rea l re l a t io n s as exp l a in ed i n C h ap . I I . T h e a im of t h e ser io us

a r t s tuden t i n look in g at de t a i l s h o u l d b e to study i ts fo rm and

de term in e it s v a l u e by l ook ing, not a t t h e det a i l a l on e or t h e part s

abo ut i t,bu t r at h e r a t a l l o f t h em a t on ce .

Ca uses da rk color t o a ppea r lig ht er t h a n li g ht color.— T h e

mos t import an t e ffe c t of t h e l ig h t is to l ig h t e n a l l t h at i t s t r ike s

upon,so t h a t a d ark co lo r appears l ig h t er t h an a l ig h t co lo r w h i c h

r ece i ve s o r refl ec t s l es s l ig h t . T h i s i s s h own by t h e red sp h e re of

32 L I GH T A N !) S H A D E .

F ig . 7 and t h e b lue vase of Fig . 1 5, w h i c h , t h oug h too l ig h t i n t h e

l ig h t,i s s t i l l t rue to t h e fac t t h a t i n n a ture t h e d ark b lu e appeared

ve ry muc h l ig h t e r t h an t h e cas t s h adow upon t h e cas t . I n F ig . 1 6

t h e con tour of t h e b l ack bott l e appears l ig h t e r t h an t h e gray back

groun d . I n Fig . I 8 t h e green v ase is l ig h te r t h an t h e g ray cas t , and

i n F ig . 2 0 t h e green vas e i s i n some p arts o f t h e l ig h t l ig h te r t h an

t h e background,i n ot h e r par ts of t h e s ame va l ue

,and i n some p l aces

t h e l ig h t i s da rker t h an t h e backgroun d .

L i g h t ens a nd dest roy s det a il . Anot h er effec t w h i c h i s difli cult

fo r t h e s tuden t to see i s t h a t t h e l ig h t of t en pa rt i a l l y o r w h o l ly h ides

de tai l w h ic h i s kn own to ex i s t . T h us i n F ig . 1 5, on t h e left- h an d

part of t h e l eaf,we find be tween t h e ou te r edge and t h e m id rib

represen tat ion s of ve in s w h i c h exten d con t i n uo us ly,bu t w h i c h are

seen on ly a t t h e i r c en t ra l p a rts . S i m i l a r effect s a re found in Fig .

I S,and t h e se figu res i l l us t ra te t h e common cas e i n w h i c h con tinu

ous de ta i l i n t h e obj ec t i s s i tuated so as to receive t h e l ig h t a t d iffe r

en t angl es,and be v i s ib l e for pa rt of i t s l engt h on ly . T h e st uden t

w h o s ees t h e cen tra l p art of a de ta i l w h os e fo rm h e knows,i s very

ap t to t h i nk h e sees i t a l l , and rep re sen t s i t s en t i re l engt h ; h e i s

espec i a l l y ap t to d raw t h e w h o l e w h en h e sees t h e two ends of a

deta i l w h ose cen tra l p a rt canno t be s een , an d h e m us t be ve ry care

ful to d raw no more t h an h e sees,fo r w i t h ou t t h e c arefu l obs ervat ion

w h i c h notes every p l ace i n w h i c h t h e l ig h t obl i te ra t e s t h e de ta i l,an

art i s t i c drawing can not be made .

L igh tens sma ll sh a dow s a nd ca st sh a dow s w i t h in i t . No t

on l y does t h e l ig h t h id e det a i l s w h i c h a re broug h t out by l ig h t ton es

of s h ade , bu t i t soften s deta i l s w h i c h are s h own by sma l l b i t s Ofs h adow or cast s h adow w h i c h come in t h e mass of t h e l ig h t

.W h en

looked at d i rec t ly , t h ese s h adows may seem t h e d arkes t ones of t h e

ob j ec t , bu t w h en t h e eyes a re bl u rred t h ey wi l l appear m uc h l ig h te r

t h an t h e l arge masse s of s h adow . T h us i n Fig. 1 5

t h e n arrow

s h adow formed by t h e m id r ib a t t h e top of t h e l ea f w i l l p robably

appear to t h e s tuden t d arker t h an t h e w ide s h adow t h e l eaf cas tson i t s background. or even darke r t h an t h e cas t s h adow of t h e obj ec t

on t h e pan e l l i ng . T h e n arrow s h adow on t h e l ea f i s rea l l y l ig h te r

t h an t h e cast s h adow of t h e l eaf , for i t i s l ig h ten ed by t h e s t rong

rays of l ig h t f rom t h e pa rts about i t. w h i c h a re d ififused an d s l ig h t l y

https://www.forgottenbooks.com/join

34 L I GH T A T

'

VI ) S I /A D E .

fron t of t h e l ig h t p l i n t h t h an w h e re i t i s seen aga i n s t t h e gray back

ground ; an d t h e grea ter t h e con t ras t of l ig h t a nd dark i n t h e group ,t h e grea ter t h e d i fferen ce between t h e apparen t d i amet ers of t h e two

parts of t h e penci l .

H ides soft sh a dow s. Fig . I 7 s h ows aga i n t h e way in w h i c h

d arks are l ig h ten ed by t h e s t rong l ig h ts n ear t h em . T h e s h adow of

t h e cove r cast upon t h e l ig h t face of t h e p l i n t h s eems a t fi rs t gl an ce

to come wi t h i n t h e s h adow of t h e cove r cast upon t h e foreground,

i n s t ead of beginn ing w h e re t h e s h adow upon t h e h o r i zon ta l su rface

meets t h e vert i ca l su rface of t h e p l i n t h . Th i s effec t i s often n ot i ced,

bu t c arefu l obse rvat i on wi l l s h ow a sof t s h adow on t h e ve rt i ca l

su rface w h i c h con t i n ues t h e soft s h adow on t h e fo reground,but i s so

muc h l ig h te r t h an t h a t on t h e s h e l f t h a t a t fi rs t i t i s no t no t i ced .

T h e soft s h adow on t h e ve rt i ca l i s l es s p rom i n en t t h an t h a t on t h e

h or i zon ta l,because i t i s l ig h t e ned by t h e s t rong l ig h t of t h e s u rface

w h i c h rece ives i t .

T H E H A L F L IG H T .

B rings out det a il a nd loca l color . T h e fu l l l ig h t c h anges or

h ides t h e co lor and often makes det a i l i n v i s ibl e,bu t t h e parts o f t h e

l ig h t be tween t h e fu l l l ig h t an d t h e s h adow bri ng ou t t h e loca l co lor,

and make al l t h e de ta i l mos t p rom i n en t . F ig . 5 i s f rom a p h otograp h

of a wooden cy l i n de r pa i n ted w h i t e w i t h a brus h w h ose marks were

p l a in ly seen, and w h i c h s h ow s l ig h t l y i n t h e figure i n t h e h a l f l ig h t

on l y . T h e b rus h marks upon t h e cone,Fig . 6

,and upon t h e p l i n t h

,

Fig . I 4 , a l so s h ow i n t h e h a l f l ig h t . Th e ve in s in t h e l eaves of

Figs . I S a nd 1 8 are most prom in en t i n t h e ton es between t h e s t rong

l ig h t s a nd t h e s h ado w s . I n Fig. I 6 t h e c reases i n t h e t i n fo i l upon

t h e bott l e are seen more p l a in ly b etween t h e l ig h t an d t h e s h adowt h a n i n e i t h er t h e l ig h t o r t h e s h adow

Det a il in h a lf ligh t must be ca refully dr a wn. T h e irreg ula rit i e s ofs urface on t h e pl ums , Fig. 1 8

,are seen mos t p la i n l y n ear t h e

d i v id ing l ines of l ig h t an d s h ade , and t h e ri n gs about t h e v as e a re

more promin en t i n t h e h al f l ig h t t h an e l sew h ere . Th e s tuden t must

s tudy det ai l i n t h e h al f l ig h t mos t ca ref ul l y,fo r t h i s de ta i l i s mos t

prom in en t , and gives t h e c h a racter o f t h e obj ect more t h an det a i le i t h e r i n fu l l l ig h t or i n s h adow .

CI I /A I I’

O—OS C U I I‘

A , OI t’

L I GH T A 1VD S I I A D E . 35

T H E S H A DOW.

Does not show det a il or loca l color . — T h e effec t of t h e s h adow

upon det a i l i s s im i l a r to t h at of t h e l ig h t,deta i l be in g los t for l a ck

of l ig h t , an d l oca l co lo r be ing so c h anged t h a t i t wou l d of ten no t be

known from t h e co lo r of t h e s h adow .

Va ries in v a lue.— Th e va l ue s of obj ects of d i ffe ren t co lo rs are

n o t c h anged re l a t i ve l y by s h adows w h en t h ey are p l aced so as to

re ce iv e e q ua l amoun ts of t h e refl ected l ig h t s ; t h u s ye l low in s h adowis l ig h te r t h an orange i n s h adow

,and so on . B u t t h e s t uden t can

not d et e rm in e t h e va l u es of t h e d ifferen t s h adows by any t h eory ;fo r t h e obj ec ts w h ic h rece i ve t h em refl ec t l ig h t so d ifferen t ly t h a t

obse rv at i on a lone can determi n e t h e val ues,an d t h e val ue of a l ig h t

obj ec t may be darker t h an t h a t of a muc h darker one .

At fi r s t t h e s t uden t w i l l h ave great d iffi cu l ty i n see i ng any d i ffe r

en ce between t h e d iffe ren t s h adows of t h e group,an d h e may be

ass i s t ed by t h i nk i ng of t h e l oca l co lo rs,as t h e val ue s of t h e s h adows

w i l l oft e n b e i n h a rmony w i t h t h e va l ue s of t h e l oca l co lo rs . I n

Fig. 1 5, fo r i n s t ance , to mos t s t uden ts t h e s h adow on t h e cas t w i l l

s e em as d ark Or even d arke r t h an t h a t of t h e ca s t on t h e pan el l i ng ;bu t i f t h e s t uden t t h i n ks of t h e l oca l co lo rs of t h e two surfaces

or b et te r s t i l l,b l u rs h i s eyes and t r i es to dec ide w h at co l o rs h e wou ld

us e i f p a i n t i ng t h e s ubj ect w i t h co lo rs , — he w i l l oft en be ass i s ted

to see t h e t ru e va l ue s of t h e s h adows .

D iv iding line oflig h t a nd sh a de import a nt .— W h en obj ec ts a re

bound ed by edges,t h e edges defin e t h e s h adow surfaces ; bu t w h en

obj ect s a re boun ded by curved s urfaces , t h e s h adows are no t

s h a rp l y d efined,bu t grade i n to t h e l ig h t an d p roduce t h e i n te rmed i a t e

tones ca l l ed h a l f l ig h t . I t i s v ery impo rtan t t h a t t h e d iv id i ng l i n e

of l ig h t an d s h ad e be carefu l l y d rawn t h roug h out , and w h en i t i s

upo n a rounded obj ec t t h e grea tes t p a in s m us t be taken t h a t t h e

grad at i on does n o t des t roy t h e effe ct o f t h e genera l d i rect ion of t h e

l i n e ; t h i s s h ows w h en t h e eyes a re b l ur red so t h at t h e masses of

l i g h t an d dark are seen .

Defined by a n element . I n t h e cy l i nder or con e t h e s h adow i s

d efin ed by a n e l emen t ; i n common obj ec t s w h i c h a re var i a t i ons of

t h e type fo rms,t h e d i v id i ng l i n e of l ig h t an d s h ade wi l l n o t a lways

36 L I GH T A N I )

conform to a fores h o rten ed sec t io n of t h e obj ec t t h ro ug h t h e ax i s ,but i t may often

,i n parts

,become p ra ct ic a l l y t h e e l emen t of a s h ort

cone o r cy l i nde r ; and i f i t s d i rect i on is n o t t ru ly gi ven upon parts

w h i c h a re cy l i nd ri c a l o r con i ca l,t h e i r fo rms can no t be we l l expre ssed .

R E FL E cT E D L IG H T

Va ries in st reng t h . Wit h any given i l l um i n a t ion t h e s trengt h

of refl ected l ig h ts depends upon t h e smoot h n ess of t h e obj ec t s on

w h i c h t h ey are found,and upon t h e i r s urroun d i ngs . A m i rro r i n t h e

fo rm of a sp h e re would refl ec t t h e fo rms and colo rs of obj ect s about

i t so pe rfec t ly t h at t h e effe ct s of l ig h t an d s h adow wou ld be en t i re ly

dest royed by t h e reflect ion s . P erfec t refl ec t i ng su rfaces a re se ldom

found i n common obj ec t s, but pol i s h ed s i l ve rware gives a n ear

approac h to pe rfec t reflec t i o n ; t h e refl ec t ion i s s h a rp an d gives

c l earl y t h e fo rm and col or of t h e obj ects refl ec ted . P ol i s h ed obj ects

give c l ea r refl ect i on s of dark ob j ect s as wel l a s of l ig h t on es ; and , to

be exac t , we s h ou ld requi re ano t h er d iv i s i o n of t h e effec t s d ue to

l ig h t and s h ade , n amely, refl ec ted da rks . T h ese refl ec ted d arks are

gen e ra l l y con s id e red as t h e parts of t h e s h adow w h i c h a re n ot l ig h t

en ed by reflec ted l ig h ts . Th e s tuden t , h owever. s h o ul d n ot s t udy

from obj ect s w h ose surfaces are h ig h ly po l i s h ed un t i l q u i t e p rofi c i en t

i n represen t i ng t h e s impl e effe c t s of l ig h t an d s h ade upon un po l i s h ed

Obj ect s .

M a kes t he sh a dow v isible. T h e “ l ig h t of any obj ec t i s t h e

s urface upon w h i c h d i rec t rays of l ig h t fa l l . B y d i rec t rays i s mean t

rays from t h e sun , t h e moon , or an y a rt ific i a l l ig h t. and a l so t h e rays

from t h e win dow by w h i c h an y s t ud io o r room i s l ig h ted.T h a t part

of t h e s urfac e of any objec t w h i c h rece i ve s no d i re ct rays i s ca l l ed

t h e “s h adow,

” and t h e l ig h tes t pa rts of any s h adow surface a re

c a l l ed t h e “refl ec ted l ig h ts .

"

S h adow surfa ce s rece ive no d i rec t ray s

and woul d appear un i fo rm l y da rk i f t h ey d id n ot rece iv e l ig h t w h i c h

i s refl ected to t h em from t h e l ig h t s u rface s of obj ect s abou t t h em.

I f not fo r t h i s i nd i rec t and i rregul a rl y refl ec ted l ig h t s h adow sur

faces wou ld be vi s ib l e as darks by re ason of t h e l ig h t su rfaces abou t

t h em , but no det a i l woul d be seen i n any s h adow su rface . B ut , as

t t cr of fact , eve ry pa rt of t h e s u rf ace o f any obj ec t rece i ve s

GI I /A I CO- OS CU I CA , Ol i’L I G I I T S H A D E . 37

l i g h t w h i c h i s i rregu l a r ly r efl ec ted to i t f rom a l l d i rect ion s ; and the

s t ronge r t h es e re flec ted rays,t h e l ig h te r a re t h e s h adow surface s

,

an d t h e more p rom in en t i s an y deta i l in t h em .

I n F ig . I 6 t h e l ig h t top of t h e p l i n t h i s refl ected i n t h e bott l e a s a

dec ided fo rm , boun ded by curved l i n es m eet i ng at po in t s w h i c h a re

t h e refl ec t ion s of t h e corn ers ; an d t h e p l i n t h i n Fig . 1 7 i s refl ec t ed

in a s im i l a r way i n t h e bot t l e upon i t .

I s g enera lly da rk . Obj ects l es s smoot h t h an t h e bo t t l es of Figs .

I 6 and 1 7 h ave refl ec ted l ig h t s w h i c h caus e s l ig h t gradat ion s in t h e

mass of t h e s h adow (see F ig . and gen era l l y t h e s t uden t w i ll fi nd

t h a t i n t h e effe ct of t h e w h o l e,refl ec ted l ig h t s are no t l ig h t s b u t

d arks,w h i c h are s imp ly l ess dark t h an t h e s t rongest parts of t h e

s h adow.

I n look i n g a t d et a i l , w h e t h er i n t h e mass of t h e l ig h t o r i n t h e

mass of s h adow t h e s tuden t s h ou l d b l u r h i s eye s and se e i f t h e

d e t ai l b e longs to t h e l ig h t o r to t h e d ark . H e s h oul d ask h imse lf ,D oes t h e de t a i l app ear l ig h t o r d ark i n t h e effe c t of t h e w h o l e ?

T h e t enden cy i s to ex agge rat e t h e refl ected l ig h ts i n t h e s h adow

ju s t a s m uc h as t h e grays i n t h e mas s Oft h e l ig h t, and i f t h e s t uden t

does no t o ften app ly t h e tes t s exp l a i n ed i n C h ap . I I, h e w i l l n o t

r ea l i z e t h a t gen e ra l l y t h e l i g h t s w h i c h h e sees i n t h e mass of t h e

s h adow are da rks,an d t h e grays w h i c h h e sees i n t h e mass of t h e

l ig h t are l ig h ts .

M a y come in t he li g h t . T h e l ig h t top of t h e p l i n t h i n F ig. I 4.

gi ve s b r ig h t refl ect io ns on t h e bands upon t h e l ower p art of t h e

p i t c h e r.T h ese are refl e ct ed l ig h ts

,t h oug h t h ey come i n t h e mass of

t h e l ig h t upon t h e p i tc h er , an d we see t h a t a l ig h t obj ec t m ay so

refl ec t t h a t i t l ig h ten s t h e l ig h t as we l l as t h e s h adow o f any obj ec t .

T h e refl ec t i on of an y l ig h t obj ec t upon an y su rface in l ig h t o r in

s h adow is neve r as l ig h t a s t h e refl ec ted obj ec t , an d t h e refl ec t ion of

a d ark obj ec t i s n o t as d ark as t h e obj ec t , fo r t h e l ig h t refl ect i on i s

d arkened by los i ng t h e l ig h t w h i c h t h e refl ect i ng surface absorbs ,w h i l e t h e d ark refl ec t i o n i s l ig h ten ed by t h e su rface refl ec t i ng d i f

f u sed l ig h t rece i v ed from ot h e r obj ec ts .

38 L I GH T A N D S H A D E .

T H E C A S T S H A DOW.

Genera lly a st rong da rk . T h e cas t s h adows a re gen e ra l ly t he

da rkes t part s ofany subj ec t , and toget h e r w i t h t h e s h adows are of ten

v i s ib l e w h en t h e l ig h t su rfaces of t h e obj ec ts a re i nv i s ib l e . T h ey

s h ow t h e s h apes of t h e obj ec t s cas t in g t h em,and a l so t h ose of the

obj ect s rece i v in g t h em,and are most impor tan t fe at u re s of any

subj ec t .Va r ies in v a lue.

— T h e va l ue of a cast s h adow d e pends upon the

co lor of t h e s urface rece i v in g i t,an d w h en s urfaces of d i fferen t co lo rs

a re p laced so t h at t h ey a l l re ce i ve t h e s h adow of any obj ec t, t h e

s h ado w wi l l b e d arkest upon t h e d arkes t co l o r if t h e d iffe ren t colo rs

rece ive equa l amoun ts of refl ec ted l ig h t . T h i s would , h oweve r,se l dom h appen

,an d on ly s tudy of n at ure w i l l p roduce a t rue d rawi ng.

D a rker t h a n ligh t or sh a dow . C as t s h adows are gen e ral l y

d arker t h an s h adows and a l l l ig h t s urfaces,but no r ul e can be

sta ted,fo r t h e cast s h adow on a l ig h t co l o r i s of ten l ig h t er t h an t h e

s h adow upon a darke r co l o r , and t h e cas t s h adow on a l ig h t co l o r

may be l ig h te r t h an t h e l ig h t s id e of a dark obj ect . T h us t h e cas t

s h adow of a dark t ree-t runk upon w h i t e snow i s l ig h t er t h an t h e

l ig h t s ide of t h e t ree-t runk, and i n Fig. 1 7 t h e cas t s h adow of t h e

cover upon t h e p l i n t h i s abou t t h e same va l ue as t h e l ig h t upon

t h e cove r .

Va ries in sh a rpness. S h adows cas t by sun l ig h t and by art ifi c i al

l ig h t a re s h a rp ly defined ; t h ose by st ud io l ig h t a re s h a rp near t h e

obj ects t h a t cas t t h em , and softe r a s t h ey recede . S h adows cas t by

a st ud io l ig h t are var ied by reflected l ig h ts as muc h as a re t h e

s h adows , bu t by sun l ig h t o r by a rt ifi c i a l l ig h t c as t s h adows upon any

surface a re more near ly of un i fo rm val ue .

M a sses w i t h t he sh a dow . T h e cas t s h adow and t h e s h adow of

any obj ec t gene ra l l y form a mass of da rk,w h i c h i n con t ras t w i t h t h e

mass of t h e l ig h t p roduce t h e effe c t of t h e obj ec t . Wh en t h e obj ec ti s no t n ear t h e eye , t h ese masses a re very p rom i nen t , a nd often no

deta i l c an be seen i n t h em .

H ides contou rs a nd det a il . As al ready exp l a in ed,u n import an t

deta i l d i s appears i n t h e s h adow , and i n t h e same way i t d i s appears

i n t h e ca st s h adow. and often e v en t h e fo rm or con tou r of an obj ec t

OA ‘

L I GH T A A'

I ) S H A H /i . 39

F I G . I S . From Photogra p h .

is l os t i n t h e d arkn ess of t h e cas t s h adow . T h us t h e lower r ig h t

con tou rs of t h e bo ttl e i n F ig. 1 6 an d t h e po t i n F ig . 1 7 are i nv i s ib l e

for a l i t t l e d i st an ce,an d t h e con tou r of t h e

cy l i n de r i n F igs . 8 , 9,an d 1 3 i s lo s t i n t h e

s h adow t h rown upon i t by t h e p l i n t h . T h e con

tou r s h o u ld n o t be represen t ed w h en i t i s not

seen,fo r muc h of t h e c h arm of t h e be st art i s t i c

work i s d ue to t h e subo rd i n a t ion of det a i l , and

d i s app earance i n part of t h e con tou rs , d ue to

t he s h adow a nd cas t s h adows .

Must be ca refully dra wn. T h e importan ce

Of c arefu l l y d raw i ng t h e d iv id i ng l i n e of l ig h t

an d s h ade on a l l obj e c t s h as been men t ioned ,

an d from w h a t h a s been s aid t h e s t uden t w i l l

r ea l i z e t h a t ca refu l d rawi ng of t h e cas t s h adows Fm. 1 9.

40 L /G/I T 14 1V!) S I /A 0 15.

i s of n o l ess importa nce . T h e d ra w ing of t h e masses of dark w h i c h

are bounded by t h e d iv id ing l i n es of l ig h t an d s h ade, and t h e out

l in es of t h e cast s h adows wi l l of ten do more to sugges t t h e obj ec t

t h an a correc t con tou r ; bu t i f t h e se pa rt s a re correct l y d rawn , t h e

con tours wi l l probably be in correc t d rawing . I n gene ra l a s muc h

atten t ion s h ould be g i ven to t h e fo rms of t h e s h adows and cas t

s h adows as to t h e con tou rs .

H elps in t he dra w ing .— T h e fo rms of t h e s h adows and cas t

s h adows are ofte n e as i e r to see t h an t h ose of t h e con tours w h ic h

are often in v i s ib l e i n pa rts,and gene ra l l y t h e s h adows are seen fi rs t

and con tours l ast ; t h e refo re , i n l ig h t an d s h ade s t udy i t i s n at ura l

t h a t t h e s t uden t begi n wi t h t h e l ig h t s an d t h e s h adows in s tead of

wi t h t h e con tours .

B lends w i t h t he sh a dow . U pon obj ec t s s uc h as t h ose of Fig.

1 8 t h e cast s h adow and s h adows oft e n b len d toget h er . T h us the

cast s h adow of t h e l ea f i n l ig h t p asse s a round t h e p l um and i n to t h e

s h adow upon t h e p lum . U pon t h e vase e ac h p roj ect i ng r ing or

band about i ts surface cast s a na rrow s h adow,w h i c h passes a round

t h e va se and l os e s i tse l f i n t h e s h adow on t h e v ase . S uc h cast

s h adows are v i s ib l e on ly upon t h e l ig h t o f t h e obj ec t. and n ever

exten d i n to t h e s h adow to darken i t . T h ey a re s h arpest and d arkes t

neares t t h e parts t h at cas t t h em , a nd t h ey must be d rawn wi t h great

care . T h e same ca re must be exe rc i sed i n d rawi ng t h e d iv id i ng

l ine of l ig h t and s h ade upon even t h e sm al l es t deta i l s of t h e obj ect .

Fig. 1 9 i n d i c ates t h e mass of dark formed by t h e s h adow and cas t

s h adows upon t h e top of t h e va se , and t h e s t uden t must s tudy suc h

deta i l s a s careful l y a s t h ey a re ind i cat ed i n t h e fi g u re .

O TH ER E FFHc T s .

Sev er a l lig h t s. Th e effe ct s due to t h e mos t common l ig h t s

h ave been b r iefly expl a in ed , and t he studen t w i l l u nde rst an d t h a t

t h ey may be v ari ed i n m any ways . I n st ead of on e win dow a room

may h ave severa l windows . M ost rooms n ot i n tended fo r s t ud i o s

h ave seve ra l wi ndows . and t h e effects of l ig h t an d s h ad e t h a t ma y

be seen a re very nume rous . I ns tead of one art ific i a l l i g h t t h ere

may be many , i n w h i c h case t h e s h a dows wi l l c l ea rly and s h a rp l y

https://www.forgottenbooks.com/join

4 2L I G I I T S l/A /J E .

separat i on. B u t even so no ted a ma n as h e s h o u ld not b e accep ted

lit era lly, withou ts t udy

,and if t h i s s ta temen t o r any o t h e r stat emen t

FI G . 2 1 . From S t udy by L eona rdo da Vinci .

does not agree wi t h n a ture . or wi t h t h e a rt i s t'

s own dra wi ngs . w h ic h

h ave b een accep ted as good . t h e s tuden t may con c l ud e t h a t t h e

art i s t d i d not say j us t w h a t h e meant .

Fig . 2 1 i s from a study of d rapery by L eona rdo da V i nc i . and

s h o w s t h e ca re wi t h w h i c h t h e g reate s t a r t i s t s wo rk and st udy .even

C/I I A li’O—OS CU A

’

.-l OI I’ L I GT! T A e ) S I I A D E . 43

a f te r t h ey become famous . I t a l so s h ows t h a t t h e adv i c e as to t h e

sof te n i ng of t h e s h adows in to t h e l ig h t s mean s n ot w h a t t h e ave rage

reade r wo u ld suppose , but s imp ly t h a t t h e re must be t h e grada t ion

of t h e h a l f l ig h ts f rom t h e s h adow to t h e l ig h t,as previous ly

exp l a in ed . Art s t uden ts w h en given suc h a subj ect as Fig. 2 1 ,

of te n at temp t to make t h e draw ing wi t h ou t ca refu l l y s t udy ing any

of t h e l ig h ts , s h adows , refl ec ted l ig h ts , etc . ,of t h e s ubj ec t

,and i f

a sked to draw t h em a l l as careful l y a s in t h e figure,t h ey fee l t h a t

t h ey are imposed upon,an d t h at s uc h s tudy of de ta i l i s mec h an i ca l

a nd unn ecessa ry .

F ig . 2 1 s h ows t h e ca refu l d rawing w h ic h c h arac te r i zes t h e a rt i s t

an d w h i c h h e p uts i n to t h e most import an t part s of a l l h i s work

and t h e s t uden t s h oul d be con t en t to s t udy n atu re carefu l l y un t i l h e

knows t h at h e can,i f n ecessary, draw a l l de ta i l t h a t h e see s w i t h out

dest roy i ng t h e masses of l ig h t and dark w h i c h a re t h e fi rs t i n t h e

effec t fe l t , t h oug h gen e ral l y t h e l a s t t h a t t h e s tuden t s ucceeds i n

rep resen t i n g t ruly .

I M PORTA NT P R I NC I PL ES .

No ru le s fo r t h e p roduct ion of drawi ngs can be sta ted , but t h e

e l emen t ary s t ude n t w i l l b e ass i s t ed to see co rrec t ly i f h e unde rs tands

t h at n at u re ’s effec ts a re gene ra l ly i n h armony wi t h t h e fo l low i ng

pr i n c ip l es

1 . Obj ect s are see n t h roug h con t ras ts of masses of l ig h t and

masses of d ark .

2 . Appearan ces of l ig h t and dark a re r el a t i ve , any ton e be ing

l ig h t i n compar ison wi t h d arker ton es , and be ing dark i n compar i son

w it h l i g h t e r ton es .

3 . T h e s h adow and cas t s h adow form toge t h e r a mass of d ark,in w h i c h

,espec i a l l y w h en obj ect s are at a d i s t an ce , deta i l s are

h idden . T h i s mass of da rk,in con t ras t wi t h t h e mass of l ig h t ,

exp re sses t h e fo rms of t h e obj ects . an d i s t h u s of fi rs t import an ce to

t h e s tuden t of l ig h t an d s h ade .

4 . Th e m ass of l ig h t c ause s muc h of t h e deta i l i n i t to d is

appear,an d l ig h ten s t h e effe ct of a l l sm al l s h adows Wi t h i n i t so

t h a t w h ateve r de t ai l i s s een i n t h e l ig h t does no t dest roy t h e effec t

oft h e mass .

44 L I GH T S H A D E .

5. I n any s ubj ec t t h ere i s one l ig h t w h i c h i s l i g h t e r t h an al l

ot h ers,an d on e d ark w h i c h i s d arker t h an a l l t h e ot h e rs .

6 . W h en l ig h t and dark are j uxt aposed , t h e l i g h t seems l ig h t es t

n ea res t t h e dark , and t h e dark appears darkest n ea res t t h e l ig h t .

7. A re treat i ng s h adow surface or dark obj ec t appears d arkes t

n eares t t h e eye .

8 . A ret rea t i n g l i g h t s u rface or l ig h t obj ect appears l ig h t es t

n ea rest t h e eye .

9 . Oftwo dark Obj ec t s of t h e s ame co lo r and i n t h e s ame l ig h t

t h e n ea re r appea rs t h e darke r .

1 0. Of two l ig h t obj ects of t h e same co lo r and i n t h e s ame l ig h t,

t h e neare r appears t h e l ig h ter .

I I . T h e cas t s h adow of any obj ect i s da rkest an d s h arpest i n out

l ine n eares t t h e obj ec t w h i c h cast s i t .

1 2 . Wh en t h e s h adow of a ny obj ec t fa l l s upon two i n te rsect i ng

su rface s , fo r i n s tan ce , a h o ri zon ta l su rface suppo rt ing a ve rt i c al , t h e

s h adow mus t pass con t i n uous l y from one to t h e o t h e r,and c h ange

i t s d i rect ion a t t h e i n te rsec t i on of t h e two su rfa ce s .

1 3 . T h e s h adow of a s t ra ig h t l i n e upon a p l an e s u rface i s a

st ra ig h t l i n e .

1 4 . T h e s h adow of a st ra ig h t l i n e upon a curved su rface gen era l l y

appea rs cu rved .

1 5. W h en a sp h e re i s exposed to on e s id e l ig h t,t h e h ig h es t l ig h t

i s n ot upon t h e con tou r of t h e S p h e re bu t w i t h i n t h e con tou r,and

from t h i s gl i t t e r o r h ig h l ig h t t h e re i s a gradua l l y i n creas i ng tone

i n a l l d i rect i on s tow ard t h e con tou r . T h e s t ronge st s h adow on t h e

sp h e re i s at t h e d iv id ing l i n e of l ig h t and s h ade,w h i c h gen e ral ly

appears an e l l i pse . T h e st ronges t refl ec ted l ig h t i s be tween t h e

con tou r and t h e s tronges t s h ado w .

1 6 . Wh en a c yl i nd er i s exposed to on e si d e l ig h t,t h e h ig h es t

l ig h t i s n ot upon t h e con tour , bu t upon an e l emen t w i t h i n t h e con tou r.

From t h i s e l emen t t h ere i s a gradua l ly i n creas i ng ton e i n bot h d i rce

t ion s towa rd t h e con tou r e l emen ts . T h e s t ronges t s h adow i s upon

t h e e l emen t w h i c h sepa ra tes l ig h t f rom s h adow,and t h e s t rongest

refl ec ted l ig h t between t h i s e l emen t and t h e con tou r e l emen t.

1 7. Wh en a con e i s exposed to one s id e l ig h t,t h e h ig h es t l ig h t i s

upon an e l ement w h i c h i s wi t h i n t h e conto u r . From t h i s e l emen t

CI I /A A’O—OS C U I I ’A , 0k L I GH T A IVD S H A D E . 45

t h e re i s a gradua l ly in crea s in g ton e i n bo t h d i rect ion s toward t h e

con to ur e l emen ts . Th e st ronges t s h adow i s upon t h e e l emen t

s epara t i ng l ig h t from s h adow,and t h e s t ronges t refl ec ted l ig h t i s

b etween t h i s s h adow e l emen t and t h e con tou r e l emen t .

1 8 . Obj ec t s a re e i t h er i n w h ol e or i n p ar t l i g h ter or darker t h an

t h e par ts aga i n s t“

w h i c h t h ey are seen,and t h erefore t h e t rue v a l ues

an d effec t of an y Obj ect cann o t be repre sen ted wi t h out repre sen t i ng

t h e va l ues of t h e p arts su rround in g i t .

1 9 . Any obj ec t m ay presen t an i nfin i te n umber of d iffe ren t

appearances .

C H A PTE R I I .

V A L U E S A N D T H E I R T E S T S .

V A L U ES .

Defini t ion. Val ue me ans t h e re l at i on s of ton es to eac h ot h e r,

and concern s t h e qua n t i ty of l ig h t o r d ark t h ey refl ec t w i t h ou t regard

to e

color,so t h ere may be many d ifferen t co l ors of t h e same va l ue .

Wi t h d ifferent co lors t h ere i s usual l y a d ifference i n va l ue , so t h a t a

l ig h t an d s h ade d raw i ng may g en eral l y be t rue to n ature i n val ues

and yet sugges t t h e d iffe ren t col ors t h roug h ou t t h e subj ec t .

Value h as to t ake in to accoun t no t on l y d iffe ren t co lo rs bu t d if

ferea t tones of t h e same co lo r, an d al so var ia t ion s i n t h e effec t of

on e tone or co lo r w h i c h a re produced by d i s tan ce o r by l ig h t an d

s h ade,and va l ue i s gene ra l ly unders tood by a rt i s ts to mean vari a

t ions of l ig h t a nd dark p roduced by any caus e w h ateve r . Al l t h e

v ar i at i on s of effec t exp l a in ed in C h ap . I are d ifferen ces i n val ue,

and t h e s tuden t w i l l a t on ce see t h a t upon t h e va l ues depen ds most

of t he meri t of any bl ack and w h i te s t udy .

Uni t of v a lue. I n a l ig h t an d s h ade d raw i ng b l ack i s u sual l y

taken as t h e un i t fo r compar i son,t h e st ronges t va l ue s be in g t h ose

w h i c h are n eares t b l ack, t h e lowes t (l ig h tes t) va l ue s t h ose w h i c h

are fa rt h es t f rom b l ack . I n co lo r work t h e un i t for compar i son i s

w h i te , t h e st rongest va l ue s are t h ose w h i c h reflec t t h e mos t l ig h t to

t h e eye , and t h e lowes t (darkest) va l u es t h ose w h i c h sen d t h e l eastl ig h t to t h e eye .

Trut h of v a lue. T h e a rt s tuden t s h ou l d be con t i n ua l l y a sk ing

h imsel f i f h i s drawing i s l i ke n atu re , and h i s fi rs t p rob l ems s h ou ld

dea l pr in c ip al ly wi t h comp a r i sons of h i s wo rk w i t h n at u re,w h i c h h e

w i l l genera l l y b e abl e to make , so as to d is cove r any impo r tan t d if

ferences. H e re t h e q ues t ion ar i s es , H ow fa r i s i t poss ib l e to im i ta te

n atu re ? ” T h e strong est l ig h t of t h e a rt i s t i s g iven by w h i t e pa in t ;even t h e e ffect of sun l ig h t upon pure w h i t e mu s t be repres en ted by

means of w h i te pa in t . H en ce t h e b r ig h t l ig h t s of n atu re are often

l'

.-1 L U E S . TH E /I f TE S TS . 47

muc h b r ig h te r t h an t h ose Of a pa in t i ng seen i n t h e l ig h t of anycommon gal l e ry o r room . I t i s n atura l , t h en , to ask i f i t is pos s ib l e

i n eve ry ca se t o p roduce a p ic ture w h i c h i s l ike n ature . I t i s we l l

to con s ide r t h i s po i n t , a l t h o ug h t h i s ques t i on i s more importan t to

t h e a rt i s t t h a n to t h e e l emen t a ry s tud en t w h o works in a s tud io and

does n ot h ave su-nlig ht effects to rep resen t .

T h e s t ronges t l ig h ts of a l an dscape,w h e t h e r i n sun l ig h t or i n

moon l ig h t , are repre sen ted by t h e same w h i te pa i n t , wi t h pe r h aps

fa i n t t in t s of warm a nd coo l co lo rs respec t i ve ly added . S un l ig h t

i s m any t imes b r ig h te r t h an moon l ig h t ; and yet one p i cture suggest s

s un l ig h t sa t i sf actor i ly,and t h e o t h er

,moon l ig h t . N e i t h er p i c tu re

rep res en t s n a tu re , bu t s imply suggests one of h er effec ts . I n eac h

p i c tu re t h e art i s t ’s p rob l em i s very d iffe ren t f rom t h at of t h e s t uden t,

w h o works i n doors and can p l ace h i s d rawi ng bes i de t h e subj ec t

an d s t udy bot h a t an equa l d i st an ce and i n t h e same l ig h t . I n suc h

a case, t h oug h t h e gl i t t e r l ig h t s of t h e subj ec t may be l ig h t er t h an

t h os e of t h e drawi ng, t h ere i s not t h e great d ifferen ce t h at ex ist s

be tween t h e h ig h l ig h ts ou t of doors and t h e e ffec t of w h i t e p a in t i n

a s t ud i o ; h en ce t h e a rt s t uden t i s often ab l e to make a d rawing

w h ose con t ras ts a re as great as t h ose of t h e subj ec t i n a s tud io .

Wi t h co l o r h e can do t h i s more frequen t ly t h an wi t h b l ack an d

w h i te . B ut w h en h e a t tempts sun l ig h t effects,i t i s imposs ib l e to

obt a in i n any d r aw ing l ig h ts eq ua l i n i n ten s i ty to t h ose of n atu re,

Wit h t h e s ame con t ras ts of b l ack a nd w h i t e and colo r h e i s obl iged

to give t h e effe c t of moon l ig h t and of l ig h t m any t imes s t ronger .

Not reproduced, but sug gest ed . T h e art i s t i s ab l e to represen t

wi t h t h e same p igmen ts s uc h ve ry d ifferen t effects,b ecause h e i s

n o t ob l iged to npma’zzm t h e actu al co lors o r con t ra st s , bu t s imp ly to

sug g est t h em . As shown i n C h ap . I , na tu re'

s effec ts a re due to

con t ras t s of masses of l ig h t and dark and co lo r,and w h enever

t h e se con tras t s are sugges ted,t h e e ffect of t h e subj ec t w i l l be cre

ated . T h e masses a re muc h more s imp l e by moon l ig h t t h an by sun

l i g h t,bu t e i t h e r effe c t w i l l b e express ed by rep resen t i ng correc t ly

t h e re l a t i on s of t h e v ar ious mass es of l ig h t and dark ; i n ot h er

word s,t h e p rob l em i s s impl y t h a t of va l ues . I f t h e re l a t io n of any

l ig h t o r d ark to every ot h e r i n t h e moon l ig h t s ubj ec t i s correc t ly

gi ven,t h e p i c tu re wi l l create a sat i sf a c to ry imp ress i on of moon l ig h t

,

48 [JG/I T A A'

Z)

and in t h e same way t h e effec t of s un l ig h t wi l l be gi ven by a p i c t ure

w h i c h gi ves t h e re l at io n s be tween t h e d iffe ren t masses of t h e s un l i t

l an dscape .

H ig h or low . I n t h e case of moon l ig h t o r t h at of s un l ig h t , t h e

p ictu re may be in a h ig h key or i n a l ow key an d s t i l l p roduce

a sat i sfacto ry impress ion of t h e s ubj ect . T h us t h e same sun l ig h t

effec t may be represen ted by two p i c tu res. on e very muc h darker

t h roug h ou t t h an t h e ot h e r ; or t h e s ame moon l ig h t effect , by two

p i ctu res of w h i c h one t h roug h ou t i s ve ry m uc h l ig h te r t h an t h e

ot h er . T h e re l at ions of l ig h t to dark i n eac h pa i r a re , h oweve r, t h e

same,a nd so t h ey give t h e effe c t o f s un l ig h t o r of moon l ig h t , w h i l e

t h e i r genera l effe ct i s ve ry d iffe ren t . I t i s i n fac t poss ib l e for a

sat i sfactory impress ion of moon l ig h t upon any subj ec t to b e g iven

by a p i ctu re w h ose gen e ra l effec t i s l i t t l e , if any , d arke r t h an t h a t of

anot h e r can vas w h i c h gi ve s a sat i sfac tory impress ion of sun l ig h t

upon t h e same subj ec t.

Wh et h er t h e l ig h t upon a ny s ubj ec t be st rong or weak,i t w i l l p ro

duce masse s of l ig h t an d dark and grad at ion s of tone ; and if t h e

re l at ion s of t h es e masses and tones are co rrect ly repre sented,t h e

effec t of t h e s ubj ec t w i l l b e exp ressed,w h e t h e r t h e con t ras t between

t h e d ifferen t va l ues i s ve ry st rong o r no t . T h ere a re n o more l ig h ts

o r no more s h adows wi t h a s t rong l ig h t t h an w i t h a weak on e . an d

t h e re a re as man y grad at ion s of l ig h t an d s h ade w i t h t h e fo rmer a s

w i t h t h e l at te r ; i n fac t , t h e re i s often l es s grad at ion w i th t h e s t rong

l ig h t t h an w i t h t h e weak . So i t i s s imply a quest ion of va l ues,and

t h e weakness of p igmen ts i n con t ras t w i t h n atu re i s a d iffi cul ty

w h i c h h a s been great l y magn ified . To produce a s t rong p ic ture i t i s

not n ecessa ry t h a t t h e re s h ou l d be v iol en t con t ras t s o f l ig h t an d dark,

but s imply t h a t t h e re l a t ion s of t h e pri n c i pa l m asses be trul y given

and t h e s tuden t s h oul d appl y h imse l f t o t h e s tudy of v a l u es un t i l

ab l e to see qu i ck ly and rende r t ru ly t h e re l a t ion s be tween a l l pa rt s

of a subj ec t ; fo r un t i l h e can do t h i s h e can no t p roduce a p i c t u re

w h i c h w i l l gi ve t h e effe ct of n at u re . H e may make t h e most p e rfec t

s tud i es of form , but i f w i t h ou t va l ues , t h ey w i l l be un a tmosp h e r i c,

unn atura l,and un sat i sfacto ry .

Must be st udied. T h e fal l a cy of t h e be l i ef t h a t a l l t h a t a s tuden t

h as to do i s to l ea rn to d raw, an d t h a t va l ues wi l l come t h e n as a

https://www.forgottenbooks.com/join

50 L I GH T A N !) S l /A D E .

ru l e w h ic h forb i ds t h e use of pure b l ack i n any co lo r s t udy . B u t the

s tuden t of lzg lzt a nd s/za r/e works wi t h med i ums fa r l e s s powerfu l t h an

col o r,and i t i s often n ecessary or des i rab l e fo r h im to rep resen t t h e

s tronges t d ark i n h i s s ubj e ct by t h e s t ronges t dark to be obta i n ed wi t h

t h e med i um emp loyed ; fo r by so do in g h e i s ab l e to gi ve more of t h e

gradat ion s i n t h e mass o f t h e l ig h t t h an can be gi ven i f t h e st rongest

d ark of t h e group i s rep resen ted by gray . And w h en eve r t h e st ronges t

dark of an y subj ec t seems ve ry d ark in con t rast wi t h t h e l ig h t,a nd

no det ai l i s seen i n i t,t h e s tuden t s h ou l d gene ra lly represen t t h i s dark

by t h e s trongest dark to be ob ta i n ed wi t h t h e med ium used . B ut

t h i s a ccen t o r spo t of b l ack mus t be very sma l l ; fo r i f a ny l a rge par t

o f t h e d rawing i s wi t h out t h e grada t ion seen i n al l part s of t h e subj ect,

i t w i l l n o t be a tmosp h er i c , and t h e refore n o t n a tu ra l . T h e s t uden t

mus t h ave i n any d rawing on e h ig h l ig h t , t h a t i s , on e l ig h t w h i c h i s

b rig h te r t h an al l o t h ers,and on e dark w h i c h i s d arke r t h an a l l o t h e r

d arks, bu t h e m ust be part i cu l arly carefu l no t to use pu re b l ack f ree l y .

As al ready s h own , a d rawing may be upon a l ig h t key or upon a

dark on e . B u t t h e most t ru t h f u l rep rese n ta t ion of t h e app earan ces

due to dayl ig h t , e i t h e r i ndoors o r ou tdoo rs , wi l l be given by on e

w h i c h a t fi rs t gl an c e give s t h e impress ion of l ig h t an d co lo r . Gen

era lly t h e s tuden t w i l l fi nd t h e l ig h t es t d raw i ng w h i c h can be madeto sugges t t h e masse s of l ig h t and dark

,and t h e pr i n c i pa l gradat i on s

in t h e mass of l ig h t w i l l be mos t t r ue t o na ture ; fo r w h en i t i s seen

f rom a s h o rt d i s tance t h e det a i l i s seen,and w h en seen from a long

d i s tan ce i t giv es t h e effec t of l ig h t an d n a ture,w h i c h can no t be pro

duced by a d ra w ing w h ose l ig h ts a re so da rk t h a t a t a d i s tance t h e

d rawing seems l argel y or w h o l l y d ark .

Va lues ma y be ch a nged . Th e va l ue by w h i c h an y part of an y

subj ec t s h a l l b e rep re sen ted depen ds some w h a t upon t h e exten t andnatu re of t h e s ubj ec t . T h us , s uppos e a g roup s im i l a r to t h a t of

F ig. 1 8 pl aced upon a tab l e cove red wi t h b l ack dra perv ,w h i c h h angs

in fo lds to t h e floor, t h e group b e ing l ig h ted by a feeb l e l i g h t f rom

b e h ind or a t t h e l eft of t h e spectato r , and a windo w be i ng s i t uated

some d is t ance to t h e l ef t o f t h e group , t h roug h w h i ch a sun l i t l an d

scape i s s een . I f t h e room wi t h i ts con ten t s i s to be represen ted.

t h e mass of l ig h t w i l l b e t h e w i ndow . T h e group w i l l s e em com

posed of g ray colo rs , a nd t h e s t ronges t darks w i l l be upon t h e b l ack

VA L U E S A A’

Z) T/l E /A’

TE S TS . S I

drapery . I fs imp ly t h e group i s to be rep resen ted,t h e mos t t ru t h fu l

d raw ing w i l l be t h a t w h i c h g iv es t h e va l ues s een w h en t h e group i s

compared w i t h i t s su r round i ngs . T h e mos t t ru t h fu l represen tat io n

of t h e l andscape al on e w i l l be t h a t w h i c h g iv es t h e imp ress ion of t h e

b r i l l i an cy of l ig h t an d co lo r seen t h roug h t h e w i ndow . T h e studen t

s h ou l d a im to rep resen t t ru l y no t on ly t h e re l a t i ve va l ues,bu t as far

as poss ib l e t h e ac tu a l va l ues s een i n a ny subj ect,an d in order to do

t h i s h e s h ou l d compa re t h e va l ues w i t h p ure b l ack m ater i a l w h i c h i s

h e l d i n t h e h an d and s h aded so a s to appear b l ack .

Wh en t h e s t uden t can represen t t ru ly t h e actua l va l ues i n any sub

jec t as f ar as t h i s i s poss ib l e , t h e val ues may be c h anged , j u s t a s t h e

fo rm an d co l o r m ay be c h anged,to more pe rfect l y exp ress t h e a rt i s t ’s

se n t ime n ts . T h us t h e va l ues of any subj ec t s uc h as t h e group a lon e

m ay be c h anged so t h a t t h e l ig h ts of t h e group are l ig h t e r than t h ey

s eem w h e n compa red w i t h t h e h ig h l ig h t s s een t h roug h t h e w i ndow,

and so t h at t h e d arks a re somew h a t d arke r t h an t h e darks of t h e

group appea r w h e n t h ey are compared w i t h t h e s tronges t darks of t h e

room . And i n rep resen t i ng t h e l andscape a lon e i t s d arks may be

made darke r t h an t h ey seem w h en t h ey are compared w i t h t h o se of

t h e room . B u t i n a l l work i n w h i c h i t i s d es i red to give t h e effe ct of

t h e l ig h t a n d col o r seen in n a ture,i t w i l l b e we l l to keep t h e d raw ing

as l um i nous as poss ib l e,and to h ave t h e s trongest d arks i n i t s imp ly

t h e accen ts or smal l b i t s of da rk,w h i c h m ay be pu re bl ack or not ,

accord in g to t h e n atu re of t h e s ubj ect an d t h e med i um used .

F ix i ng a c h a rcoa l d rawing d arken s i t,espec i a l ly in t h e l ig h t er

ton es . T h i s i s an o t h er reason w h y su c h d rawi ngs s h ou ld be v ery

l um i nous .

Necessa ry in a ll work . S t uden ts o ften wi s h to l ea rn to i l l us

t ra t e ; t h a t i s , to t ake l es son s t h at w i l l en ab l e t h em to make d raw

i ngs to be rep roduced by some of t h e spec i a l p rocesses . T h ey

ofte n t h i n k t h a t t h ey can do t h i s w i t h ou t go in g t h roug h t h e severe

t ra i n in g needed by t h e a rt s t uden t . B ut i t i s a m i s take fo r any on e

to st udy p rocesse s un t i l h e c an draw , an d t h e s tuden t w h o wi s h e s

to i l l us t ra t e s h ou l d s tudy art i n t h e s ame way an d j us t a s long a s t h e

art i s t s t ud i es . W h en on e knows h ow to d raw , t h e ski l l r equ i red fo r

maki ng d rawi ngs to b e spe c i a l l y rep rod uced w i l l b e ga in ed i n a very

s h o r t t i me .

52 L I GH T A N !) S H A D E .

TESTS FOR VA L U ES .

P erfect sig h t not common. T h e fi rs t and mos t d ifficu l t p roblem for t h e a rt s tuden t i s to l e arn to see , for on ly a few eve r l earn

to s ee pe rfec t ly ; and t h ose no t g iv i ng t h e ma tte r spec i a l a t t en t ion

se ldom see t h e ac tua l appearan ce of e i t h e r fo rm , l ig h t and s h ade or

co lo r .

To rea l i z e perfect ly w h at t h e eye p i ctures fo r t h e m in d to read

con ce rn ing s imp ly t h e app aren t fo rms of obj ects requ i res many

years of s e r ious s t udy,and i s so d iffi cu l t t h a t even afte r t h i s study

t h e art i s t of reputat i on i s ve ry ap t to be dece ived an d d raw w h at i s

very d iffe ren t from t h e image oft h e eye . I n Free~H a nd D rawing ”

i t was s h own t h at a course i n fre e-h an d perspec t i ve ass i s ts t h e

s tuden t to avo id fau l ty repre sen ta t ion s of t h e geomet r i c forms,

w h i c h a re mos t l i ke l y to dece i ve even t h e p rac t i ced eye of t h e art i st .

Any st uden t w h o d raws t h e geomet r i c fo rms, and te s t s t h em as

exp l a i n ed i n Free-H an d D raw ing,

” wi l l soon rea l i z e t h a t i t i s d ifficul tto s ee correc t l y ; for h e finds w h at h e t h i nks h e see s to be ve ry d iffer

en t from w h at t h e tes ts p rove t h a t h e does s ee,and i t i s easy for h im

to conv i nce h imsel f t h a t h e can no t s ee correc t ly:

Va lues more difficult t ha n dra w ing .—

'

I‘

o conv i n ce an a rt s tu

den t t h a t h e can no t see l ig h t an d s h ade o r co lo r co rrec t ly i s fa r

more d iffi cu l t t h an to p rove t h a t h e can no t see fo rm correc t ly . To

draw correc t ly req u i res,fi rs t , an eye n atura l ly t rue , and , second , a

se r ious and ex tended course of s tudy ; bu t a lmost eve ry se r ious

s t uden t can i n t ime teac h h imse l f to repre sen t form correc t ly . T h e

same s tud en t may work man y mon t h s , even w i t h t h e as s i s tan ce of a

t eac h e r,and fa i l to see va l ues o r colo r co rrect ly .

To give t h e ac t ual facts p ic tu red i n t h e eye conce rn ing l ig h t,dark

,

an d co lor i s so d iffic ul t t h at few s ucceed ; and even af te r years ofs tudy many see i n n atu re on ly t h e ac t ua l fac t s kn own

,or w h a t t h ey

h ave become accustomed to t h i nk t h ey see con ce rn ing t h e local

co lors of obj ec ts .

Va lues not t a ug ht . I f art i s t s and teac h e rs gen e ra l ly made t h e

s tudy of va l ues as importan t as t h a t of form,doubt l es s many st uden ts

w h o do no t unders tan d w h at val ue mean s wou ld become ab l e to see

val ues correct l y ; bu t t h e n umb er w ou l d be sma l l compa red wi t h t h at

VA L (x

'

E S J A Y) TH E /If

TE S TS . 53

of t h os e w h o are ab l e to d raw cor rec t ly,for se r ious s t uden ts of t h e

bes t t e ac h ers oft en wo rk for many mon t h s before t h ey rea l i z e h owin co rrec t ly t h ey see va l ue s .

T he t eac h e r w h o i n s i s t s upon co rrec t va l ues req u i re s muc h

pa t i ence and ingen u i ty , for h i s pup i l s can no t read i ly h e lp t h em

se l ve s , nor can t h ey bel i e ve t h e teac h e r w h o te l l s t h em , for i n s tan ce ,t h a t t h ey oug h t to see , i n some spec i a l group , dark b l ue l ig h t er t h a n

yellow ,when t h ey know t h a t t h ey se e i t a s t h ey t h i nk i t oug h t to appear

,

— darke r t h an t h e ye l l ow. I n s uc h cases t h e teac h er mus t e i t h e r be

con t en t to say : I fyou cannot see i t, you mus t d raw i t as I say , and

in t i me you w i l l s e e i t a s I do ,” or h e mus t p rove to t h em t h at a t fi rs t

t h e i r eyes te l l t h em not h ing bu t t h e mos t gl ar i ng fal s e h oods abou t a l l

t h a t t h ey see . W h en pup i l s rea l i z e t h i s fac t , and h ave on ce rece ived

a gen u i n e s ig h t impress ion con ce rni ng va l ue s,t h ey wi l l ever af ter

ward s ee t h ings i n a n ew way,and t h e i r improvemen t w i l l be rap id .

E y e sees det a ils inst ea d of v a lues. To see v al ue s an d rea l i z e

t h e effe c t of t h e masses , t h e eye mus t be used for t h i s purpose

on ly . T h is i s a d ifficu l t p rob l em fo r t h e s tuden t,fo r n a tura l l y t h e

eye i s focused upon a s ingl e deta i l , w h i c h i s c l early s een . Th e

v i s io n passe s rap id l y ove r t h e w h o l e of t h e group , t ak ing i n a ll it s

de ta i l s by mean s of t h i s c a refu l s tudy, w h ic h i s of j us t t h e s ame

n a t ure a s t h a t w h ic h t h e sc i en t i s t bestows t h roug h h i s m ic roscope

upon t h e spec imen s h e s t ud i es . T he on ly d iffe rence i n t h e i r met h ods

i s t h a t t h e mot ion of t h e eye of t h e a rt s t uden t i s very rap id , an d

t h at the l en s of t h e eye t akes t h e p la ce of t h e m i croscope . T h e

sc i en t i s t s ee s deta i l s,an d ve ry prope r ly, s in ce t h ese are w h at h e i s t o

d esc r ibe . T h e ar t s t ude n t al so sees de ta i l s , and too often h i s work

i n d i c at es t h a t h e mus t h ave exam in ed eac h l i t t l e b i t as i f t h roug h a

m ic roscope . I n h i s fi rs t d rawi ngs h e u sua l ly so magn ifies t h e import

an ce of e ve ry de ta i l t h a t h i s d raw ing i s un i n te l l igib l e , and gi ve s no t

t h e fa in tes t s uggest io n of t h e impress ion p roduced upon t h e eye

w h i c h s ee s t h e effec ts ofl ig h t, dark , and co lo r i n t h e i r t rue re l a t i on s .

T h e ar t s tuden t mus t l e a rn t h at t h e a r t i s t an d s c i en t i s t work fo r

en t i re ly d iffe ren t e nds , — t h a t t h e a im of t h e art i s t i s n o t de ta i l , but

t h e sp i r i t an d c h a rac te r oft h e w h o l e , an d t h a t t h i s can no t be obta i n ed

w i t h ou t mak i ng i t of fi rs t impo rt an ce an d t h i n k i ng fi rs t of t h e long

l i n e s,t h e l a rge masses , and t h e effect of t h e w h o l e s ubj ec t .

54 L /Gl/T A A'

D S H A D E .

B lu r red Vision necessa ry .— T h e effec t of any s ubj ec t i s n eve r

rea l i zed w h en t h e s tuden t looks a t any on e p ar t ; h e mus t look a t t h e

group a l l a t on ce . T h e w h o le of an y subj ec t ca n be seen a t once

on ly by see i ng a l l i ts p art s e qual ly and t h us i nd i s t i n ct ly . T h a t i s ,t h e eye must focus on no on e part

,bu t be i n foc us for an obj ec t i n

fron t of o r be h in d t h e group ; t h en a l l i t s p ar ts m ay be seen ind is t i n ct ly

a t one t ime . T h e s tuden t wi l l rea l i z e w h a t i s mean t by b l u rred v is ion

by c los i ng t h e eyes gradua l ly un t i l t h e group c an bare ly be seen be

tween t h e l ids and t h e l as h es ; t h i s c ut s off mos t of t h e l ig h t and

obs t ruc ts t h e s ig h t so t h a t t h e obj ect s a re b l u rred . B lu rred v is ion

may a l so be ob ta i n ed by h o ld in g a pen c i l i n t h e h and and i n fron t of

t h e group and looki ng a t t h e pen c i l,w h i c h w i l l b e seen s h a rp ly

,w h i l e

t h e group wi l l be seen very in d i s t i n ct ly . To see t h e w h o l e a t on ce

i s d iffi cu l t fo r t h e a rt s tuden t , b ut t h e art i s t fi nds i t eas i e r t h an t h e

searc h ing ga ze w h i c h t h e a rt s t uden t employs,because t h e ar t i s t s ees

effec ts unconsc ious ly wi t h b lu rred v i s io n , w h i c h does n ot t i re t h e eyes .

M any a ids to t h e correct see i ng of va l ues h ave been u sed ; among

t h em t h e fo l l owi ng are t h ose of mos t as s i s tan ce to t h e s t udent .

Cla ude Lor r a in mi r ror .— T h i s i s a m i rro r w h i c h giv es a reduced

image of t h e obj ec t , and h as a b l ack refle ct i ng su rface w h i c h d im in

i s h e s t h e l ig h t so t h a t t h e re l a t i ve val ues may be st ud i ed more readi ly

t h an i n t h e group . A s ubst i tu t e may be made by pa i n t i ng on e s id e

o f an ord i n a ry p iece of p l at e g l ass w i t h i vo ry b l ack .

Common mi r ror . T h i s i s of ten u sed by a rt i s ts an d i s a va l uabl e

a i d , as i ts imag e reve rse s t h e l i n es of t h e group and t h e d rawing.

and by s h ow ing t h e part s i n new re l a t i o ns makes e r ro rs p rom i nen t to

w h i c h t h e eye h as become accus tomed . W h en t h e d rawi ng i s p l aced

bes i de t h e group, and t h e m i rro r as fa r as poss i b l e from t h e group ,i t

en abl es compar i son s to be made from a d i stance t w i c e t h a t w h i c h

coul d o t h erwi se be obt a in ed . T h e s t uden t w i l l ob ta i n muc h ass i s tan ce from t h i s m i rror .

D iminishing g la ss. T h i s i s a l en s con cave on on e o r bo th s ides ,w h i c h p roduces a sma l l c l ear image of t h e group . T h e im age i s so

smal l t h a t i t may read i l y be seen at on e gl an ce.and t h u s t h e va l ues

of t h e d ifferen t part s b e more eas i ly seen . B u t even h e re t h e tendency i s fo r t h e s tudents to s tudy t h e de ta i l s o f t h e im age i n s tead of

i ts effe c t s , and t h us lose t h e ad van t age to be de r i v ed from t h e gl a ss.

VA L U E S A A'

I ) TH E /R TE S TS . 55

T h o ug h t h e se a id s are ve ry va l u ab l e,t h ey of ten fa i l to make t h e

s t uden t s ee fo r t h e fi rs t t ime t h e fac t t h at a da rk co lo r may appear

l ig h t e r t h an a l ig h t co lo r , and t h e on ly mean s on w h i c h , accord ing to

my expe r i en ce , t h e begi n n er can s afe ly depend for correc t ion s of v al ue s

a re t h e b l ur gl as s and t h e c a rd descr i bed on page 57.

The blur g la ss. T h i s i s s imply an ord in a ry magn ify ing gl as s of

abou t 1 5 i n c h e s foc us . I t s h o ul d n o t be l ess t h an 1 2 i n c h e s focus or

more t h an 1 6 i n c h es o r 1 8 i n c h es . A roug h l en s abou t 2 i n c h es d i am

e t e r ca n be obta i n ed a t an op t i c i an ’s fo r about fi ftee n cen ts,and may

be f ramed by c ut t i ng a c i rc ul a r h ol e i n a p i ece of c a rdboard so t h a t

i t w i l l r e ce i v e t h e l en s,and t h en cut t i ng sma l l e r h o l es i n two more

p iece s , and gl u i ng one to eac h s id e of t h e fi rs t p i ece . T h e gl ass i s

t h us p ro tec ted so t h a t i t wi l l n o t b reak i f d ropped , and t h e ca rdboard

i s a l so an improvemen t becau se i t h i d es from s ig h t a l l excep t t h e

p art s s een t h roug h t h e gl ass . I f t h i s gl as s i s h e l d so t h a t t h e group

ma y be seen t h roug h i t , t h e ou t l i n es w i l l be blurred and a l l de ta i l sof t

ened . I n t h i s way t h e masse s of l ig h t an d dark are rende red so prom

inent t h a t t h e s tud en t sees t h em as pe r h aps he neve r would wi t h out

t h e gl ass .

I t i s sa id t h a t t h e use of su c h a gl a ss must be in j ur i ous, and con

seq uen t l y p up i l s s h ou ld no t be al l owed to us e i t . T h ose w h o t h i nk

t h us do no t un ders t and t h a t t h e gl ass i s to be used no t fo r see ing,

bu t to p reven t s ee in g, and s h ou ld not be used to l ook l/zrozgg b , bu t

to l ook a t . I n ot h e r words , t h e eyes mus t be fo cused upon t h e gl a s s

h e l d i n t h e h and , an d no t upon t h e group be h i nd t h e gl as s , fo r ift h e

s tuden t l ooks t h roug h t h e gl ass at t h e group , h e wi l l s t ra i n h i s eyes

an d be a lmos t as bad ly offa s w h en w i t h ou t t h e b l u r gl a s s , fo r h i s eyes

wi l l adj us t to t h e gl as s so t h at h e wi l l s t i l l s ee too muc h det a i_ .

To teac h t h e p rope r u se of t h e gl as s , s ec ure a s h ee t of gray pape r

or of c lo t h o f on e co lo r upon t h e wal l o r an y vert i ca l s u rface so t h a t i t s

l owe r por t ion may rest upon a h o r i zon ta l s u rfa ce . Ask t h e s t uden t

to m ake a l ig h t an d s h ade d rawi ng represen t i ng s imp ly t h ese two

s u rfaces.T h i s wi l l c ause h im to dec id e as to t h e d iffe rence i n va l ue

be tween t h e two . H av ing made t h e d rawi ng, ask h im to h o l d t h e

b l u r gl ass up so as to see t h ro ug h i t t h e ve rt i ca l su rface , and t h en

ask h im to look not t h roug h t h e gl a ss , but at i t, to d i s co ver t h e co lor

w h i c h i t appears . Now ask h im to h o l d t h e gl ass so t h a t t h roug h i t

56 L I GH T A N D S H A D E .

t h e h or i zon ta l surface i s seen,and t h e n to look as before at t h e g l ass

i n stead of t h roug h i t . H av i ng h e l d t h e gl ass ca re fu l l y to se e t h e

col o r i t appears to be w h en in fron t of eac h of t h e two s urfaces,ask the

s tud en t to move t h e gl as s up and down,s low ly a t fi rs t an d t h en as

rap id ly as poss ib l e,so t h a t i t s h a l l t ran sm i t fi rs t t h e co lo r of t h e ver

t ic a l su rface an d t h en t h a t o f t h e h o r i zon tal . I ft h i s mot ion i s con

t inued and t h e s tuden t looks a t t h e gla ss , h e w i l l d i scover t h at t h e

d i ffe ren ce i n co lo r between t h e two s urfa ces i s m uc h greate r t h an w h a t

h e t h oug h t h e s aw and w h at h i s d rawi ng rep resen ts ; an d h e wi l l at

t h e same t ime h ave ga in ed a t rue imp ress ion of va l ue s and l ea rn ed

to use h i s gl ass p rope rl y . T h e use of pape r or c lo t h of on e co lor i s

of grea t ass i s t an ce i n enab l i ng t h e p up i l to l ook a t t h e gl a s s i n s tead

of t h roug h i t , and t h i s expe rimen t s h o u l d be t h e fi rs t l esson of p up i l s

o l d enoug h to app ly i t,and s h oul d be rep eat ed a s of ten as i s meces

s ary to enab l e al l t h e st uden ts to use t h e gl a ss p rope rl y ; fo r i f t h ey

do not use i t p rope rly t h ey i nj u re t h e i r eyes and des t roy t h e i r best

c h an ce of becom ing i ndependen t and ab l e to correc t t h e i r own l ig h t

an d s h ade s tud i es . Wh en l arge masse s a re compa red,t h e b l u r gl as s

s h ou l d a lways b e h e l d as fa r a s poss ib l e f rom t h e eye ; and w h en any

par t i s st ud i ed i t s h ou l d be h e ld,i f poss ib l e

,f ar eno ug h from t h e eye

to ca use t h e part to b l ur i n to a form l e ss mass of co lo r w h i c h fi l l s t h e

en t i re glass , and w h i c h i s to be looked a t as i f upon t h e gl as s .

I n stead of mov ing on e bl u r gl as s to cove r t h e pa rts to be com

pared , two bl u r gl as se s may be used t h ey s h ou ld be h e ld t h e same

d i s tance from t h e eye a nd so t h a t t h e two part s to be compared may

b e seen at t h e same t ime .

One of t h e s t ronges t i n fluen ces caus i ng fa l se i d eas of va l ue i s t h e

con t ras t of l ig h t an d dark i n j uxt apos i t ion,and t h e ten den cy of t h e

s tuden t to compare on l y parts w h i c h are n ea r eac h o t h e r . I fh e would

compare parts w i t h ot h e rs fa rt h er away and w i t h t h e m asse s,h e would

see h ow con tras t effec ts dece i ve t h e eye . W h en t h e bl u r glass i s

p roperl y us ed , i t w i l l s h ow t h e rel a t i on s o f pa r ts to eac h o t h e r and tot h e masse s , bu t some studen ts wi l l requ i re mo re ass i s tan ce t h an t h e

use of t h e b l u r glass .

B la ck pa per .— P up i l s w h o can not s ee va l ues by t h e u se of t h e

gl ass so as to d is cover , fo r i n s tan ce , t h a t t h e s h adow surface of t h e

p l int h (Fig . r4) a ppears darke r t h an t h e fo regro und , wi l l b e ass i s ted

https://www.forgottenbooks.com/join

58 L /G/I T A N !)

h e l d from t h e eye,an d may vary from a p in h o l e to on e o r of

an i n c h i n d iamete r.

T h i s c ard w i l l a ss i s t t h e s tud en t to obta in t rue val ue s a nd al so to

obta i n w h at i s es sen t i a l and d iffi cu l t to secu re , — a gray and l umi

n ou s d rawi ng. T h e ten den cy of t h e pup i l i s t o p i l e on t he c h a rcoa l

and make a b l ack , h eavy d rawi ng, and i t i s d ifficul t fo r p up i l s to

rea l i z e t h a t effect and so l id i ty are no t d ue to b l ack , bu t to con tras t s

of masses of grays w h en t h e s tuden t looks t h roug h t h e c ard w h i c h

i s s h aded by t h e h and,h e re a l i ze s t h a t t h e re are n o bl acks i n h i s

subj ec t .

T h e c h i ef va l ue of t h e b l ack card l i e s i n t h e fac t t h a t i t en ab l es

eac h pupi l to remove a t w i l l t h e decep t i ve effe ct s d ue to t h e con

t ra sts of d iffe ren t va l ues . I f h e could o r wou ld us e t h e b l u r gl ass

prope rl y, t h e ca rd wou ld not be n ecessa ry ; bu t i t i s so d ifficu l t forsome to look at t h e gl ass in s tead of t h roug h i t t h a t t h e card i s ve ry

h e l pful .

B la ck fra me. A pi ece of bl a ck l ea t h e r o r ca rdboard i n w h ic h

a rectangu l ar open i ng i s cut w i l l h e l p to impress t h i s fac t of t h e

l um inos i ty of n atu re ’s effec t s upon t h e s tuden t , an d to make him

real i z e t h at a t rue d rawi ng can not be one w h i c h 1 5 bl ack o r h eavy.

L i g h t into sha dow . Th e studen t w i l l often be a ss i st ed to see

t h e va l ue s of two parts , as , fo r i n stan ce , t h e cast s h adow upon t h e

w h i t e cas t (Fig . and t h a t of t h e cast upon t h e p an e l l i ng,i f t he

t eac h e r h o ld s or p l aces an obj ect so t h a t i t s h a l l t h row t h e w h o l e of

t h e cast i n to s h adow . Th e pupi l w i l l o ft en make t h e cas t s h adow on

t h e cast a s dark as t h at on t h e wa l l , fo r t h e con t ras t of t h e s h adow

and l ig h t upon t h e cas t makes t h e s h adow appear muc h d arke r t h an

i t re al l y i s . I ft h e l ig h t pa rt s o f t h e cast a re t h rown in to s h adow,t h e

part o r ig in a l ly s h adow c h anges bu t l i t t l e i n va l ue,fo r i t re ce i ves n o

more , and genera l ly bu t l i t t l e l e ss , l ig h t t h an a t fi rst ; and w h en t h e

effec t of con t ra s t i s removed , t h e s t ud en t w i l l s ee t h a t t h e cast

s h adow on t h e cas t i s muc h l ig h t e r t h a n t h at on t h e backg round .

S t udy a t a dist a nce — T h e l ea st mec h an i ca l an d most sa t isfa c

to ry tes t , and t h e on e w h i c h s h o u ld b e app l i ed mos t f requen t ly,i s

s impl y p l ac i ng t h e drawi ng bes ide t h e g roup a nd compa r i ng i t w i t h

t h e group w h en t h e st uden t i s a s fa r as poss i b l e from t h e g roup .

When compa ring t h em , the e yes s h ould be out of fo cus,so t h a t t h e

VA L U E S A A'

I ) TH E /[C TE S TS . 59

d raw i ng an d t h e group may be seen eq ua l ly a t t h e same t ime,and

t h e s t uden t s h o u ld ask i f t h e d raw i ng give s t h e impress ion of t h e

gro up an d of na ture , or i f i t g i ve s t h e effe ct of a s h ee t of pape r

s l ig h t l y t i n ted . D oes i t p resen t t h e s ame masses of l ig h t an d dark

t h a t t h e group does , a nd are t h e con t ras ts of t h ese masses as s t rong

a s t h o se of t he gro up ? Are t h e d arks of t h e d rawi ng a s s impl e an d

d ark a s t h ose of t h e gro up,or are t h ey cu t up by exaggerated reflec ted

l ig h ts ? Are t h e l ig h t s of t h e d rawing as broad a nd as l ig h t a s t h ose

of t h e group,or a re t h ey cut up by exaggerated grays ? T h e studen t

w h o w i l l ask t h ese quest i on s w h en h e see s bot h d raw ing and group

equa l ly , and of cou rse in d is t i n ct l y , can h a rd ly fa i l to d iscove r t h e most

i mport an t e rro rs of t h e d raw ing .

I t i s ve ry impo rtan t t h a t t h e draw i ng be t h u s seen from a d i s t an ce

r epeated l y from i ts ea r l y stages,un t i l i t s e ffec t agrees wi t h t h a t of

t h e gro up w h en t h i s h appen s t h e s tuden t mus t comp le te t h e d raw

i ng by giv i ng t h e e ss en t i a l d e t a i l . Wh i l e d raw ing t h i s h e mus t be

carefu l n o t to c h ange t h e masses , and un t i l t h e d rawi ng is compl e ted

i t must be v i ewed f rom a d i s tan ce occas ion a l l y i n o rde r to make su re

t h a t t h e d e ta i l i s not too prom inen t .

U se of t he h a nd .— A con ven i en t and s imp l e way of obta i n ing t h e

resu l ts gi v en by t h e use of t h e b la ck card i s a fforded by l ook ing t h roug h

a smal l open i ng w h i c h m ay be formed by compress i ng and ben d i ng

t h e fi rs t finger upon t h e t h umb . T h e h an d may be moved so t h a t

on e af ter ano t h e r t h e p ar t s to be compared may be seen t h roug h t h e

finge r,or bot h h an ds may be used and two p art s compared at once

by v i ew ing on e t h roug h o ne h a nd an d t h e ot h e r t h roug h t h e o t h er .

Tipping t he hea d. Ano t h er t es t,w h i c h i s s imp l e and very val u

ab l e,i s t h a t of t i pp in g t h e h ead un t il t h e eyes a re i n a vert ica l l in e

in s tead of i n a h o r i zon ta l on e . Any on e w h o wi l l v i ew t h e s impl es t

l an dscape i n t h i s way wi l l b e s urp r i sed to see h ow muc h more co lo r

i t s eems to h ave t h an w h e n s een n at u ra l l y . T h e p r in c i pa l reason

for t h i s i s t h a t w h en t h e h ead i s t i pped t h e obj ects are s een i n suc h

unu sua l re l a t i o n s t h a t t h e i r forms are n o t t h oug h t of , and a l l t h e a t

ten t ion is at t rac ted to con t ras ts of l ig h t, s h ade , and co lo r . T h e s t uden t

of co lo r w i l l fi n d t h a t t h i s tes t accomp l i s h es t h e same res u l t a s t h e use

o f t h e b l u r g l a s s,a nd i t w i l l b e eq ua l ly va l u ab l e i n t h e s tudy of l ig h t

an d s h ade .

60 L I GH T A N D S H A D E .

Test s infer ior to feeling . At fi rs t every s t uden t w i l l r equ i re

some mec h an i cal tes t or a id to en ab l e h i m to see va l ue s correc t l y,

bu t h e mus t n o t d epend upon t h ese tes ts any more t h an in det ermin

i ng con tours upon measurements of propor t ion s fo r tes ts a re of no

more ass i s tan ce in produc i ng a wo rk of art w h os e va l ues a re t ru e

t h an measurements a re i n produc i ng correc t d rawi ng . Good a rt ca n

n eve r be prod uced mec h an i ca l l y,and t h e ar t i s t must depen d upon

h i s eyes and h i s fee l i ng for bot h good drawing a nd good va l ues .

B ut t h e s tuden t w i l l ob ta in h i s ed uc at i on i n t h e d i rec t i on of val ues

j us t as h e w i l l i n t h a t of fo rm,a nd if h e does no t adopt some mean s

of d i scove r ing t h e e rrors of h i s fi rs t s t ud i es,h e wi l l repea t t h em and

poss ib ly n ever d i scove r t h em .

Test s lea d t ofeeling . T h e studen t i s adv i s ed to app ly a l l tests

wi t h grea t pat i en ce i n h i s fi rs t work . H e s h ou l d be s a t i sfi ed to

prove h i s wo rk as carefu l l y as poss ib l e un t i l h e knows t h a t h i s eyes

are to be depended upon fo r resu l t s w h i c h w i l l h armon i ze w i t h t h ose

g i v en by t h e app l i c a t ion of t h e tes t s . After t h i s h e mu s t depend

upon h i s eyes and h i s fee l i ng for t h e fi n e res ul ts w h i c h d i s t i ngu is h

ar t f rom indust ry . T h e st uden t w h o does no t use t h e te s t s un t i l h e

h as p roven h i s ab i l i ty to see correc t l y w i t h out t h em,o r a t l east to

obtai n by s ig h t res u l ts e qua l to t h ose gi ven by t h e app l i cat ion of t h e

tes ts , acts very unwi se ly an d wi l l be compe l l ed to spend muc h more

t ime i n acqu i r i ng h i s e l emen t ary tra in ing t h an h e wou ld i f h e c h ose

to profi t by t h e tes ts . M y expe r i e nce h as s h own t h a t s tuden ts w h o

t h in k i t un necessa ry to app l y tes t s gen era l l y make a se r i es of d rawings

of w h i c h t h e l as t i s no bet te r t h an t h e fi rst,un t i l t h ey fi n a l ly d is cove r

t h at t h e res t o f t h e c l ass h ave compl e ted work w h i c h t h ey are as

far from doi ng as t h ey were a t t h e fi rs t of t h e ye ar . At t h i s t ime

t h ey general ly dec ide to t ry t h e test s , an d t h e re su l t of su c h d ec i s ion

i s often as surpr i s i ng to t h e s t uden t as to t h e t eac h e r fo r fre quen t ly

I h ave known suc h s tuden ts to m ake a drawing as fa l s e as poss ibl e,

a nd t h e n ext day, after h av ing se r ious l y tr i ed to fo l l ow d i rec t i on s

and appl y tes t s , to make a d rawing w h i c h was q u i t e t ru e and sat i s

f actory .

T h e studen t must use tests i n h i s fi rs t wo rk,for i n no ot h er way can

h e l ea rn h ow d ifferen t appearan ces are from t h e fac ts,but h e mu st a im

to d i spen se wi t h t h e b l ur gl ass and ot h e r mec h an i ca l mean s as soon

VA L U E S A A'

Z) TH E I R TE S TS . 6 1

as poss ib l e . I n o rder to do t h i s h e s h oul d beg in by work ing by s ig h t

w i t h ou t t h e a i d of an y tests , and s h ou l d con t i n ue in t h i s way un t i l

h e t h i n ks h i s d raw ing i s cor rect,w h en h e s h ou ld app ly t h e te s ts .

W h en h e h a s wo rked long enoug h to ob ta i n by eye a lo ne resul ts

w h i c h t he t es t s do n ot c h ange , h e may con t i n ue h i s work w i t h out t h e

a i d of mec h an i c a l test s,depend in g part ly upon compari son s at a d i s

tan ce , bl u r r i ng t h e eyes , a nd t ipp ing t h e h e ad , but p r in c ip a l l y upon

h i s own fee l i ng and cu l t i va ted percep t ion s .

C H A PTE R I I I .

A I M S OF S T U D E N T A N D A R T I S T .

T H E S'

rU D E N'

r'

s A m .

T r u th t hefirst essent i a l . T h e fi rs t a im of t he a rt s tud ent s h ou ld

be to l e arn to see and represen t t ru ly n at u re ’s effec ts,fo r i f h e can

no t represen t t rul y t h e form , l ig h t an d s h ade , a nd co lo r effec ts of

n at ura l obj ec ts befo re h im , h e can not expec t to repre sen t t h e con

cept ions of h i s m ind . I deas of a l l fo rms , an im ate an d i n an imate ,mu s t be based upon t h e obj ec ts and l i fe fo und i n na tu re . A famous

pa in te r h as s a id t h a t i t t ake s a mas ter to rep res en t na t u re tru ly,and

certa i n ly t h i s i s a po in t beyond w h ic h f ew can expec t to go,for t h e

poet i c temperamen t n ecessa ry to idea l work i s ve ry ra re,and t h e

a rt s tuden t s h ou l d be sat i sfied to study se r ious ly un t i l h e i s ab le to

represen t n atu re t ruly and read i ly . M any studen ts a re dece ived and

l ed to wo rk fo r fa l se s tandard s by t h e oft-repeated stat emen t t h a t t h e

aim of a rt s h ould not be tru t h,but id eal i z a t ion ; bu t i t c an no t be

s h o w n t h at t h e h ig h es t art i s poss ib l e w h en one i s no t master of t h e

s impl e art of tru t h fu l repres en tat ion of n atu ra l obj ect s .

D ra w ing must be na t ura l .— To produce a grea t wo rk of art

,t h e

m ind mus t be perfec t ly free to express i ts e l f w i t h ou t t h oug h t of t h e

mater i a l s o r met h ods employed . T h e pa in t er can no t do t h i s i f h i s

a t ten t ion i s fre quen t l y d i ve rted to t h e d rawing,l ig h t an d s h ade , or

co lo r in vo lved , or to t h e man i pu l a t io n of“

h i s mate r i a l s.To work

f ree l y h e mus t give t h e d rawi ng, l ig h t an d s h ade , a nd co lo r read i l y ,and b e as l i t t l e consc ious of t h e h and l i ng o f t h e med i ums used as i s

t h e o ra tor of t h e separate words by w h i c h h e expresse s t h e emot ion s

of h i s m in d .

A rt simplifies na t u re.— S ome of n at u re

'

s effe c ts a re beyond t h e

power of pa i n t o r o t h e r med i ums , a nd i n o rde r to con vey a sug g es

t ion of t h em i t w i l l be neces sa ry to s impl i fy t h e subj ec t an d to om i t

d e tai l seen i n bot h t h e s trong l ig h t an d t h e deep s h ado w.

T h i s

A /J/S OE S T U D E A'

T A A ’I ) A li'

T/S T 63

s i mp l i fy i ng i s of t en adv i sab l e w h en not n ecess ary,as t h e a im of t h e

ar t i s t s h ou l d be to rep re sen t on l y w h at w i l l bes t express and i s e ssen

t i a l to t h e se n t i men t of t h e s ubj ec t .S implify ing t he most difficult a rt . Art s tuden ts h ave t h e idea

t h a t om i s s i on of d et a i l i s esse n t i a l to t h e bes t work,and so t h i n k

t h a t good work w i l l res u l t s imp ly from t h e om iss io n of deta i l . Th ey

do no t unders tan d t h a t t h e ar t i s t a l ways h a s t h e sen t imen t w h i c h h e

des i res to expre ss i n h i s m i nd,i nfl uenci ng every stroke t h a t h e makes

,

and t h a t i t i s t h i s effor t to secu re t h e idea l w h o l e w h i c h e l i m in a te s

a l l n o t e s sen t i a l to i t . T h e a rt s tuden t does no t unders tan d t h a t h e

ca n no t work as t h e a rt i s t does unt i l af te r s tudy i ng as l ong a s t h e

ar t i s t h as s tud i ed to obta i n t h e power to see,to t h i nk , and to work

art i s t i c a l l y ; t h a t i s , to see t h e beau ty and t h e poetry i n n ature and

to ove r look b l em is h e s o r deta i l s not es sen t i a l to t h e s en t imen t of t h e

s ubj ec t . T h i s be i ng t h e cas e,t h e begi nne r w h o t h i nks to imp rove

h i s work by om i t t i ng det a i l h as no gu i de and no end to accomp l i s h,

a nd h i s d raw i ngs a re con seq uen t l y w i t h ou t me ri t .

S implify ing follow s ex a ct dra w ing . T h e st uden t asks h ow

muc h de ta i l h e s h a l l rep res en t,and often i s i n c l in ed to fee l t h a t h e i s

i mposed upon i f requested to represen t a l l o r n earl y a l l t h a t h e sees .

B u t h e oug h t no t to fee l sa t i sfied un t i l h e can represen t t ru ly and

re ad i ly a l l t h a t h e see s . To do t h i s -requ i re s,i n t h e fi rs t p l ace

,t h e

capac i ty fo r s ee ing form and va l ue s t ru ly,and , secondl y, t h e power

to d raw . I ft h e s tuden t ca n s ee and d raw, i t i s s imp ly a qu es t ion of

p at i en t work to fin i s h t h e d raw ing . I f h e cann o t see o r draw t ru ly,

h e cert a i n l y n eeds t h e st udy w h i c h w i l l -en abl e h im to do t h i s , an d

w h ic h i s to be obtai n ed on ly by st udy ing deta i l unt i l i t c an be cor

rect ly rep resen ted . W h en t h e s tuden t i s ab l e to d ra w co rrect ly an d

read i ly,t h e n an d t h en on l y wi l l h e be abl e to express a rt i s t i cal l y

w h a teve r h e may fee l .

Fine percept ions due t o long st udy .— T h e power to fee l and to

see t h e fin e r effects o f fo rm an d co lo r c a n be acq u i red on ly by lo ng

con t i n ued h a rd work an d s tudy ; i t c an no t be impa rted by on e w h o

posses ses i t to on e w h o does n o t posses s i t . Con sequen tl y t h e re i s

n o easy road for t h e s t uden t w h o wou ld become an art i s t . A l l mus t

w i n w h a teve r s ucce ss t h ey a t ta i n a t t h e cos t of repeated fa i l ures an d

muc h h a rd work.

64 L I GH T A N D S H A D E .

S tuden ts a re too ap t to th i n k t h a t fame i s d ue to gen i us w h i c h i s

t h e b i rt h r ig h t of natu re ’s favor i tes . Geniu s h a s been defined a s t h e

capac i ty for h a rd work,and t h e a rt s tuden t wi l l do we l l to accep t

t h i s defin i t i on ; for t h o ug h we m us t adm i t t h a t a l l are born w i t h d if

ferent powers,we must a l so acknowl edge t h a t t h ose w h os e fame i n a rt

i s greates t began to work w h i l e young , an d kep t on drawi ng and pa i n t

i ng t i l l t h ey were i n t h e p r ime of l i fe before t h ey p roduced t h e i r bes t

wo rk . Th e ar t s t uden t w h o h opes to ac h i eve success w i t h ou t work

expe cts to do w h a t t h e mos t h ig h ly gi fted and mos t famous art i s ts

h ave no t been abl e to accomp l i s h .

Det a il subordina t e t oma ss. T h e s t uden t w h o i s to ld to repre

s en t d et a i l m us t remember t h a t n o par t s h ou ld be ex aggera ted so as

to i n te rfere wi t h t h e effe ct of t h e masses of l ig h t an d dark . Th es e

masses mus t be rep re s en ted i n t h e i r p roper re l at ion s even i f,i n order

to do t h i s, some of t h e fin er gradat ion s a re no t g i ven or are gi ven

l ess s trongly t h an t h ey are seen . For i ns tan ce,i n rep re sen t i ng a

w h i t e pol i s h ed sp h ere,t h e con t ras t between t h e gl i t t e r po i n t and t h e

parts n ear i t i s qu i te marked ; an d i f t h e Sp h ere i s i n a group i n

w h i c h t h e re i s a ve ry dark obj ec t,i t may not be poss ib l e to represen t

t h e gl i t te r po in t a s s t rongly as i t appea rs w i t h out ge t t i ng t h e mass of

t h e l ig h t o f t h e S p h e re so dark t h a t t h e dark obj ec t can no t be repre

s en ted i n i ts actu a l re la t i on s to t h e w h i te S p h e re . I n t h i s case i t i s

muc h bet te r t o express t h e re l a t i ons between t h e m asses of l ig h t an d

dark t ru ly and merel y sugges t t h e gl i t te r po in t on t h e sp h e re ; i ndeed

t h i s mu s t be don e i f t h e mass of t h e l ig h t o f t h e sp h e re i s to be l ig h t

enoug h to express t h e effec t o f t h e sp h e re i n con t ras t w i t h t h e dark

obj ec t .

T H E A R '

rrs'

r'

s A I M S .

The a r t ist a n impressionist . B y mean s of pa in t , c rayon , o r any

ot h er med i um we canno t reproduce a ny obj e ct , bu t can on l y producew h a t may c reate a more o r l ess sat i sfac to ry imp res s ion of i t

.Th e

art i s t s h oul d a lways a im to p rod uce t h e s t rongest effect of h i s s ub

jec t t h a t can be produced by t h e med ium c h osen ; h e mus t be ca l l ed

an fizz/rmS ziv zz'

S t, w h atever h i s s ty l e of pa i n t i ng o r met h ods o f wo rk .

As suc h h e may s eek to convey idea s of beau ty of fo rm o r of co lo r,

bu t h i s fi rs t a im must b e to p roduce t h e s t rongest impress ion of t h e

https://www.forgottenbooks.com/join

Fro. 2 2 . F rom a Photogra ph .

! H a lo

5 Ra tsmsorl .

k ‘

From a Color S e p ia S ke t ch .

N ay)

\Vi l l 5 . R ob inson.

F I G . 24. From a Penci l D ra w ing .

Wi l l S . R ob inson.

F ro. 2 5. From a P en a nd I nk D ra w ing .

68 L I GH T A N D S H A D E .

l e ss o r in accura te d rawing,but t h e best drawing of a l l t h e essen t i a l s .

I t d iffe rs from t rut h i n o rder to produce t h e mos t t r u t h fu l rep resen ta

t io n of t h e beau ty t h e a rt i s t s ees w i t h h i s d isc r im i n at i ng eyes , w h i c h

do n ot dwe l l upon t h e ugl y or commonp l ace featu res .

A t rue dra w ing of a nea r object unsa t isfa ctory . T h e s tuden t

may be ass is ted to unders tand t h a t t h e be s t d rawi ng i s d ue to fee l i ng,

a nd no t to a l i te ra l represen tat i on of w h at . t h e eye s ees by s tudying

p h otog rap h s of figures i n w h i c h h e w i l l of ten fin d unp l easan t effect s,

due to t h e pe rspec t i ve of a h and o r foot w h i c h i s too n ea r t h e camera

to seem in h armony wi t h t h e ot h er pa rts of t h e figure . As i l l u s t rated

i n C h ap . V I I of “Free-H and D raw ing,

” t h e p h otograp h i s l i ab l e to

d i s to rt ions due to t h e camera n o t be ing po in ted d i rec t ly a t t h e oh

jec t . B u t t h e unp l easan t p h otograp h may be t aken wi t h t h e camera

po in ted d i rec t ly a t t h e figure and t h us be n ear ly l ike t h e image of

t h e eye ; i n t h i s cas e i ts d i s to rt io n i s d ue p r i n c i pa l l y to t h e n earn esso f t h e c amera to t h e figure .

A rt ist dr a w s by feeling . I f an art i s t d raws j us t w h a t h e sees

w h en very n ea r a figure,t h e d rawing

resul t ing wi l l b e as unpl ea san t as t h e

d i s torted p h otograp h of a h orse,for

i t d i s regard s t h e fac t t h a t t h e a rt i st

s h ou l d not be neare r t h e figu re h e

draws t h an two o r t h re e t imes i ts

h e ig h t . I f t h e a rt i s t i s ob l ig ed to

d raw a figure w h en so n ear t o i t t h at

represen t in g t h e n earer pa rt s of t h e i r

actual v i sua l p ropo rt i on s wou ld make

t hese part s seem too l arge fo r t h e

fa rt h er parts , h e c h anges t h e p ropor

t ion s un t i l t h ey represen t t h ose h e

fee l s con cern ing t h e figure and not

t h e appa rent v i s u a l p r o p o r t i o n s .

Wh en d rawing out of doors h e represen ts t h e proport i on s h e fee ls and not t h ose of t h e p h otograp h

,

w h i c h often reduces a nd c h ang es impo rt ant l i ne s v e ry m uc h .

T h e perspect i ve of an obj ec t ve ry n ea r t h e ev e i s so l a rge t h at

w h en t h e eye i s not at t h e s ta t ion-po in t a l l t h e more d i s tan t obj ec ts

F I G . 2 50 . From Photogra p h .

~I I JI S OE S T UD E i VT A A'

L) A R T/S T . 69

s eem ve ry sma l l . T h e mos t d i s to rted p h otograp h w i l l g ive a pe rfec t

impress ion of n a tu re i f i t i s seen f rom t h e p rope r s ta t i on-po in t . Fold

a c ard two in c h es from on e edge,so t h a t a r ig h t angl e i s fo rmed .

T h e n p l a ce t h e ca rd above Fig. 2 50, so t h a t on e part i s p ara l l e l to

t h e page and two i n c h es f rom i t ; and tw i s t a s h a rp l ead pen c i l i n to

t h e card to p roduce a h o l e abou t%; of an i n c h i n d i ameter, and oppo

s i te t h e cen te r oft h e figure . W h en t h e p i c t ure i s seen wi t h t h e eye

s ta t io n ed a t t h i s h o l e , 2 i n c h es from t h e page,i t w i l l n o t appea r

d i sto r ted . I t i s n o t w i s e to rep resen t a figure o r o t h e r obj ec t w h i c h

i s q ui te n ear t h e eye w h en ot h e r figures a re fa r from i t,fo r t h e

correc t v i s u a l p roport ion s wi l l p roduce a drawing w h i c h makes t h e

d i s tan t figu res appear as i f dwarfs . Often a fe n ce re t reat s in to t h e

p i c tu re from a po in t n ear t h e art i s t,an d i f i t s n ea re r part s are rep

resen ted by t h e i r v i su a l p roport io ns,t h ey w i l l dwarf a l l o t h e r p arts of

t h e s ubj ec t . I n s uc h cases t h e a rt i s t s h ou l d c h ange t h e p roport ion s

of t h e n eare r parts so t h a t t heyf a’l r ig h t .

Va lues a re oft en ch a ng ed. I n t h e matter of val ues t h e a rt i s t

c h anges more freq uent l y t h an i n t h e fo rm . T h us i n a portra i t i t i s

impo rtan t t h a t t h e h ead b e t h e pr i nc ipa l f ea t ure,and to make i t s uc h

t h e l ig h t upon ot h e r p arts,t h e h and

,fo r in s t an ce

,i s o ften represen t ed

ve ry great ly s ubdued in ton e so t h a t i t does no t at t rac t t h e eye ; and

a l ways i n al l work t h e a rt i s t om i ts o r s ubord in ates feat u re s w h i c h

a re unp l eas an t o r n o t e s sen t i a l to t h e sen t imen t w h i c h t h e s ubj ec t

c re ates .

The st udent ca nnot imit a t e t he a rt ist .— Th e art s tuden t can no t

im i ta te t h e a r t i s t i n work w h i c h i s t h e resul t of fee l i ng on l y to be

ob ta i n ed afte r years o f s tudy,and t h es e exp l an at ion s h ave been

made i n o rder t h a t t h e s tuden t ma y be‘ con t ent t o st udy un t i l h e can

g i ve t ru ly j us t t h e form,v a l ues

,an d co lo r seen before h e at t empts

t h e mos t d ifficu l t p rob l em i n ar t .

CH A PTE R I V.

T E C H N I QU E A N D M E T H OD S .

TEC H N I QU E .

Depends on indiv idua li t y . L i t t l e wou l d be sa i d upon t h i s sub

jec t h e re i f i t we re no t fo r t h e fac t t h a t so muc h a tten t io n i s often

gi ven to i t t h a t i t i s n ecessa ry to s h ow t h a t m at ters of tec h n i que are

n ot of fi rs t import an ce . Tec h n i que o r h and l i ng mean s t h e way in

w h i c h any med i um is used to p roduce an effe ct , and to t h e a rt i st

i t i s of great i n teres t an d importan ce,fo r upon t h e way i n w h i c h t h e

med ium i s h and led d epends t h e effec t of t h e ske tc h an d t h e t ime

req u i red to p roduce i t . H and l i ng i s t h e resu l t of t empe ramen t and

educat i on,and i s very d iffe ren t w i t h d ifferen t peop l e . T he same

s ubj ec t may be represen ted by h a l f a do z en d iffe ren t a rt i s t s,and t h e

h an d l i ng of no two sketc h es be al ike . T h e t ime spen t upon t h em

may range from a few h ours to many days,and to t h e pub l i c the

resu l ts may not be very d ifferen t i n effect,or

,on t h e ot h er h and

,t h ey

may be so d i fferen t t h a t t h ey would h ard ly be accep ted as pa i n ted

from t h e same subj ect .

Depends on educa t ion. T h e ave rage person ra re ly c h anges t h e

h ab i t s and ide as w h i c h are h i s by b i rt h and educat ion . A lmost

eve ry on e h as perfect fa i t h i n t h e t h eor i es w h i c h h e h ol ds,and often

w i l l n ot adm i t t h a t t h e t h eo r i es of ot h ers a re wort h con s id e rat ion .

On t h e con t rary, h e tr i es to conve rt t h o se w h o d iffe r from h im ,and

somet imes h e refu ses to con s ider an op i n ion for w h i c h n o au t h o r i ty

i s found i n t h e sc h oo l to w h i c h h e be longs . I fh is mind quest ions

t h e correctn ess of any poin t dec i ded by h i s aut h o ri t i e s,h e i s ofte n too

t im id to l e t h i s doubt be known , and h e t h us sees an d t h i n ks t h roug h

o t h ers .

We often recogn i ze i n t h e work of an a rt i s t t h e tec h n iq ue of t h e

t eac h e r w i t h w h om h e h a s s tud i ed , and , i f we know h im ,fi nd t h a t h e

sees no mer i t outs i de t h e wo rk of h i s own sc h ool . T h e ab i l i ty to be

i ndependen t i s possessed by t h e few w h o l ead . N a tu ral l y t h e maj o r

7E CH A QU E'

A i Vl) M E TH OD S . 7I

i t y seek some on e to fo l low,or

,ra t h e r

,fo l low in st i nc t ive ly t h e l eade rs

w i t h w h o se t emperamen ts t h ey a re i n h armony . I n art t h i s c auses t h e

d iffe ren t sc h oo l s , and gives r i se to t h e confl i c t i ng ideas con cern i ng

ar t educat i on .

A rt judg ed by unimport a nt det a ils.— T h e pub l i c gene ra l l y i s

p l eased by de ta i l,t h e mo re d et a i l t h e be t te r

,and i t compares a l l work

w i t h t h a t of a M e i s son ie r o r w i t h a p h otograp h . S ome w h o h ave

st ud i ed h ave pass ed beyond t h e s t age of sea rc h for de t a i l,but even

to many of t h em ar t often con s i s ts p r i n c ip a l l y of t h e t ec h n ique of t h e

p i c t ure,w h i c h i s good i f S i m i l a r to t h a t of t h e a rt i s ts w h os e work

t h ey h ave c h os en as id e a l s .

A rt inst ruct ion influenced by fa ds. T h e i ns t ruc t ion i n s c h oo l s,

bot h e l emen tary and advan ced,i s too l arge ly i nfl uen ced by t he l ates t

t e c h n i ca l fad,w h i c h i s t h e tec h n iq ue of t h o se w h o i nfl uen ce art mat te rs

a t any part i cu l a r t ime . So met h od supe rsedes met h od t h ere i s no

accep ted stan dard,a nd ar t i n s t r uct i on often dea l s w i t h mat ters re l a t

i ng to a med i um and i t s h and l i ng,w h i l e t h e found at ion of d raw ing

an d va l ue s rece iv es far too l i t t l e at ten t ion .

T h i s i s espec i a l ly t rue of t h e work in t h e publ i c sc h ool s,w h ere i t

h a s often been n ecess ary to have ins t ruct ion in drawi ng given by

teac h e rs w h o h ave h ad l i t t l e Opportun i ty to s t udy d raw ing . Couse

quen t ly s tuden ts h ave somet imes been to l d t h at a l l met h ods excep t

on e ar e o ut of d ate an d h a rmfu l , a nd t h a t drawi ngs made i n o t h e r

ways are b ad . For in stan ce , i t h as been cl a imed t h at a c h a rcoa l

o r ot h e r l ig h t an d s h ade d rawing mus t be made w h o l ly w i t h t h e

po in t of t h e c h a rcoal o r ot h er p en c i l an d cons i s t of separate l i n es ,an d t h a t a d raw i ng in w h i c h t h e l i n es are a t al l b l ended to form

a t i n t i s no t good . T h e resul ts of s uc h teac h i ng are gene ral ly mos t

mec h an i ca l d rawi ngs,a l t h oug h t h ey are of ten bet te r t h an some of t h e

cop i e s prov ided to S h ow pub l i c s c h oo l pup i l s h ow to make l ig h t an d

s h ad e d raw ings .

L ess import a nt t h a n t rut h . Tec h n i que bea rs t h e s ame re l at io n

to d raw in g t h a t s ty l e does to t h e s t udy of t h e e l emen ts of l anguage .

T h erefo re t h e teac h e r of e l emen ta ry work s h ou ld not a l low h i s pup i l s

to con sider t e c h n i que a t a l l . T h e pup i l s h ou ld t h i nk s imp ly of t h e

tru t h of t h e d raw i ng,an d t h e t eac h e r of t h e way i n w h i c h t h e pup i l

ma y ob t a i n t h e t ru t h mos t qu i ck l y and eas i l y . T h e teac h er s h oul d

72 L l Gl /T A N !) S i l A D E .

remember t h a t eve ry med i um may be used i n many d iffe ren t ways,

and s h ou ld no t re st ri c t i n d iv id ua l i ty of express ion t h a t p roduces t rue

d rawings .

Th e a im of a d rawi ng i s to c reate an imp ress ion of n a ture , and any

drawing mus t be bad w h i c h,i n s t ead of do i ng t h i s , causes one to

t h in k at once of p aper and crayon o r w h atever o t h e r m ed i um may be

used,or of t h e way i n w h i c h i t i s us ed . T h i s i s a good tes t fo r poor

tec h n i que .

Wit h any med i um certa i n fa cts a re se l f-ev iden t , as , fo r i n stance,t h a t t h e su rface of t h e pape r mus t n o t be dest royed by eras ing ; but

s uc h essen t i al po in ts w i l l be d i scove red by any on e w h o s tud i es,and

w h a t i s mean t i s t h a t t h e sp i r i t of t h e d rawi ng s h ou ld a lways be

t h oug h t of fi rs t , and t h a t d iffic ul t me t h ods s h ou ld no t be s tud i ed bec ause t h ey are in tere s t i ng to some no ted person .

Concerns t he a dv a nced st udent . T h e ar t st uden t mus t be i n ter

est ed i n t ec h n ique,fo r i t i n vo lve s t h e mec h an i ca l po in ts w h i c h h e

mus t maste r t h oroug h ly befo re h e ca n express h imse l f f ree ly ; but

qu es t i on s of tec h n i que con cern p r in c ipa l l y advan ced studen ts . Th e

e l emen ta ry st uden t s h ou l d be taug h t t h a t t h e med i um mus t no t force

i ts e l f o r i ts h and l ing upon t h e eye t h a t t h ere must be i n any d raw

i ng a h a rmony of treatmen t t h roug h ou t i ts pa rts t h at i t w i l l no t do

to fin is h on e part perfect ly and smoot h ly an d h ave parts e qua l ly import an t imperfect l y and roug h ly fin is h ed .

T h e ab i l i ty and t ra in i n g of t h e s tuden t,an d h i s a im i n s tudying

,

mus t dec ide w h et h er an y med i um or par t i cu l a r way of u s ing i t s h ould

be c h osen but t h e e l emen tary teac h e r mus t con s id er s imp ly h ow h e

ca n most qu ickl y t ra i n h i s pup i l s to see and d raw correc t l y,and h e

wi l l d isca rd any met h od w h i c h m akes t h e pup i l t h in k of t h e po i nt

an d t h e k i n d of l i n e h e i s d raw ing i n s tead of t h e fo rm o r va l u e t h a t

s h ou l d be rep resented .

M a ny w a y s of using ev ery medium .— Th e p ic t u res and draw

i ngs of t h e bes t a rt i s ts s h ou l d be st ud i ed,fo r t h e s t uden t wi l l be

great l y h e l ped and i n sp i red by t h em . Grea t va riety of h an d l ing wi l l

be found i n t h em and a l so in t h ose by any on e a rt i s t,an d s tudy of

t h e tec h n iqu e of o t h ers w i l l soon conv i n ce on e t h a t t h e re a re ma nv

ways in w h i c h an y med i um may be used wi t h t h e best res u l ts,i f on e

wi t h a rt i st i c fee l i ng can d ra w wel l .

https://www.forgottenbooks.com/join

Fu z 26 . From P e nc i l S ket ch by R a p ha e l .

T E CI I A'

I OL'

E75

W h en a drawi ng s uc h as F ig . 2 6 i s to be carefu l l y s h aded,t h e

mass es of s h adow s h o uld be careful ly i nd i c ated and defin ed by l ig h t

t ouc h es un t i l a l l t h e contouf and s h adows are seen to be i n correc t

F I G . 2 7. F rom Penci l S t udy by L eona rdo da Vinci.

d raw ing . T h e s h adows may t h en be s t rengt h en ed,t h e accen ts added ,

an d t h e d rawin g fi n i s h ed as in F igs . 2 7 an d 59 . T h i s n atu ra l p ro cess

of maki ng a l ig h t an d S h ade d raw ing h as been fol l owed by t h e mos t

famous art i s ts of t h e past,an d i s an ar t i st i c me t h od of s t udying fo rm .

M an y of t h e o l d mast e rs ' d ra w in gs i l l us tra t e t h i s m et h od and al so

76 L I GH T A N D S H A D E .

t h e fac t t h at d rawings w i t h l ig h t and s h ade e ffec ts may be ve ry con

v ent iona l an d far from represen t i ng t ruly a l l t h e va l ue s of t h e sub

ject . T h ey are drawings ra t h e r t h an pa i n t i ngs ; t h a t i s , t h ey are

s t ud i e s of form more t h an of va l u es,and do not g ive e i t h e r t h e re l a

t i ve v al ues of t h e obj ect al on e o r i ts v a l ues i n compari son wi t h i t s

su rround ings . T h e word pa in t i ng,

” as h ere u sed , mean s a d rawing

i n w h i ch v al ue s and t h e effec t a re made of fi rs t importan ce ' and in

t h i s se nse a pain t i ng may be done in c h a rcoa l o r t h e pen ci l as we l l as

w i t h t h e brus h .

U se of ba ckground . A draw ing begun i n t h i s w a y may be car

r i ed as fa r as i s des i red ; i t m ay gi ve al l t h e val ues of t h e obj ect

a l on e,i t m ay sugg est a ba ckground , or i t may give t h e ful l va l ue s

of t h e obj ect and i t s backg round .

A dra w ing suc h as Fig . 2 7 may be re l i eved by a background

w h erever t h e obj ec t appears l ig h t e r t h an t h e background . Wit h ou t

be ing st rong enoug h to be a compl e t e st udy of va lues , s uc h a drawi ng

may be in teres t in g and t rue i n exp ress i ng t h e c h aracter of t h e subj ect

i t s sol id i ty a nd con s t ru ct io n .

L ig h t a nd s h ade d rawi ng s , ca rr i ed on as exp l a in ed above , give t h e

ve ry bes t p ract i ce i n d rawi ng , and w h ateve r t h e a im of t h e pup i l may

be,h e s h ou l d work i n t h i s way part o f t h e t ime

,l es s t ime be ing requ i red

to study t h e re l a t i ve va lues of t h e obj ec t or figure t h an i s requ i red to

represen t t h e obj ec t an d i t s su rround ings .

To st udy v a lues .— T h e bes t met h od of s t udy ing w h en va l ue s a re

fi rs t i n importan ce mus t n ow be con s ide red . I n t h i s case i t i s most

n ecessary to obta in t h e effec t of t h e masses , a nd t h e s tuden t s h ou ld

begin by suggest ing t h em . As q u i ckl y a s poss ibl e t h e e nt i re surface

of t h e pape r s h ould be covered so a s to l ig h t l y express t h e p r in c i pa l

l ig h ts and darks . W h en t h e ma sses of d ark h ave been s uggested.

t h e studen t S h oul d s tudy form an d con struc t ion un t i l t h e masses are

seen to be correc t ly ind i cated ; t h en t h ey s h ou ld be st rengt h ened .t h e i r

deta i l s broug h t ou t , and t h e st udy fi n i s h ed by ca refu l l y rep resen t i ng a l l

de ta i l s j us t as i n t h e case of t h e dra w ing t Fig . 2 7) w h i c h i s a s tudy of

form and loca l val ues i n s tead of a s t ud y of ful l va l ue s. B u t t h e s tu

den t mus t n o t forget t h e impress ion of l i g h t an d dark w h i c h t h e subj ec t

c reates . a nd w h i l e perfec t i ng t h e d ra w i n g . t h e g rea te s t pa i n s must betaken not to l o se t h e va lu e s .

TE C I /A'

I QU E A /Vl) r’

ll E TI I OU S . 77

D ra w ing a nd pa int ing . I n rea l i ty t h e s t uden t s h ou ld be wo rk ingI n on e of two d i re c t i on s w i t h ou t regard to t h e med i um wit h w h i c h h e

Fm . 2 8 . From Cha rcoa l S tudy by S ir j oshua Rev nolds .

makes t h e l ig h t an d s h ade d rawi ng. H e s h ou l d be s t udy ing d rawing

o r s t udy in g p a i n t i n g,

—us in g t h e word pa in t i ng i n t h e s en se t h a t

a rep res en tat ion of a l l t h e va l ues causes on e to t h i nk of t h e subj ect

L I GH T A A Y) S /l A /J E .

s imply and not of t h e med i um employed , and i n t h e sen se t h at a

d rawing or p i ctu re i s a w ork of a rt in p roport i on as i t h i d es t h e me

dium employed and i ts h and l i ng .

To obta i n t h e bes t resu l t s t h e a rt s tuden t must bot h d raw and

pa int, a nd, even w h i l e w orki ng w i t h b l ack an d w h i t e

,h e mus t use

bot h met h ods . Frequen t ly a r t s tud en ts s t udy d rawing a lon e,and

t h i s accoun ts fo r t h e genera l d i s regard of va l u e s . R ep resen t i ng a

cas t or a figure w i t h c rayon or pen c i l upon w h i te p ape r wi t h out t h e

us e of a backg round i s s tudy of d rawi ng, and ce rta i n ly can no t g i ve

t h e effec t of t h e ob j ec t,w h en t h e obj ec t i s l ig h t aga i n s t da rk i n s tead

of dark aga in s t l ig h t . I t i s no t su rp r i s i ng t h a t pup i l s w h ose work

h as been la rge ly o f t h i s n a ture s h ou ld no t be ab l e to see t h e va l ues

in a s impl e group of s t i l l l i fe .

T he d i ffe ren ce b etween a sketc h and a s t udy,an d t h a t be tween a

stu dy or d ra w i ng , and a pa i n t in g (u s ing pa in t i ng i n t h e sen se of a

d ra w i ng giv i ng v a l ues ), i s s h own by Figs . 2 6,2 7,and 2 8 .

Fig . 2 6 i s by R ap h ae l , and repres ent s t h e V i rgi n and c h i l d . I t

s h ows t h e fi rs t l i g h t touc h es a nd t h e s t ronger o n es by w h i c h t h e

form was g radual l y obt ain ed , a nd i l l us t ra tes t h e fac t t h a t t h e

a r t i s t works upon figure subj ects j u s t a s t h e s t uden t was d i rected

in Free-H and D rawi ng ” to beg in h i s s t udy of t h e geomet ri c

so l ids .

Fig. 2 7 i s f rom a penc i l s tudy by L eon ardo d a V in c i i t i s a carefu l

an d t rue d rawing as fa r as c h arac te r and mode l l i ng are conce rn ed , but

i t does no t give t h e val ue s , and i s not a pa int ing i n t h e sen se of repre~

sen t ing l ig h t a nd co lo r in add i t io n to t h e form .

Fig . 2 8 i s f rom a c h arcoa l s tudy by S ir Jos h ua R eynolds , and w h en

compared wi t h Fig . 2 7 i l lu s t r ates t h e d ifferen ce between a st udy of

fo rm s imp ly , o r a d rawi ng , a nd a s tudy of va l ues w h i c h may b e ca l l ed

a pa in t i ng . A l t h oug h don e w i t h c h a rcoa l , t h i s d raw i ng gi ve s at fi rst

gl an ce t h e e ffec t of na tu re as regards l i g h t,co lo r

,a nd form

,w h i c h i t

s h oul d be t h e a im of t h e pa in ter to rep res en t an d i t i s muc h more

sat i sfac to ry as a pa in t i ng t h an many co l o red pa in t i ngs w h i c h are not

t rue i n va l ues .

W h en t h e s tuden t i s a t work h e s h ou ld a lways h ave i n m ind t h e

mak ing of a sketc h s uc h as Fig . 2 6 , or a study s uc h as F ig . 2 7,or a

pai n t ing su c h a s Fig . 2 8 , b u t h e mus t not fo rget w h i l e w ork ing for

A A'

L) JI E TH OD S . 79

t on e and val ue s t h a t F ig . 2 8 i s as ca refu l and as t rue i n d raw ing as

F ig . 2 7.

P a int ing met hod a dv isa ble. T h e publ i c sc h oo l p up i l s h ou l d begi n

w i t h p en c i l o ut l in e from t h i s h e s h ou l d advan ce to l ig h t an d s h ade

wo rk wi t h t h e pen c i l , w h i c h m ay at fi r s t represen t obj ects w i t h out a

backgroun d ; bu t i n t h e h ig h sc h oo l h e s h ou ld s tudy va lues , and

al t h o ug h p up i l s s tudy d raw ing wi t h ou t i n tend ing to make a Spec i a l ty

o f ar t , t h ey s h ou l d be taug h t to l ook a t n ature a rt i s t i ca l ly so as to

re a l i z e t h e effec ts of l ig h t an d dark and co lo r w h i c h s h e presen ts .

To do t h i s pup i l s must s tudy v al ues,a nd n ear ly al l l ig h t and s h ade

st udy i n h ig h and a l l e l emen tary sc h oo l s s h ou l d repre sen t t h e obj ec t

a n d i ts s urround ings in t h e i r t r ue re l a t ions of l ig h t and dark .

Time-sket ches. S t uden t s so frequen t ly fo rget t h e subj ec t t h ey

a re s t udyi ng,w h i l e t h i n k i ng of t h e med i um or of un importan t de ta i l s

,

t h a t t ime-sketc h e s are n ecessary i f rap id progress i s to be made ;and , regard l ess oft h e m ed ium used , st uden t s of l ig h t and s h ad e

s h ou ld be ob l iged f requen t ly to make t ime-sketc h es i n so s h o r t a t ime

t h a t t h ey are compe l l ed to work i n t h e r ig h t way . I ft h e t ime of t h e

fi rs t ske tc h es i s l im i ted to a few m in u tes eac h , pupi l s a re ob l iged to

l ook for t h e es s en t ia l s,and to suggest t h em by l ig h t touc h es . I f

t h ey mec h an i ca l l y t ry to p rod uce fin i s h ed resu l ts represen t i ng deta i l s

t h e i r d rawi ngs are too i n comp le te and poo r to s at i sfy t h emselves .

S tuden t s w h o wo rk mec h an i ca l l y and study deta i l s wi l l , on com

pari ng t h e i r work w i t h t h e d rawi ngs of s tud en ts w h o h ave worked

p rop er l y,gen er a l l y t ry to see effects

,a nd to suggest t h em l ig h t ly

an d qu i ck l y .

T h e fi rs t t ime-ske tc h es i n l ig h t an d s h ade may do l i t t l e more t h an

s ugges t t h e p r i n c i pa l masse s of l ig h t an d d ark . S tuden t s s h ou ld

unders tan d,w h i l e maki ng t h em ,

t h a t t h e i r a im mus t be to repres en t

w h at i s s een as fa r as t h i s i s poss ib l e in t h e t ime , and to do t h i s by

t e l l i ng t h e t r u t h a lways,an d n ever a l low i ng any par t of t h e d rawi ng

to be d i ffe ren t i n effec t from t h e part i t rep resen ts . S tuden ts often

work c are l es s l y,know ing t h a t part s of t h e d rawi ng are d iffe ren t from

t h e p art s t h ey represen t,bu t i n ten d i ng to c h ange t h em l a te r on . S uc h

work p rod uces d rawi ngs w h i c h a re dark w h en t h ey s h ou ld be l ig h t,

an d w h i c h are ve ry un sat i s fac to ry and d i fferen t f rom w h a t t h e s tuden ts

kn ow t h ey oug h t to be .

80 L /o‘

l / T A N D S H A D E .

A studen t s h ou l d not begi n to make a d rawi ng un t i l h e h as s t ud i ed

t h e sub j ect and d e te rm in ed j u s t w h at h e h as to do,i n o rde r to p l ace

n o darks upon t h e d rawing excep t to sugges t correspond i ng darks of

t h e obj ect , and i n o rde r to avo i d repre sen t ing un impor tan t d eta i l s

e i t h e r of l ig h t o r o f dark before t h e masses a re correc t l y expressed .

Th e sp i ri t an d t h e effect are t h e impo rt an t t h ings , an d t h ese s h ou ld

be t h oug h t of fi rs t an d l a s t ; i f t h i s i s not don e t h e d rawing must

a l w ays be mec h an i ca l . T h e art i s t i c me t h od i s t h a t w h i c h a t fi rs t

l ig h t ly sugges ts t h e importan t fea t u re s,and t h en , as thev are found

to be correc t,s t rengt h en s t h em an d accen ts t h e d ra w i ng, n eve r a l l ow

i ng i t to rema in fa l se i n effe c t o r va lu es , so t h a t w h en eve r t h e s tudent

s tops work t h e d rawi ng i s s at i sfacto ry and t rue a s fa r as i t h a s been

carr i ed .

Unsa t isfa ctory methods. S tud en t s a re of ten a l l o w ed to draw

an obj ect o r a group of obj ect s by s tudying and fi n i s h ing i ts parts

i n deta i l . As expl a in ed i n Free-h and D raw ing.

” t h i s m et h od is

ve ry un sat i sfacto ry , fo r no on e h as an eye perfec t enoug h t o obta in

masses a nd proport ion s correct l y by s imp ly con s i der i ng t h e deta i l s

of t h e masse s .

Anot h e r m e t h od i s t h at of b l ock ing out , w h i c h con s id e rs c urve s

as composed of stra ig h t l i n es , and curved su rfaces as composed of

many p lan e su rfaces . Th e st ud en t w i l l be ass i s ted i n maki ng a cor

rec t d ra w i n g i f , after h av i ng suggested t h e form ,h e s t ud i es i t i n detai l

to d i scove r an y tenden cy to angu la r i ty in parts w h i c h a t fi rst glance

seem of regul a r curva tu re . B u t h e w i l l n o t be ass i s t ed in s t udy ing

n atu re by any met h od w h i c h makes h i s d raw ings become fa l se i n any

p art i cu l a r, o r become mere i l l us t rat i on s of met h ods o f work ing or

teac h ing .

An i l l us t ra t ion of t h e b l ock ing-ou t met h od i s g i ven by Fig . 29.

T h i s d ra w i ng s h ow s h ow s tuden ts somet imes rep re sen t t h e masses

of l ig h t a nd da rk by two tones w i t h ou t gradat i on ,and oft en separated

by arb i t ra ry s t ra ig h t l in e s , w h en i n n at ure t h e grada t i on from l ig h t

to s h adow i s qu i te g radua l and not a t a ll angu l a r . Freq uen t ly manyh ou rs a re sp en t upon d rawi ng s w h i c h a re n o t ca r ri ed b eyond t h i sconven t iona l stage . S uc h w ork i s i n t ended to ca use t he. s t uden t torea l i ze t h a t t h e effec t of t h e obj ec t i s d ue to opposed mass e s of l ig h t

and s h adow w h i c h a re b u t s l ig h t l y va r i ed i n ton e and a re o f t en s h a rp l y

https://www.forgottenbooks.com/join

8 2 [I O/I T A A'

D S l /A /J E .

and cop ies w h i c h are even les s sa t i sfactory t h an F ig. 30 are of ten

g iven to publ i c sc h oo l p up i l s i n o rde r. to s h ow t h em h ow to m ake

l ig h t an d s h ade d raw i ngs .

T he or ig i n of t h i s me t h od i s probably found i n t h e fac t t h a t t h e

use of t h e s t ump tends to c a r e l ess work on t h e part of t h e pup i l , an d

al so in t h e fact t h at sepa rat e l i n e s can be reproduced by c h eap pro

cesses . B u t as of ten t aug h t , i t i l l us tra te s t h e absu rd i ty of att empt ing

to formul ate ru l es by w h i c h l i g h t an d s h ade drawings may be made .

Center lines . A common way of b egin n i ng i s by d ra w i ng a cente r

l i ne about w h i c h pa rt s may be symmet r ica l l y p l aced . T h us i n

Fig . 8 t h e axes o f t he cone and cy l i n der wou ld be d rawn before

an y par ts of t h e con tou rs,and i n figure d rawing a d iagrammat ic skele

ton m ig h t be sketc h ed b y mean s of l in es rep resen t i ng t h e cen te r l in es

of t h e l imbs and t h e body as in Fig . 3 1 , o r a var i a t ion of Fig . 3 1 mig h t

be made by sug g est i ng t h e mass of t h e r ibs and t h a t of t h e pe lv i s .

C en te r l in e s a re not usua l l y seen ,and t h ose men t ion ed for t h e group ,

Fig . 8 , and t h ose of F ig . 3 1 , serve s imp ly to s uggest t h e d i rect ion s of

t h e masses . T he s tuden t w h o draws f rom n ature w i l l

obta in t h e re su l t s g i ven by t h e cen t e r l in es muc h

more sa t isfa ctorilv by s ugg es t i ng, i n s t ead of cen te r

l i n es w h i c h are i n v i s ibl e a nd w h i c h a re o fte n d ifficu l t

to imag i n e , t h e p r in c i pa l contou rs of t h e p arts ; t h ese

are v i s ibl e . no ac t of t h e imagi nat i on i s requ i red to

det erm ine t h em , and t h e l ig h t l i n e s w h i c h s uggest

t h em are an a id in t h e comp le t ion of t h e d rawing a nd

often wi l l rema in i n t h e fin a l effect , w h i l e c en te r l i n es .i f d rawn , must b e e rased .

Fm“ 3" Wh en t h e s tuden t does not d raw from n at ure.cen ter

l i n es w i l l b e of g rea t ass i st an ce , and t h e s t uden t i s adv i sed to d ra w

t h em . M uc h p leasu re and p rofi t w i l l b e der i ved from t h e d es ign ing

of figu re compos i t i on s in w h i c h t h e figures a re rep resen t ed a s in Fig .

3 1 , or by var i at ion s of t h i s ske tc h bu t w h en i t i s n o t n ecessary to

d epend upon t h e memory . unnecessa ry l ines s h ou l d not be d rawn .

and t h e prog ress of t h e d ra w i ng s h ou l d depend no t so muc h upon

an alys i s of t h e const ruct i on as upon a f eel i ng of t h e fo rm w h ic h f rom

t h e fi rs t l ead s to t h e express i on of i ts e ssen t ia l s b v mean s of t h e most

important feat ures ac t ua l ly seen .

T E CH A'

I Q015 A N D A I E TH OD S . 8 3

A ut hori t y for a ll met hods . I t i s poss ib l e tofind noted a u thori

t i es fo r a l most any v i ew of an y ques t i on,a nd i n a rt t h e words o r

work of m en w h o are or h ave been prom i nen t a re used in suppor t of

met h ods opposed to t h ose of t h i s book . T h e s t udy of val ues,fo r

i n st an ce , h as been negl ected i n many of t h e sc h oo l s of t h i s coun t ry

and E urope , an d i s given l i t t l e a t ten t ion even now in some qu i t e

noted on es . I n some sc h oo l s pup i l s are a l lowed to fin is h one pa r t

of a d rawi ng before o t h e r part s are even sugges ted . T h us i n a figure we fin d t h em pa int i ng t h e fi rs t day t h e h ead

,t h e second t h e

s h o ul ders,a nd so on t i l l o n t h e l a s t day of t h e pose t h ey ge t to t h e

fee t o r pos s ib l y no t so fa r as t h i s,t h e background be i ng carr ied

a long w i t h t h e figure . B y suc h work i t i s a lmost imposs ib l e to oh

t a i n a h a rmon io us w h o le,for t h e effec t w h i c h a ny par t w i l l p roduce

can no t be dete rm in ed un t i l i t c an be compared wi t h a l l t h e ot h e r

par ts,and un t i l t h e w h o l e can vas i s covered so as to gi ve t h e des i red

effec t . T h i s pr i n c ip l e app l i e s as muc h to an out l in e or a l ig h t an d

s h ade drawi ng as to a co lo r s t udy . B u t even i f t h e eye were tr a i ned

to work correc t ly unde r suc h d ifficu l t cond i t ion s , i t wou ld be imposs ib l e

to obt a in h armony by correc t ly drawing w h at i s befo re t h e eye a t

a’z

'

fiéreu t t imes , fo r t h e l ig h t and s h ade and co l or effect s of t h e s ubj ec ta re con t i n ua l l y c h angi ng . E ven i n t h e s tud io t h e effect s due to sun

s h i n e an d a gray day are en t i re ly d iffe ren t . Not on ly t h i s, b ut du ring

d iffe ren t h ou rs of t h e s ame day t h e effect s of co lor and l ig h t and

s h ad e are d iffe ren t,and i t w i l l b e imposs ib l e to produce a sat i sfac tory

w h o l e by s imp ly represen t i ng w h at i s s een w h en t h e pup i l works

upon and fin i s h es t h e d iffe ren t p arts .

E ffect must be chosen. Th e sen t imen t of t h e d rawing an d i t s

effec ts of l ig h t a nd s h ade and co l or m us t be s el ected by t h e a rt i s t

f rom t h e d iffe ren t c h angeab l e effe ct s w h i c h t h e s ubj ect p resen ts , and

t h en h e mus t wo rk a l l t h e t ime w i t h t h ese des i red effects i n m ind .

To do t h i s h e mus t suggest as qu i ck l y as poss ib l e t h e d es i red effec t

w h en i t i s befo re h im,and i n al l l a t er work h e must be carefu l no t to

lose o r i n j u re i t . I t i s most impor tan t t h a t bo t h t h e s tuden t and t h e

art i s t work for t h e sp i r i t an d t h e effec t of t h e w h o l e un t i l i t i s correct ly

s ugges ted ; t h e n t h e d eta i l m ay be s tud i ed and t h e part s fin is h ed .

P ublic idea ls oft en fa lse. Not on ly i n va l ues but i n out l i n e

work i s aut h or i ty to b e found for i n a rt i s t i c met h od s . T h us we are

8 4 L I GH T A N D

to l d t h a t a d raw i ng s h ou ld be fin i s h ed b i t by b i t w i t h fi rm , dec id ed ,and exact fi ne l i nes

,or pe r h aps wi t h sof t gray l ines d rawn a t one

tou c h . I t i s n ot s t range t h e p ub l i c h as come to regard t h e pe rfect

c i rc l e d rawn at fi rs t touc h by Giotto as t h e symbo l of t h e best a rt

work,and to be l i eve t h at pe rfec t io n at fi rs t touc h i s not on ly

d es i rab le,bu t poss ib l e to obta i n . We are tol d t h a t t h e re mus t be

no va ri e ty of l i n e i n an ou t l ine d raw ing,and t h a t i n l ig h t an d s h ade

an exac t an d p erfec t out l i n e s h ou ld be secu red , and t h en t h e l ig h t

an d s h ade p l aced w i t h i n i t . I f i n s tead of fo l lowi ng t h e advi ce of

any on e au t h or,art i s t

,or teac h e r

,eac h pe rson s h ou l d s tudy for h im

se l f a l l t h e po i n ts i n vo l ved,t h e adop t ion of in a r ti s t i c met h ods wou ld

be far l ess gen e ra l . T h ose w h o st udy fo r t h emse l ve s wi l l b e l ed to

ask w h y begin i n l ig h t and s h ade w o rk wi t h an out l i n e w h i c h of ten

repres ents con tours t h a t a re lo s t i n t h e s h ado w , an d w h i c h can no

more express roundness t h an t h e c i rc l e sugg ests t h e l ig h t and s h ade

upon t he sp h e re .

C H A PTE R V .

CH A R COA L D R A WI N G .

T H E S TU D IO A N D F I TT I NGS .

The st udio. T h e s tud io s h ou ld be a room not l es s t h an 2 0 f ee t

s quare one t h a t i s 2 0 fee t w i d e and 30 feet long, or l a rge r , i s d es i r

ab l e . I t s h ou l d h ave a l a rge w in dow fac ing, ifposs ibl e , s l ig h t l y e as t

of no rt h t h i s d i rect i on s h ould be de term in ed by t h e Nort h S ta r, as

t h e compass po i n ts d ue nor t h i n ve ry few pl aces . T h e s tud io s h ou ld

be a t t h e top of t h e bu i l d ing in order to avo id refl ect ion s f rom ot h e r

b u i ld in gs,and i t s wa l l s s h ou l d be very h ig h . R ooms are se l dom

h ig h eno ug h,for s t ud ios

,an d i t i s c ustomary to ext end t h e i r h e ig h t

by mean s of a sky l ig h t w h i c h faces nort h an d h as a w i ndow 6 or 8

fee t h ig h above t h e ce i l i ng.

S t udio ligh t .— T h e l engt h of t h e s tud io s h ou ld exten d east an d

wes t so t h a t t h e pr i n c ip al w i ndow may face n ort h an d be i n t h e

cen te r of a l ong s ide . T h e p r i n c ipa l wi ndow s h ou ld be abou t I O

fee t w ide,or w ider

,and ex tend from near t h e floo r to t h e ce i l i ng,

w h ere i t s h o ul d co n n ec t w i t h t h a t of t h e skyl ig h t w h ose angl e s h ou l d

be abou t T h e roof of t h e skyl ig h t s h ou l d be in c l i ned and mee t

t h e ce i l i ng a t abo ut t h e cen t er of t h e room , o r far t h e r back i f t h e

ce i l i ng i s low . B y means of t h e skyl ig h t t h e necessary h e ig h t m ay

be g iven to any p art of a room w h i c h i s to be con verted i n to a s t ud io .

T h ere s h o u ld b e no mul l i on s or l a rge framework to d i v id e t h e w in dow ,

w h i c h s h ou l d ext en d unbroken f rom t h e top of t h e skyl ig h t n e ar ly to

t h e floo r.

A room wi t h s imp ly a nort h w i ndow i s ve ry c h ee rl e ss . I fposs ib l e

an ot h e r w i ndow s h ou l d be so p l a ced t h at s un l ig h t may en ter t h e

room ; i t s h ou l d be so cu rta i n ed t h a t t h e l ig h t may be comp l e te ly

exc l uded a t w i l l .

Curt a ins.— T h e p r i n c ipa l w in dow s h o uld be p rov ided w i t h two

o r t h re e cu r ta i n s a r ranged to d raw up f rom t h e bo t tom , and ano t h e r

se t s h ou l d be s ec ured a t t h e top to d raw downward . Th u s l ig h t o f

any amoun t may be ob t a in ed from var ious d i rec t i on s .

8 6 L A A'

I ) S H A D E .

I t i s of t e n des i rab l e , espec i a l ly w h en l ig h t refl ects from ot h er

bu i ld i ngs , to softe n t h e l ig h t by a screen made of c h ee se c lo t h o r

o t h er t h i n w h i t e mate r i a l,w h i c h may be a rranged i n t h e fo rm of a

cu r ta i n to ro l l o r to s l i d e upon w i res . A cu rt a in of t h i s ki n d wi l l

often give a fa i r l ig h t w h en p l aced at a sou t h w indow. bu t t h e nor t h

w indow gi ves t h e on ly l ig h t s u i t ab le fo r a rt i s ts o r s tuden ts .

S chool st udios. S uc h a s t ud io i s s u i t ab l e fo r t h e art i s t and a l so

fo r a rt c l asses,and w h en sc h oo l bu i ld i ngs a re des igned , suc h spec ia l

rooms s h ould be pl ann ed for t h e d rawing-rooms . W h en t h ey are to

be used for s t i l l-l i fe work a s h e l f abou t 1 5 i n c h es o r 2 0 i n c h e s w ide

may be secu red to t h e eas t wa l l abou t 2 2 i nc h e s f rom t h e floor,or

s h e lves may b e supported upon movab l e screen s . P up i l s s h ou ld

work most of t h e t ime wi t h t h e l ig h t coming from above and a t t h e

l eft, but suc h a room w i l l a l l o w an y arrangement

of t h e group wi t h re fe ren ce to t h e l ig h t .

T h e st i l l- l i fe st ud i o s h ou ld h av e a t ab l e fo r eac h

s tuden t ; i t s top s h ou ld be abou t 1 0 i n c h es w ide

and 30 i n c h es long , and i t s h ou l d h ave a s h e l f or

d ra w e r for mate ri al s .

An ease l s im i l ar to Fig . 3 2 i s p refe rabl e to

t h e tab l e and no more expen s i ve . T h e p i ece A

s h ou ld be but a few in c h es w ide. and s h ou ld sup

por t t h e s h e l f w h i c h s h ou l d be ad j us tab le ve rt i ca l ly

and suppor ted at any angl e by t h e a rm B . Th is ease l w i l l requ i re

l es s floor space t h an a tabl e . and h a s t h e adva n tage of no t ex te nd ing

F I G . 33 . A S ide few .

as ot h e r ease l s do above t h e d ra w i ng and so preven t i ng s tud en ts

f rom see i ng t h e g roup .

M A'

rE R t .-\ L s FOR C H ARCOA L D R AWI NG .

P a per . P aper for c h a rcoa l work mus t be of good qua l i ty and

roug h in textu re . Th e L al an n e and M i c h e l e t p a pers a re sat i s fac to rya nd cos t s i x cen t s pe r s h eet . T h e Coque l i n paper i s h eav i er a nd

g eneral ly most sat i sfac to ry ; i t cos t s e ig h t c en t s pe r s h ee t . 1 (‘ h eape r

papers can be ob ta i n ed bu t a re not advi s abl e,as e ven t h e bes t

grad es

1 T h ese a nd fo l lo w ing reta il prices a re g i v en t o s h o w t h e comparat iv e expenseoft h e materials . T he prices w i l l . ofcourse, fl uctuate .

Cl /A A’

COA L D A’A WI N G . 8 7

n amed are ofte n so un even i n qua l i ty t h at un ifo rm tones c anno t be

ob t a i n ed . Al l t h ese pape rs h ave wate rmarks i n t h e form of s tra ig h t

p ara l l e l l i n e s about an in c h apart,w h i c h are seen most p l a in ly w h en

t h e s h eet s are h e l d toward t h e l ig h t . W h en t h us h e ld t h e wate r

marked n a me of t h e p aper i s seen,and t h e s i d e f rom w h i c h i t i s re ad

i s t h e r ig h t s id e of t h e paper an d s h ou ld a lways be used . Th e s h ee ts

a re of un i fo rm s i z e abou t 1 9 i n c h es by 2 5 i n c h es . Wh a tma n’

s co ld

pre ssed paper may be used,bu t no p aper i s as s at i sfactory as t h e

regu l ar c h arcoa l pape rs n amed .

Ch a rcoa l . T h ere a re many grades of c h arcoa l of w h i c h on ly t h e

best s h ou l d be u sed , for w i t h c h eap grades , w h i c h are often gr i t ty or

b rown,good resu l t s can not be obt ai n ed . Good c h arcoal s h ould giv e

a pe rfect ly b l ack,smoot h t i n t w h en rubbed in to t h e p ape r wi t h t h e

finger . E ve ry s t ick s h ou l d be t r ied upon t h e edge of t h e paper i n

t h i s way before i t i s u sed,and i f i t i s gri tty or un even i n texture or

g i ve s a brown tone,i t s h oul d be broken and t h rown a w ay . W h en

t h e s t i cks con s is t of rou nd tw igs t h e cen t ra l par t of a s t i ck i s often

soft an d brown w h i l e t h e outer p arts a re b l ack care mus t be taken

to avo id us ing s t i cks not b l ack t h roug h out .

T h e c h a rcoa l made‘

i n Fran ce by Con té of sp l i t tw igs and ca l l ed

Fw a z’

m i s v ery sa t i sfactory . I t i s packed i n boxes h ol d ing

50 s t i cks an d cost s abo ut 45 cen ts a box .

E x tra h ard c h arcoal in boxes h o ld i ng 50 s t i cks , cos t i ng abou t 55c en ts pe r box and l abe l l ed Fzzmms Vénet/m E x fm D ur , i s prepared

by B e rv i l l e . T h e s t uden t w i l l do wel l to obta i n a box of t h i s grade a nd ,i f n ecessa ry

,a few st i cks of a softer grade suc h as t h a t fi rs t n amed .

B oa rds.T h e s urfa ce of a d rawing board i s unyi e l d in g an d

un s at i sfactory to wo rk upon for t h e gra i n of t h e wood and al l

i rregu l a r i t i es of i ts su rface i nden t t h e paper and in j ure t h e drawing .

I n s tead of a d rawi ng board , a can vas t h e s i z e of t h e s h eet of c h arcoa l

p aper on w h i c h t h e d rawi ng i s made s h oul d be us ed , and t h e pape r

secured upon i t by t h umb tacks . I t s y i e ld i ng su rface wi l l h e l p

great ly to produce an art i s t i c d raw ing .

A portfo l i o may a l so be used as a board , an d t h e paper s ec ured to

i t by t h umb c l ip s,but i t i s n o t as sat i s fac tory as t h e canv as .

P ape r may be s t retc h e d upon cl ot h sec u red to a s t retc h e r or i t ma ybe s t re tc h ed upon t h e frame w i t h ou t t h e c l ot h . W h en t h e d rawing

8 8 [JG/I T A N D S H A D E .

i s comple ted i t i s t h en ready to be framed . I t i s bes t t h a t pape r upon

a st retc h e r s h ou l d h ave t h e protec t ion of t h e c lo t h or ca nvas backi ng.

Cra yons. C rayon s are somet imes used i n fin i s h i ng a c h a rcoa l

d rawi ng,as t h ey are h arde r and more eas i l y kept s h a rp . Th ey give

a deepe r b l ack t h an c h a rcoa l , but i t i s o f a d i ffe ren t n at u re , and t h e

s tuden t i s adv i sed to work w h o l ly wi t h t h e c h a rcoa l or w h o l ly w i t h

t h e crayon .

Con te’

crayon s i n p enc i l fo rm cos t e ig h t cen ts e ac h , and come in

fi ve n umbers,of w h i c h No . 2 i s su i t ab l e fo r mos t wo rk .

Con te’

c rayon s i n st i ck fo rm abou t 2 i n c h es l ong cost 1 8 cen ts a

doz en and come i n t h re e grades .

As crayon can no t be read i l y c h ang ed o r e rased . i t i s t h e refore a

med i um for t h e a rt i s t , and no t s u i tab l e fo r t h e s tuden t .

Cra y on sa uce. Con te’

c rayon sauce comes i n ro l l s abou t }4

i n c h i n d iame ter and 2 i n c h es long, cost i ng s i x cen t s e ac h . Th i s

sauce i s app l i ed wi t h a s tump , an d al t h oug h somet imes used i n con

nect ion wi t h c h a rcoa l , t h e re i s t h e same obj ect ion to i t s u se as to t h e

c rayon penc i l .

S t umps. A c h a rcoal d rawing may be made w h o l ly w i t h t h e po in t

of t h e c h a rcoa l an d wi t h out an y bl end ing or rubb in g of t h e ton es or

i t may con s i s t of ton es p roduced by rubbi ng t h e c h a rcoa l i n to t h e

pape r w i t h a s tump . B o t h me t h ods of work h ave been an d are

taug h t , and t h ere are teac h e rs w h o t h i nk t h a t a d raw ing can be made

i n on l y on e of t h ese ways .

T h e obj ect i on to t h e use of t h e s tump i s t h a t s tuden ts seem to

t h i nk t h e s tump w i l l make t h e d raw i ng i f i t i s app l i ed v igorous l y to

t h e pape r ; and as a resu l t t h e su rface of t h e pape r i s qu ickly des

t royed by t h e s tump so t h a t no amoun t of w ork can p roduce a sat i s

fac to ry d rawi ng . t h e po in t o f t h e c h a rcoa l i s used w i t h out

t h e s t ump , t h e s tuden t i s more l ike l y to t h i nk of fo rm . B ut to sec ure

t h e bes t d rawings i t i s no t n ecessa ry t h a t a drawing be made w h o l ly

by use of t h e po i n t , and t h e bes t met h od i s t h a t w h i c h confin es t h e

pupi l to n o on e way of worki ng. but a l l ows h im to s ecu re effect s i n

t h e read i es t ways .

P a per st umps.— T h ese a re made of gray paper in many s i zes

,

a nd cos t from 5 cen ts to 1 5 cen ts eac h ; t h ey are in ten ded to be

used for produc ing even ton es by bl end i ng t h e ton es g i ve n bv t h e

https://www.forgottenbooks.com/join

90 L I GH T A N D S l/A D E .

as i t w i l l q u i ck ly remove t h e c h arcoa l f rom t h e p ape r wi thout t h e

s l ig h te s t i n j ury to i ts su rface . I t may be ro l l ed i n to po int ed st ump

l ike p i eces,by w h i c h sma l l l i g h ts may be taken ou t , a nd i t i s p refer

ab l e to a s h a rp-po in t ed e ra se r becau se i t does not i n dent t h e paper

a nd because i t p roduces a l ig h t w h i c h i s not too keen -edged for

art i st i c d ra w ings .

R a pping . Any dark may be l ig h ten ed by rapp ing t h e p ape r wit h

a penc i l o r o t h e r h a rd obj ec t so t h a t t h e part i c l es of c h a rcoa l are set

i n moti on and caused to fa l l f rom t h e paper .

F a ber ’s pencil er a ser . T h i s e r ase r i s made i n t h e form of a l ead

penc i l,and i s t h e bes t fo rm of rubbe r e rase r fo r l ig h t and s h ade

work,as t h e wood keep s t h e rubber f rom becom i ng so i led and

makes i t con ven i en t to d raw w i t h . I f t h e pape r i s worked upon so

l ong t h a t bread w i l l not remove t h e d ark from an y part w h ic h should

b e l ig h t,i t may be necessary to use a rubber pen c i l e ra se r .

N ig riv orine . T h i s i s a s h a rp-poi n ted rubber in k-e rase r ; by

g i v ing i t a t h i n wedge-shaped po i n t i t may be u sed to p roduce a

narrow l ig h t w h en t h e pape r h a s been worked upon so long t h a t t h e

b read wi l l n ot l ig h t en i t s uffi c ien t l y . I t s h ou l d be used wi t h care so

as n o t to i n den t t h e pape r,an d on ly w h e n t h e b read o r kneaded

e raser w i l l not an s w e r .

T h e art i s t m ay somet imes use i n p l ace of t h i s e rase r a s h arp

kn i fe,wi t h w h i ch t h e l ig h ts a re s c rat c h ed o u t , but pup i l s s h ould not

be adv i sed or a l lowed to use t h e kn i fe , w h i c h a t best does n ot im

prove t h e d ra w ing . I t req u i re s muc h sk i l l to us e a kn i fe w i t h out

spo i l i n g a d ra w ing .

F a be r ’s k nea ded e r a se r . T h i s i s a n e raser con s i s t ing of rubber

w h i c h m ay be worked into a ny fo rm as if i t were a p i ece of b read :i t i s soft , pl i ab l e . does not i n j u re t h e pape r , a nd resemb l e s bread so

m u c h i n i t s resu l t s t h at i t may b e u sed i n i ts p l ace.t h u s avo i d ing

t h e d i rt occas ion ed by t h e use of bread .

Clot h a nd C h a moi s skin . common c l ot h or '

cha mois sk i n may

be used a s a n e ras e r . bu t t he s t ud en t i s adv i sed to use t h e mean s pre

v iously exp l a ined in preference . as t h ese fo rce t h e c h a rcoa l i n to t h e

g ra in of t he pape r so t h oroug h l y t h at unl es s t h e s u rfa ce i s aft e rwa rds

w orked ove r w i t h t he c h arcoa l po i n t t h e re i s no t enoug h va r i e ty of

tone . and conseq uent lv t h e d ra w i ng l a cks a tmosp h e re .

Cl /A A'w A L D A

’

A WI N G. 9 I

F ix a t if.— T h e ton es of a c h a rco a l d rawi ng con s i s t of fine bl ack

powder,w h i c h , as h as been exp l a i ned , i s read i ly s h if ted about o r

removed from t h e s urface of t h e pape r,and i n orde r to p reserve t h e

ske tc h i t m us t be fixed or varn i s h ed w h en i t i s comp l eted,wi t h a

l i q u id ca l l ed fix a t if.

Good fix a t ifs h ou l d be very l ig h t-co lored,and s h ou ld dry upon t h e

h an d so as to be qu i te ad h es i ve j us t befo re i t i s d ry,but i t s h ou l d

l eave no powde r upon t h e h an d . I nfer io r grades of fix a t if are oft en

so l d , of w h i c h severa l t im es t h e q uan t i ty t h a t s h ou l d be requ ired may

be used w i t h ou t fix ing a draw i ng,but of ten produc ing a surface of

powde r upon t h e d rawi ng,w h i c h spo i l s i t .

F ixa t i f may be made by add i ng to a p i n t of t h e bes t al co h o l about

4 oun ces of t h e w h i te s h e l l ac l i q u id varn i s h , and al lowi ng i t to

s t an d un t i l t h e uppe r part becomes a c l ear amber co lo r , w h en t h i s

c l ea r par t may be poured i n to anot h e r bot tle . T h e fix a t ifmay beused befo re i t h as se t t l ed

,bu t upon t h e best d rawi ngs on ly t h e c l ear

fix a t if s h ou l d be used . T h ere s h ou ld no t be enoug h s h e l l a c in t h e

fix a t ifto c aus e i t to be ve ry st i cky , fo r t h i s w i l l make t h e d raw ing

s h in e and w i l l spo i l i t .

F ix ing t he dra w ing . Any common a tom i z er wi l l s erve to spray

t h e fix a t if upon t h e d rawi ng,bu t t h os e wi t h fi n e t ubes wi l l be

c logged w i t h t h e gum i f t h ey are no t c l ean ed wi t h a l co h o l eac h t ime

t h ey a re used . T h e best a tom i zer i s on e mad e of two l a rge fo ld in g

t i n t ubes and cos t i ng 2 5 ce n t s .

T h e a tom i ze r may be u sed to Spray t h e fix a t ifupon t h e d rawi ng ,

o r t h e fix a t ifmay be app l ied to t h e back of t h e d rawi ng w i t h a brus h .

To use t h e atom i z er t h e d raw ing s h ou ld be p l aced h or i zon t al ly upon

a t ab l e . T h e atom i z e r s h o ul d be h e l d fa r enoug h from t h e d rawi ng

so t h a t n o l a rge d rops w i l l re ac h i t,an d t h e spray s h o u ld be d irec ted

above i t so t h a t i t f a l l s gen t ly upon t h e drawing . I ft h e atom i zer i s

n ear t h e d rawing or t h e sp ray “s t r ikes i t fo rc ib l y t h e c h a rcoa l w i l l

b e moved abou t on t h e p ape r and t h e d raw i n g w i l l t h u s be spo i l ed .

A l i t t l e fix a t ifs h ou l d be b lown upon t h e d raw i ng, w h i c h s h ou l d t h enbe a l l owed to dry

,fo r i f t h e s u rface of t h e pape r becomes wet t h e

d rawi ng wi l l b e spo i l ed . W h en t h e l ig h ter pa rts h ave been fixed so

t h at t h e c h a rcoa l wi l l n ot rub off upon t h e finger or c lot h , a h o l e

s h ou ld be cu t i n a p i ece of pape r so t h a t fix a t ifmay be b lown t h ro ug h

92 L /o'

l—l T A A'

I )

i t upon t h e da rke r pa rts w i thout s t r ik ing t h e l ig h te r pa rts . N o

more fix a t ifs h ou l d be appl i ed to an y part t h an i s req u i red to h o l di t

,for t h e d ra w i ng wi l l b e spo i l ed i f varn i s h ed so t h a t i t s h i n es .

T h e c h a rcoa l i s mos t ap t to be b lown or floated from i ts p roper

pos i t i on i n t h e fi rs t s tages of fix ing ,so ve ry l i t t l e s h ou ld t h en be

app l i ed wi t h ou t wa i t ing for i t to d ry .

T o app l y fix a t ifwi t h t h e brus h , t h e d rawing mus t be secu red i n ah or i zon ta l pos i t ion

,face downward

,wit h no t h i ng undern e at h i t t h a t

may touc h i t . I t may be t acked to an y f rame o r s t retc h e r, o r opposi te

edg e s may be sec ured to w ooden st r ip s . C are mus t be taken not to

rub t h e d rawi ng w h i l e t h us sec ur ing i t . T h e fix a t ifs h ou l d be appl i edto t h e back of t h e d ra w i ng wi t h a brus h about 3 i n c h e s w ide . T he

d ra w i n g wi l l t h us be fixed wi t h ou t danger o f inj u ry by d rops or by

mak i n g t h e d raw i n g s h i n e . T h e paper s h ou ld rema i n h or i zon ta l

unt i l t h o roug h l y d ry . Fixa t i f appl i ed to t h e back s h ou ld be st ronger

t h an t h a t w h i c h s h ou l d be u sed upon t h e fron t of t h e dra w i ng .

M A K I N G A C H A RCOA L D R A WI NG .

F i r s t di rec t ions. Th e fi rs t work in c h a rcoa l s h oul d be t h e qu i ck

ske t c h i ng of s impl e g roups of s t i l l l i fe composed of obj ec t s of d i f

ferent co l o rs ; b u t i f s tuden ts h ave no t h ad suffi c i en t p ract i ce to en abl e

t h em to d raw in ou t l i n e correct ly,t h ey may work from singl e obj ects ,

t es t ing t h ei r va l u e s , as exp l a in ed i n t h i s book , and t h e d ra w i ng. a s

exp l a ined in Free—H and D raw i ng .

"

T h ese t ime-sketc h es s h ou l d be upon h al f-s h eets of c h arcoal paper,

a nd not even t h e younges t pup i l s s h ou l d us e pape r sma l l e r t h an a

qu arter-s h eet , fo r c h a rcoa l i s no t su i ted to sma l l d ra w i ngs .

I t i s imposs ib l e for t h e s tuden t to real i ze t h e effec t of h i s d ra w i ngi f i t i s not h e l d as far as poss ib l e from h im and a t rig h t angl es to

t h e d i rec t i on in w h i c h h e l ook s upon i t : and w h i l e d rawing ,t h e arm

s h ou ld al w ays be outs t re tc h ed , fo r i f muc h bent . i t wi l l be so c ramped

t h at f ree work can not be done , and i t wi l l a l so cause t h e eyes to b e

too near t h e d rawi ng . E ven a t arm'

s l en g t h t he s t uden t w i l l fa i l to

rea l i ze t h e e rro rs of t h e d ra w i ng , a nd h e s h oul d rememb er to p l ace i t

bes ide t h e g roup often a nd s tud y bo t h from a d i s tan ce.

https://www.forgottenbooks.com/join

F I G . 33 . Ffom Cha rcoa l S ketch — Time , H our .

F I G . 34 . F rom Cha rco a l S ket ch h

'

l’

ime , y. H our .

96 L l G/I T A A'

D

c h a rcoa l s h ou l d be passed regu l a r l y a nd rap id ly a long t h e surface,

produc i ng a t i n t by bot h t h e upward st roke and t h e downwa rd s troke .

T h e d irect ion of s trokes t h roug h out t h e en t i re d raw i ng s h ou ld be

abou t t h e s ame,b ut t h e d i rec t i on i s of no impo rtance as long as i t i s

not unp leasan t l y no t i ceabl e in t h e effe ct . Th e mass es may be la id

i n by us i ng a s h ort s t ub of c h arcoa l p l aced flat on t h e paper .

Thefirst st a g e. T h e fi rs t s tage of t h e d rawing s h ou l d cons i s t

of h atc h i ngs,s uggest ing t h e masses of dark more l ig h t l y t h an i n

Fig . 33 , and no t boun ded by out l i n es . T h us in F ig . t h e dark

masses are t h ose of t h e dark vase and i t s cast s h adow, t h e s h adow

and cas t s h adow of t h e mug,an d t h e s h adow of t h e p l i n t h . T h e

studen t s h ou ld no t spend ove r five m inutes i n suggest i ng t h ese

masses,and s h ou ld no t s eparate t h e cas t s h adows from t h e s h adows .

Wh en t h es e masses a re l ig h t l y s uggested,t h e i r p roport ion s may be

tes ted by measur i ng t h e h e ig h t and wid t h of t h e w h ol e group ; and

i f no t correct t h e p roport ion s s h ou l d be c h anged,i n creas i ng t h e

s t rengt h of t h e to nes as t h i s i s done .

The second st a g e._ T he secon d stage of t h e d rawi ng i s s h own

by Fig . 33 , and i s obta i n ed by p ut t i ng in t h e background and

s t rengt h en i ng t h e da rks to br i ng out t h e cas t s h adows . T h e st u

den t s h ou l d no t d raw ou t l in es or determ i ne con tou rs except as t h ey

come from gradua l ly develop i ng t h e forms of t h e masses of t h e d iffer

ent va l ues . I n doi ng t h i s t h e c h a rcoa l s h o u ld be carr i ed ove r t h e

obj ect s across t h e con to urs and t h e background as of ten as poss ib le,

in order t h a t s h a rp ou t l i n e s may not dest roy t h e effect of a tmos

phere, w h i c h comes from t h e con t ras t of ton es on ly . Th e s tuden t

s h ou l d be able to produce t h e second s tage of t h e rende r i ng of a

s impl e subj ec t,s uc h as Fig . 35, i n not over fi ftee n m in u tes

,for i f h e

works s lowly, h e w i l l b e t h i nk i ng of out l i n es and de ta i l s i n s tead of

effec t s and masses and i f h e begi n s t h us,h e w i l l con t i n ue to wo rk

mec h an i ca l l y for t h e un importan t , wi t h out obta i n i ng t h e ess en t i al s .

S tuden ts h ave been so general l y taug h t to make an out l i n e d rawing

before begin n ing to s h ade t h a t many fi nd i t ve ry d ifli cult no t to

t h i nk about ou t l in es ; bu t i f t h ey do no t fo rce t h emse l ves to cove r

t h e pape r so as to sugges t t he pr in c i pa l masses,as i n F ig

. 33 , i n afew m in utes , t h ey w i l l n eve r b e abl e to fo rget o ut l i n e s an d workf ree l y and art i s t i c al l y .

https://www.forgottenbooks.com/join

98 L /G/l 7'

S H A D E .

s h ou l d fi rs t be d ri ed by rubb i ng i t upon c h arcoa l h a t c h ed n ear t h e

edge of t h e pape r .

I t i s espec i a l l y importan t t h a t t h e finger be passed ove r a l l t h e

con tou rs of t h e obj ects,for if t h e gra i n of t h e p ape r is no t worked

upon at t h e con tou rs as mu c h as e l s ew h ere,an atmosp h er i c effec t

cannot be produced . T h e s tudent mus t no t d ra w ou tl i n e s i n any

stage of a l ig h t a nd s h ad e d rawing, or pos i t i v e l y p l ace con tou rs un t i l

t h e ve ry end . T h en h e w i l l n o t be afr a id of lo s ing ou t l in es or of

go ing ove r t h e con tou rs as t h ey are sug g es ted i n F ig . 34 .

T h e studen t must no t om i t to work ove r t h e en t i re s urface of t h e

pape r,even t h a t of t h e l ig h t es t p a rts : t h u s t h e s ide of t h e p l in t h o r

of a ny l ig h ter obj ec t , suppos i ng suc h to b e in t h e group , must rece ive

a l ig h t t in t and a s muc h rubbing as any o t h e r par t,fo r t h e l ig h tes t

su rfaces h ave gradat i on upon t h em,and an a tmosp h e r i c d rawi ng can

not b e made i f t h e gra in of t h e pape r upon t h ese parts i s no t w orked

upon as mu c h a s e l s e w h ere .

I t may often b e necessa ry to p l ace a t int upon a l ig h t su rface and

t h e n remove i t . in w h ol e or i n part , i n o rder t o des t roy t h e gra i n of

t h e paper an d produce a t int as l ig h t as i s desi red .

F ini sh ing t he dra w ing . W h en t h e g ra i n of t h e pape r h as t h u s

been equ a l l y w orked upon and t h o roug h l y fi l l ed t h roug h ou t , t h e

student may w ork upon t h e resu l t i ng ton es w i t h t h e po i n t of t h e

c h a rcoa l a nd w i t h t h a t o f t h e to rt i l l on or ro l l ed b read o r kneaded

eraser . d ra w ing det a i l s a nd perfec t i n g va l u es . I t w i l l n ot be meces

sa ry for fu rt h e r rubb ing to be don e . or t h e finger or s tump u sed

excep t as a n e rase r to l ig h ten par t s made too dark .

ln t h u s fin i s h i ng t h e d ra w i ng a long p i ece of h ard c h arcoa l s h ou l d

be used w h i c h i s s h a rpened to a wed g e-s h aped po int , s im i l a r i n form

to t h a t o f a pen c i l used fo r mec h an i ca l d rawing,i n o rde r t h a t t h e

po int ma v w ea r longe r t h a n a con i ca l po i n t . I t mus t b e s h arpened

upon sandpaper or a fi l e . A s h ort p i ece of c h a rcoa l s h ou l d b e

p l aced in a c rayon h o ld er .

T h e st uden t mus t a im to use t h e c h arcoa l po in t so a s to obta in

j u st t he r ig h t fo rm a nd va l ue fo r eve ry pa rt. and h e s h ou ld u se t h e

po in t of t h e tort i l l on or ot h e r e rase r to obta in n arrow l ig h t s . B y

mean s of t h ese d ifferent po in ts h e s h ou ld ca refu l l y work a l l d e ta i l

into pl a ce upon t he founda t i on g i v e n b y rubb i ng w i t h t h e fing e r t h e

d r a w ing i l l ust ra t ed by F ig 34 .

CH A IfGOA L D E A 0 . 99

No sh a rp cont ours. T h ere must be no very s h arp edge o r keen

separa t i on s i n t h e d raw ing . T h i s i s very d ifficu l t for s tuden ts to

rea l i z e ; ofte n t h ey w i s h to l ay a st ra ig h t-edged p iece of pape r

down a long t h e edges of a p l i n t h,fo r i ns tan ce

,and t h en use t h e

e raser a l ong t h e paper to prod uce a straig h t-edged con tour . I fprop

e rly t aug h t t h a t a free-h an d ou t l i ne d rawi ng mus t be made en t i re l yf ree-h an d and so t h a t i t s l i n es do not resembl e t h ose given by t h e

us e of a s t ra ig h t edge , t h ey wou ld not expect to make a good l ig h t

an d s h ade d raw i ng in s uc h a way for t h ey wou ld understand t h a t no

mec h an i ca l a id nor mec h an i ca l a ccu racy i s pe rm iss ib l e i n an art i s t i c

rep res en tat i on of even t h e most geomet r i c an d exact obj ec t . An

art i s t i c d rawing must h ave t h e var i e ty i n bot h l i n e and tone w h i c h

res u l ts f rom free-b a nd dra w i ng upon a surface s l ig h t l y y i e ld i ng and

no t pefect ly smoot h . T h ere must,h owever

,be a defin i te rep resem

t a t ion o r separa t i o n of suc h parts as t h e edges of t h e p l in t h an d

o t h e r obj ec ts .

I f t h e s h a rp l i n e given by us ing t h e e raser a long t h e s t raig h t edge

i s s l ig h t ly b l ended by us ing t h e to rt i l l on s tump,t h e effec t w i l l b e

improved , and i f edges no t qu i te s t ra ig h t w h i c h come from use of t h e

c h arcoa l po i n t free~ h an d a re too s h arp (as ofte n t h ey w i l l be), t h e

po i n t of t h e tort i l l on may be used to b l end t h em slig h t ly a nd t h u s

give a separat i on w h i c h i s d ec id ed and al so sof t enoug h to be

a rt i s t i c .

T h e s tuden t must remember t h a t t h ere a re no ou tl i n e s i n natu re .

and t h a t h e c an not i n l ig h t and s h ade art i st i ca l l y rep resen t obj ect s

by out l i n i ng t h em ei t h e r w i t h d ark or wi t h l ig h t . T h e on ly part s

w h ere t h e re s h ou l d b e t h e effec t of a l i n e are t h e part s w h i c h repre

sen t very n arrow s h adows or ve ry narrow l ig h t s . U nder t h e p l i n t h

in Fig . 1 7 i s a s h adow w h i c h gi ves t h e effec t of a l i n e and w h i c h

mus t be rep resen ted,and so mus t a l l s im i l a r de ta i l s of da rk o r o f

l ig h t ; bu t n o obj ect i s comp l ete ly or even la rge ly ou tl i n ed by suc h

effec ts , and no work of art t rue to na t ure can be ou t l in ed , fo r ou tl in e s

a re pu re con ven t i on s . H en ce t h e s t uden t s h ou l d no t begi n a l ig h t

an d s h ade d raw i ng by ou t l in es for t h ey wi l l be wo rked out o f t h e

effec t w i t h d iffi cu l ty. I n no pa rt mus t t h e con tou rs be defin ed by

keen-edged ton e s,an d t h e tort i l lon s t ump mus t a l w ays be used to

soften a l l s epara t io n s t h a t h ave become too s h a rp .

P in . 36 . F rom Cha rcoa l S tudy .

https://www.forgottenbooks.com/join

F I G . 38 . From Cha rcoa l S t udy .

1 04 L I GH T A N D S H A D E .

Va r iet y necessa ry . T h ere mus t be var i e ty i n a l l d rawings , and

so i n c h a rcoa l work i n some part s t h e con tours mus t be more s h a rp l y

d rawn t h an i n ot h ers ; t h ese are t h e p art s w h i c h are accen t ed by

keen l ig h t s,s trong s h adows

,a nd by s t rong con t ras ts , and t h ey must

be more prom inen t t h an t h e con to urs w h i c h a re more o r l es s los t

i n t h e masses of l ig h t o r t h e masses of s h adow. T h ese s h arpe r

parts of t h e d rawing a re i t s accen t s , bu t t h ey w i l l n ot be not i ced if

a l l p art s a re made qu i te s h a rp . I t wi l l n ot do to h ave con tours

un i forml y s h a rp even if t h ey are no t ve ry keen , fo r t h i s w i l l p roduce

a h ard and mec h an i ca l effec t . On t h e o t h e r h an d , i t wi l l no t do to

h ave al l con tou rs and defin i t ion s un i fo rmly soft,fo r t h i s w i l l p roduce

an un p l easan t and c h a racterl ess effec t .

Th e p h otog rap h s may ass i s t t h e st uden t to unde rs tand t h e above

remarks . Fig . 1 4 rep resen ts con tours and detai l s by a lmos t un i fo rm

s h arpness,and i s fa r l ess p l e as ing t h an Fig . 2 0, i n w h i c h t h e con tours

a re dec ided i n parts an d a lmos t l os t i n o t h e r parts . T h e se figures

i l lu stra te t h e fac t t h a t a p h o tograp h as we l l a s a d raw i ng may be

mec h an i ca l and h ard t h ro ug h un i fo rm s h a rpn ess of defin i t ion . or may

be pl eas in g and art i st i c t h roug h var i ety of defin i t ion an d subord in a

t i on of de t ai l .

The ba ckground subordina te. I n any s tudy t h e l i n e s or d eta i l s

of t h e background o r ot h e r un importan t parts s h ou l d n ot be m ade a s

p rom inen t as in Fig . 1 4 , but s h ou l d be suggested as s l ig h t l y a s i n Fig .

2 0, or om i t ted a l toget h e r , i n o rde r t h a t t h e t ime may be spen t i n s t udy

of t h e detai l of t h e obj ec ts w h i c h form t h e gro up an d a re import an t .

The illust r a t ions . Fig . 36 i s from a c h arcoa l drawing upon w h ic h

seve ral days were spen t . Th e l ig h t wa s d i rect ly ove r h ead,and t h e

p laster rose t t e was ve ry da rk i n co lo r from a g e,so t h a t t h e d raw ing

seems d ark ; i t i s , h oweve r, qu i t e t rue to natu re i n va l ues .

Fig . 37 give s , fu l l s i ze , a part o f t h e rose tt e and bottl e of Fig 36,a nd s h ows t h e text u re p roduced by work ing as expl a i n ed . To pro

duce t h e best effec t of a tmosp h e re t h e gra i n of t h e pape r s h oul d

s h ow abou t as st rongl y a s i n t h i s figu re . I t i s not n ecessa ry to com

plet ely work ou t t h e wat e rmarks of t h e pa ral l e l l i n e s un l ess t h ey

come i n pa rts w h e re muc h fine det ai l i s t o be rep resen t ed .

Figs . 35, 39, a nd 4 1 are from two-h ou r t ime-sketc h es by first -yeara rt-sc h oo l s tuden ts ; t h ey i l lus trat e t h e work w h i c h i s of gre ates t

https://www.forgottenbooks.com/join

F I G . 42 . From Cha rcoa l S tudy .

I’m. 43. I-‘

rom Cha rcoa l S t udv .

https://www.forgottenbooks.com/join

I I O L I GH T S I /A D E .

val ue to t h e a rt st uden t . H e s h ou l d be s at i sfi ed to begi n to s tudy

as exp l a i n ed,and s h ou ld con t i n ue to make t ime-sketc h es un t i l abl e to

represen t s uc h groups as we l l or n early as we l l a s t h es e figures , so fa r

as va l ues and d rawing are concern ed,before a t t empt i ng to pa in t o r

make h ig h ly fin is h ed drawi ngs . T h e st ud en t w h o attempts to pa i n t

or make fi n is h ed d rawings w h en not abl e to see masses and va lu es,

wi l l was te h i s t ime an d produce s imply c h i l d i s h o r mec h an i ca l draw

ings w i t h o ut bre ad t h o r effec t .

Figs . 36 , 38 , 40, and 42 are from draw ings upon ful l-s i z e s h eets

of c h arcoa l p a per by studen ts of t h e en te ri ng c l ass of t h e M assa

chuset t s Norma l A rt S c h oo l . T h ey i l l us t rate t h e work t h e s tuden ts

s h ou ld l earn to do after t h ey a re abl e to make good time-sketc h es .

T h e reproduct ions a re no t qu i t e t rue i n v al ues to t h e o r ig in a l s,but

t h ey s h ow t h e ca refu l s tudy of masses and de ta i l s w h i c h s t uden ts

s h ou l d be l ed to make i n order to obta in a good foundat ion fo r more

advanced work . A l l w h o i n tend to st udy pa in t i ng s h o uld fi rs t s t udy

va l ues in c h a rcoa l f rom st i l l l i fe , fo r t h i s s tudy wi l l do more for t h e

b eginner t h an any ot h e r wo rk i t w i l l give h i m knowl edge w h i c h h e

may be many years in obt ai n ing i f h e begi n s pa in t i ng wi t h out t h e

foundat ion of d rawing and val ues .

After t h i s s t udy of s t i l l l i fe w h i c h en ab l e s t h e s t uden t t o see form

and va l ues , h e may d raw from t h e an t i que suc h s ubj ec t s a s Figs . 43an d 44 after t h i s work . h e may draw from l i fe ; and fin a l ly h e may

s tudy pa in t i ng, begi n n ing wi t h s t i l l l i fe w h i c h w i l l p repare for t h e

pa i n t ing of t h e h ead and figure .

Art i st s often use gray paper and put in t h e l ig h t es t parts wi t h

w h i t e c h alk , b ut t h e s tuden t i s earn est ly advi sed to us e s imply w h i t e

pape r a nd c h a rcoa l , and to us e h i s j udgmen t as to w h en to app ly t h e

var ious me t h ods expl a in ed for eras i ng and c h angi ng t h e d rawing and

t h e v alues , remember ing t h a t a l l met h ods may a t d iffe ren t t imes be

serv i ceab l e , part i cul arly t h ose fi rs t on t h e l i st .

W h en t h e s t udent can d raw h e may combi n e d iffe ren t met h ods

and med iums i n t h e s ame d raw ing , and us e as muc h l a t i t ude as t h e

a rt i s ts of t h e past d i sp l ay i n t h e work t h ey h ave l e ft for us to s t udy.

a nd w h i c h we w i l l s tudy to our great ad vantag e i f w is e enoug h to

profi t by our opportun i t i es .

C H A PTE R V I .

P E N C I L D R A WI N G .

M AT E R I A L S .

P encils. P en c i l s s h ou l d be of good qua l i ty,f ree from gri t

,and

capab l e of produc ing soft grays and st rong bl acks . I t i s no t pos

s ib l e to spe c ify t h e grade of penc i l requ i red fo r free-h and d rawing

e i t h er i n o u tl i n e o r i n l ig h t and s h ade work . Th e “broad gray l i n e

d rawn wi t h a very sof t p en c i l i s often t h oug h t to be essent i a l to good

drawi ng ; bu t a d rawi ng mus t be j udged , no t by t h e qual i ty of l i n e

emp loyed , b ut by w h a t i t rep resen ts . As d ifferen t d rawi ngs rep

resen t d i ffe ren t s ubj ec ts and d ifferen t effec t s,t h ey canno t be t reated

i n t h e same way , and so on e may requ i re a sof t pen c i l a nd anot h e r

a h ard on e .

T h e grade of pen c i l to be used depends upon t h e s i z e of t h e

d raw ing, upon w h et h er i t s c h ief purpose i s to represen t fo rm o r

va l ues , and a lso upon t h e amoun t of de ta i l i t i s to represen t .

I f a penc i l s ketc h i s to be made qu i ck l y as a note s imp ly of l ig h t

an d s h ade e ffect s,a sof t pen c i l w i l l b e n ecessa ry to obta i n t h e best

resu l ts . I f t h e ske tc h i s q u i t e smal l an d i n t ended as a study of

t h e fo rm and de ta i l s of con struc t io n of a h ead or o t h e r s ubj ec t,more

t h an as a s tudy of t h e mass es of l ig h t and dark,i t w i l l be necess ary

to use a med i um or eve n a h a rd p en c i l . I t i s imposs ib l e to make a

sm al l d raw i ng w h i c h represen ts many deta i l s by t h e use of a sof t

penc i l o r a broad gray l i n e,and t h e smal l e r t h e d rawi ng and t h e

more de t a i l i t h a s,t h e h arde r t h e pen c i l must be . T h e o ld mas te rs

often used a pen c i l mad e of pure s i l ver, w h i c h gave a sof t, smoot h

gray l i n e ; i t cou l d be made ve ry s h a rp , and would re ta in i ts po i n t

fo r a long t i me , an d was we l l su i ted to t h e ca refu l s tud i es of fo rm ,

su c h as F ig . 2 7, w h i c h t h ese famous a rt i s ts often made . T h e penc i l

used mus t be s u i ted to t h e work to be don e, an d may range from t h e

sof tes t (6 B o r 4 B ), w h i c h may be used for suc h sketc h e s as Figs .

2 4 , 50, 53 , 54, and 60, to grades s uc h as 2 B ,B, or H B ,

w h i c h may

1 1 2 L I GH T A /VD S H A D E .

be used fo r s uch work as Figs . 56 and 57 w h i le penc i l s a s h ard as2 H or eve n 4 H may be used upon very smal l d raw ings o r ve ry

carefu l st ud ies . suc h as Fig . 2 7.

For a l l st ud i es of v al ues and rap id no te s of effects , i t i s we l l to

use as soft a penc i l as t h e s i z e of t h e d raw ing and t h e surface of t h e

pape r wi l l pe rm i t . S t uden t s w h o h ave ' to make many tr i a l l i n es i n

orde r obt a in proport i on s cann o t use sof t pen c i l s m aki ng

Flo . 45.

t h ese to uc h es , fo r t h ey w i l l p rod uce l ines so h eavy t h a t t h e eraser

w i l l be requ i red , and even t h en t h e paper may not be l eft in good

cond i t ion . P upi l s w h o canno t d raw fa i r l y wel l s h ou ld use . i n begi n

n i ng any sketc h , a med i um or h a rd pen c i l ve ry l ig h t l y . so as not to

inden t t h e paper : bu t in accen t i ng an outl i n e d rawing w h ose l in es

h ave b een t h u s det erminedf or i n giv in g s imply l ig h t an d s h ade

effect s , a soft penc i l s h ou l d be u sed .

P a per . -T h e paper to be used depend s upon t he d ra w i n g to be

made . I f t h e d rawi ng i s to be a study of fo rm pri n c ip a l ly , s uc h as

https://www.forgottenbooks.com/join

I I 4 [J G/I T A A H )

w h en t h e subj ec t does not requ i re s trong da rks . T h i s m e t h od of

b len d ing a pen c i l d rawi ng to obt a i n va l ue s i s more d ifficu l t t h an t h euse of t h e c h a rcoal , fo r i t does n ot a l l ow c h anges as read i l y as t h e

h e . 47.

use of c h a rcoa l . I t i s a l so l es s d i rec t t h an t h e us e o f t h e penc i l

po i n t, con sequen t ly s tuden ts are adv i sed to obta i n grad at ion by t h e

use of t h e po in t w h en eve r t h i s i s poss ibl e , and to d raw so as to be

obl iged erase r but l i t t l e .

F I G . 48 .

T h e su rface of t h e pape r must n ot b e gl a zed or h a rd and smoo t h .for i t wi l l not take t h e pen c i l read i ly : i t mus t no t b e so soft a s to

be to rn by t h e penc i l , or by t h e e ra ser i f i t i s n ecessa ry to use t h i s .

A g ood paper fo r suc h sketc h es as Fig s . 50, 54 , 55, and 56 i s gi ven

P E /VC/L D A’

A IV/rVG . I I 5

by us i ng t h e smoot h s id e (t h e back su rface) of E ngl i s h crayon paper .

T h i s p ape r i s,h owever

,ve ry expen s iv e

,and c h eap papers w i l l often

be foun d w h i c h gi ve good res u l t s . P ape r as c h eap a s t h at of a

da i ly n ewsp ape r i s ofte n be t ter su i t ed fo r rap id notes of effe ct s t h an

expen s i ve p apers . P aper var i es so muc h t h a t of two lo t s of t h e

same m ake and grade,on e may be exce l l en t an d t h e o t h e r unsa t is

f acto ry,an d p rac t i ce a l on e w i l l en ab l e one to se l ect pape r and pen

c i l s su i t ab le fo r any p ar t i c u l ar d rawing ; b ut pup i l s s h oul d remembe r

t h a t s uccess i s n ot so muc h a quest ion of mater i a l s as of ab i l i ty to

d raw .

E ra sers a nd st umps. Al l t h e mater i a l s s u i t ab l e for c h a rco a l

an d crayon d rawing may be used upon a penc i l d rawi ng, and i n t h e

s ame ways .

M A K IN G A P E N C I L D RAWI NG .

T h e effects of l ig h t an d s h ade seen i n n atu re h ave been exp la i n ed ,and a l so t h e ways in w h i c h t h ese effec ts s h ou l d be s tud i ed and

rep resen ted i n a c h arcoa l draw i ng . I t must now be unders tood

t h a t t h e s tuden t w h o rep resen t s n a tu re by l ig h t an d s h ade h as t h e

s ame prob l em s w h atever t h e med ium he emp loys , and succes s

d epe nds more upon ab i l i ty to see t h a n upon med i um or tec h n i qu e .

I f t h e s t uden t can d raw,h e can d raw wi t h any med i um ; h e w i l l , of

co urse,acqu i re fac i l i ty of execut ion by long us e of t he med ium , bu t

n o d i rec t ion s can be given w h i c h w i l l p rod uce p l eas ing h and l i n g

excep t t h e adv i ce to s t udy long enoug h to d ra w q ui ck ly and truly .

U se of pencil point . T h e mos t impor tan t d i rect ion s fo r pen c i l

d rawi ng h ave been gi ven under t h e top i cs “P en ci l s ” and “P aper ”

;

bu t i n add i t i on i t m ay be sa i d t h a t t h e resu l t s h oul d a lways be

ob ta i n ed as d i rec t l y as poss ib l e ; and i n rap i d sketc h es , s uc h as

Fig . 50, t h e s tuden t s h ou l d aim to p roduce t h e effect of atmosp h ere

an d of n ature by mean s of ton es p roduced by h atc h i ng w ide penci l

l i n e s c lo se l y toge t h er so as to p roduce t h e effect of an even ton e of

s h ade . I n more fi n is h ed d raw ings,s uc h as Fig. 2 7, t h e effec t of

t h e graded ton es requ i red s h ou l d be p roduced by work i ng ove r t h e

su rfa ce of t h e pape r wi t h t h e pen c i l po i n t a lon e .

I n r ap i d n ot es , su c h a s F ig . 50, care m ust be t aken t h a t an un

p l easa n t effect of s epa ra t e l in es i s no t p rod uced by too muc h space

https://www.forgottenbooks.com/join

I 1 8 L /G/I T A A'

I ) S I /A D E .

T he s imp l es t c h ang e in a n ou t l i n e d rawing in t h e d i rec t io n of

l ig h t and s h ade i s giv en by represen t i n g t h e n arrow s h adows and by

sugg est i ng t h e w i d e r ones b y t h i cken i ng t h e ou t l i n es ; t h i s p ro

duces w h a t h a s b een ca l l ed an accen t ed o ut l i n e d raw i ng . Fig . 45

i s of t h i s natu re and ' m uc h more sat i s fac to ry t h an a un i fo rm out l i ne .

T h e n ex t s tep i n advan ce i s gi ven by represen t i ng cast s h adows

and by suggest i ng t h e s h adows by i n creas ing t h e w i d t h o f t h e ou t

53 .

l i n es . W h en obj ec ts a re composed of smal l p a rt s . as t h e stoo l (F ig .

t h i s t reatmen t p roduces an effe ct i ve sketc h w h i c h suggest s t h e

pri n c ipal d iv i s i ons of l ig h t . s h adow . and cast s h ado w . T h e figure

s h ows how muc h t h e cas t s h a dows add to t h e effe c t gi ven b y t h e

accen t ed ou t l ine .

l4 ig . 47 i s s im i l ar to Fig . 46 . t he effec t be in g l a rge l y due to ou t

l i n e a nd to t h e cast s h adows . T h e d rawi ng d iffe rs . h owever , f rom

Fig . 46 , a s i t represent s t h e s h ado w u pon t h e h ee l,an d t h us gives

t h e cont ras t of t h e m a sse s of l igh t , s h ado w . a nd ca st s h adow,by

w h i c h p rinc i pal l y We recog n i z e obj ect s .

P E N CI L 0 1m[VI /VG. I 1 9'

S h adows an d cas t s h adows are gi ven to p roduce a st ronger im

press ion of n atu re t h an can be ob ta in ed f rom an out l i n e , and no

s h ad ing w h i c h does not h e l p to sugges t t h e fact s s h ou l d ever be

p l aced upon any d raw ing . I f t h e cast s h adow in Fig . 49 were given

wi t h ou t t h e s h adow s ide,t h e effect would not be a s sat i sfacto ry as a

s imp l e out l i n e,for t h e out l i ne woul d sugges t t h e cube w h i l e if t h e

cast s h adow were repres en ted wi t h ou t t h e s h adow s ide,t h e fi rs t

imp ress ion t h e d rawi ng wou l d create would be t h a t of cu r ios i ty con

ce rn i n g t h e n at ure of t h e cube w h i c h t h rows a cas t s h adow a nd

yet h as n o s h adow surface . General l y w h en t h e cast s h adow of

F I G . 54.

an obj ec t i s s h own,t h e s h adow surfa ce adjo i n i ng t h e cas t s h adow

s h ou l d be repre sen ted w h enever i t i s v i s i b l e ; an d t h e l a rge r i t i s

an d t h e more t h e obj ec t re sembl es a typ e so l i d , t h e more necess ary

i t i s to repre s en t i t .

I f t h e s h adow s ide of a n obj ec t , t h e cube , for i n s tance (Fig .

i s rep res en ted and t h e cas t s h adow i s om i t t ed,a s at i sfactory draw

i ng may re su l t , fo r an obj ec t i s of te n s een w h en s i tu ated so t h at i t s

cas t s h adow i s some d i s tan ce away from i t or even in v is ib l e ; bu t

w h en an obj ec t i s rep res en ted as res t ing upon any ot h e r obj ect an d

i s s h aded to repres en t a s h adow surface,t h e d rawi ng wi l l gen e ra l ly

be un sat i sfa ctory i f t h e s h adow of t h e obj ect cas t upon i t s support

i s no t repres en ted .

M G . 55. From a Penc i l S ke tch.

https://www.forgottenbooks.com/join

I i24 L I G I /T A N !) S H A D E

l ines w h ic h may be v a r i ed in w i d t h a n-d so sp aced a s to g i ve t he

effe ct of s h a de{

wit hou t join i ng e ac h o t h e r w h ile t h e s ame effect i n

wash or bl ended d ra wing c annot be che apl y reproduced,

t h e st udent h a s t ime to st udy more de ta il t h a n i s

.Fm. 5S . l l'c ll u l-l S ke tch .

rendlering , h e s h ou l d employ a b ackground.as in P i g s.

"and t h e s tudy in t hi s w a y o-fs uch groups of st i ll l ife I s advi sabl e .as i t g i v es t he best preparat ion for work from l i fe su c h a s Figs. 59a nd 60 .

Fig . 5 8 s h ows t h e beginning of a sketc h . from li fe . I t is car r i edbu t l i t t le fart h er t h an th e ou t l ine st ag e i llustrated by Fig . 3 6 ,

but a

sk etc h beg un in t h i s w a y may be c ar efu l l y fini sh ed w i t h-ou t a back

https://www.forgottenbooks.com/join

I 2 6 [JG/I T A N D S H A D E .

i l lu s trates t h e fac t t h a t t h e background i s a lway s l e as t n ecessa ry

w h en an obj ec t appears d arker t h an i t s background .

I nter iors a nd la ndsca pes — “Wren repre sen t i ng i n ter io rs andl andscape subj ect s t h e ar t i s t h a s t h e same c h o i c e a s to w h at h e

w i l l represen t as w h en d rawi ng t h e subj e ct s a l ready con s id ered .

H e may use s impl y outl in e . I f t h i s i s done t h e d rawing would

F I G . (so. From ( ra v tm h ke t t h bv

g e ne ra l ly b e a ccen ted : but i f n o t con fin ed to ou t l ine,l ig h t and

sh ad e effect s w ou ld be i n t rod uced j us t a s i n t h e ske tc h es p rev iousl y"ons idered .

Fig . 55 represent s t h e masses of l ig h t a nd s h ade and co lo r.and

sh ows t h e met h od u sed in Figs . 50 a nd 54 appl i ed to a morex t ended subj ec t . F igs . 56 a nd 57 s h ow t h e same met h od appl i ed

I’E A

'

C‘

I L D IVA lV/zVG . I 2 7

i n l andscape . I t i s poss ib l e to make,wi t h a penc i l

,s tud i e s of f ul l

v a lu es of s uc h s ubj ec ts ; bu t i t i s n o t easy to do t h i s , and gene ral l y

t h e a r t i s t i s sa t i sfied to gi ve t h e form and sugges t t h e effec t by rep

re sen t i ng t h e masses of l ig h t and s h adow,and al so t h ose of dark

colo r .

T h e more p i c turesque t h e subj ec t,t h e more necessary i t becomes

to re nde r i t art i s t i ca l l y , an d t h e more importan t i t i s to avoi d ou t

l i n es ; or, i f t h i s c an not be don e , to avo id mak ing t h em un i form in

strengt h o r d i rec t i on . Ou tl i n es s h oul d n ever be d rawn w h e re t h e

fo rm i s exp ressed by s h ad ing,an d

,w h enever poss ib l e

,form s h oul d be

given by h atc h i n gs of l i n es fo rm ing a t int o f s h ade or s h adow as

i l l us t ra ted by t h e l i n es of t h e r idges of t h e fi s h h ouses of F ig . 2 5.

T h i s app l i e s to a l l wo rk w i t h t h e pen as we l l as t h e penci l .

T h e d i re c t io ns gi ven i n C h ap . V and i n t h i s c h ap te r,to avo i d

un i fo rm i ty and regu l ar i ty i n bot h out l i n e s and va l ue s,must n ot be

con s t rued to mean t h a t regu la r obj ec ts are to be repres en t ed as

i rregular . S tuden ts often t h i n k t h a t i t i s n ecessary to rep resen t a

regu l ar curve , s uc h as a n el l ip se , by an i rregu l a r l i n e , and a s t ra ig h t

l i n e by l in es i n d iffe re n t d i rect io n s ; bu t suc h d rawings are more

un sat i s facto ry t h an t h os e w h i c h mec h an i ca l ly represen t t h e fact s,

fo r t h ey do not rep resen t t h e fac ts a t a l l . R egu l ar i ty can no t be

represen ted by w h a t crea tes t h e id ea of i rregu la r i ty,an d t h e s tuden t

who t akes pa in s to p roduce var i e ty wi l l gene ra l ly p roduce mec h an i ca l

an d unp leas an t effec ts , fo r p l eas ing var i e ty i s due to t h e acc ident a l

effec ts p roduced by t h e at tempt to express d i rect ly w h at i s fe l t .

I t i s poss ib l e to make art i s t i c and in art i s t i c d rawings of an y s ub

ject w h i c h s h a l l be e qua l ly t rue as fa r as t h e fact s of fo rm are

conce rned . T h us, two port ra i ts of t h e same person may be equa l ly

co rrec t a s l i kenesse s,and one be mec h an i ca l an d un sat i sfacto ry ,

w h i l e t h e ot h e r i s a rt i s t i c an d p l eas ing in con s equen ce of s l ig h t

gradat ion s and var i a t io ns w h i c h p roduce an atmos p h er i c an d na tu ra l

effec t w i t h o ut c h angi ng t h e fo rm . S t uden t s mus t rea l i z e t h at t he

v ibra t i on s of t h e a tmosp h e re p roduce s l ig h t l y i r regu l a r appearan ces

i n regu l a r obj ect s,bu t do no t c h ange t h e gen era l impress ion of t h e

l i n es and mas ses,and any va r i a t i on from mec h an i cal accura cy w h i c h

ca uses fa l s e id eas of fo rm mus t be avo ided .

C H A P T E R Vl l .

B R U S H D R A WI N G .

N'

lx rr‘

R I A L s .

B r u s h es . R ound sabl e b rus h es s h ou ld be prov ided for st udy i n

wa te r co lo r i f t h e bes t re su l t s a re de s i red . Th ese brus h e s a re very

expen s i ve , as t h ey cost from two to seve n do l l a rs eac h , but t h e art

s tud en t can no t find a sat i sfac to ry sub s t i tu t e , and s h ou ld h ave at l eas t

on e l a rge b rus h a bou t Séof an i n . i n d i ame te r and I fj inches l ong ; i ts

h and le s h ou l d be at l eas t 9 i n c h es lon g . T h e brus h s h ou ld h ave a

fin e po i n t so t h at as fin e a l ine can be d rawn w i t h t h e l a rges t brus h

as w i t h t h e smal l es t . S abl e brus h es a re fi rm , e l a s t ic , and a lways

keep t h e i r s h ape i f t h ey are carefu l l y was h ed aft e r us i ng an d broug h t

to a po i n t before t h ey are l a id as i de . C amel ’s-h a i r brus h e s and

b rus h e s mad e i n j apan a re c h eap a nd s u i tabl e fo r us e i n t h e publ i c

sc h oo l s .

B r i st l e brus h es a r e used by som e fo r pa in t i ng . T h ey a re a l so ve ry

va l uab l e fo r w as h ing off color a nd ob t a i n i ng h ig h l ig h t s . as t h ey a re

s t iff and w i l l q u i ck ly remove t h e Colo r ; a fl at. s h o rt. a nd st iff b rus h

s h ou l d b e u sed for t h i s purpose . T h e sabl e brus h s h o u l d n ever b e

used for w as h i ng or obta i n ing l ig h ts. as t h i s w i l l soon spo i l i t s po i nt .

P igments. T h e b rus h may be u sed w i t h a ny p igmen t i n maki ng

1 wa t e r-co lo r monoc h rome , bu t s at i sfacto ry resu l ts w i l l be obta i n ed

on l y by t h e use of tran sparen t co l o rs . B r ig h t co lo rs s uc h a s red and

orang e may be used , but t h e fi rs t impress ion creat ed b y t h e i r us e i s

g ene ra l ly t h a t o f t h e co lo r i n stead of t h e subj ect of t h e p i ct ure , and

t h e s tuden t i s adv i sed to use no br ig h t co lor fo r monoc h rome work .

T h e b es t re sul ts w i l l b e g i ven by t h e u se of sep i a . n eut ra l t i n t , or

l’ayn e'

s g ray . T h ese co l ors s h ou ld be t h e moi s t co lo rs prepa red i n

pan s or i n tubes from w h i c h t h ey may be squee zed in to pan s .I nd i a i nk may b e used . bu t t h i s ink s h ou l d be p repa red by gr ind

ing a s t i ck of i nk . as t he l i qu i d i nks con ta i n c h em i ca l s w h i c h cause

t h em to p ene t rat e t he pa p e r so t h a t c h a ng e s a re m a de wi t h d ifficu l ty .

https://www.forgottenbooks.com/join

1 30 L /GI /T A N D S I I A D E .

poster work now don e ; o r t h e co lor va l u es and a lso t h e de ta i l s of form

and co lo r w i t h in t h ese val ues may be gi ven as i n Japan ese pa i n t i ngs .

T h e brus h i s al so used to p roduce more o r l es s comp l e te s t ud i es

of fo rm and va l ues suc h as h a ve been expl a in ed prev ious ly .

T h e met h od exp l ai n ed in C h ap . V I,by w h i c h ske tc h e s a re made

by represen t ing s h adows,cas t s h adows

,and co lors by t h e use of

t h ree or four ton es , i s we l l adap ted to b rus h ren der ing upon dry

paper,and subj ec ts

,suc h as Figs . 50, 54, and 56 , are of ten repre

F I G . 6 I . From S ketch by R embra ndt .

sen ted i n t h i s way wi t h t h e brus h . I n fa ct an y of t h e drawi ngs done

wi t h t h e c h a rcoal o r penc i l m ig h t h ave been ren de red i n t h e same

way , so far as val ues a re con cern ed , by t h e us e of t h e b rus h .

Two very d i s t i n c t met h ods of“ work ing i n wa ter col o r w i t h t h eb ru s h are br i efl y expl a in ed as fol l ows :The dry met hod. I n t h i s t h e paper mus t b e st re tc h ed by wet t i ng

i t an d t h en secu r ing i t to t h e board by mean s of muc i l age,t acks

,or

in any ot h e r way . I n stead of s t re tc h i ng t h e paper.many a rt i sts use

water-co lo r pape r w h i c h h as been s tre tc h ed and prepared i n t h e formof b locks .

B R U S H I 3 I

T h e p aper i s of te n secu red to t h e board by mean s of a frame

w h i c h i s a rranged to fi t upon t h e edge of t h e board and to cl amp t h e

paper to i t . I n t h i s ca se , to s t re tc h pape r i t i s on ly necessary to wet

i t and t h e n to c l amp i t to t h e board by t h i s frame .

Some art i s ts p refe r to s t retc h t h e p ape r upon a st re tc h e r,suc h a s

i s us ed for a can vas i n o i l p a i n t i ng,secur ing t h e paper to t h e s tre tc h e r

by mean s of tacks . Wh en t h us p l aced upon a st retc h e r,bot h s id es

of t h e p ape r are exposed to t he a i r so t h a t t h e paper w i l l d ry m uc h

more qu i ckly t h an w h en upon a board . M uc h val u ab l e t ime is spen t

i n wa i t i ng fo r was h es to d ry,and t h e us e of a s tretc h er i n t h i s way

i s con sequen t ly h e lpf u l .

W h en t h e pape r h as been s tre t c h ed,some a rt i sts w i l l sugges t t h e

form very l ig h t ly i n o ut l i ne w i t h t h e pen c i l ; o t h ers wi l l u se t h e po i n t

of t h e b rus h and co lo r to i nd i cate t h e pr in c ip a l l i n es and propor

tion s ; s ome t im es t h e fo rms of t h e s h adows may a l so be l ig h t l y

i n d ic at ed . S ome art i s ts may not con s id er i t n ecessary to draw any

ou t l i n e s of t h e fo rms or s h adows before begin n ing to rep resen t t h e

va l ue s by was h es app l i ed wi t h t h e brus h . Few s tuden ts w i l l , h o w

eve r,be ab l e to d raw d i rect ly w i t h t h e b rus h and s in ce wate r co lors

a re not e as i l y c h anged w h en on ce t h ey a re p l aced upon t h e p aper ,s tuden ts are adv i sed to det erm in e t h e form an d pri n c ip a l l i n es ve ry

l ig h t ly w i t h t h e penc i l unt i l ab l e to d raw we l l a t fi rs t touc h . I n

t h u s us ing t h e pen c i l o r t h e b rus h,care mus t be t aken no t to make

t h e to uc h es s t rong enoug h to s h ow w h en t h e drawing i s fin i s h ed , for

i n a l l work o ut l i n es mus t be avo ided .

W h en t h e drawi ng i s t h u s sugges ted,t h e s t uden t may begi n to

was h i n t h e val u es . A l arge b rus h s h ou l d be u sed , and t h e co l or

t aken wi t h i t f rom t h e p an and m ixed wi th water enoug h to p roduce

t h e des i red t i n t ; t h i s s h ou l d t h e n be appl i ed wi t h a b rus h fu l l of

co lo r . T h e was h-

s h ou l d be qui ck ly flo ated ove r t h e ent i re su rface to

b e co lored,i n o rde r t h a t a c l ea r ton e may be p roduced . T h e was h

s h ou l d be moved wi t h a regu l ar mot i on of t h e b rus h , an d s h ou ld n o t

be a l l owed to s tand in on e p l ace longer t h an i n an o t h er . I t s h ou ld

n o t be a l l owed to d ry wi t h i n an y part w h ere an even val ue i s des i red .

as w h ere a was h d r i es i t p rod uces a water mark . T h e was h e s s h ou l d

b e begun at t h e tOp wi t h t h e paper s l ig h t l y i n c l i n ed so t h at t h e was h

fl ows toward t h e bo ttom of t h e board . T h e s id e of t h e brus h s h oul d

1 32 L /G I /T A A’

D S I /A D E .

be app l i ed to t h e paper w h en l arge space s are to b e cove red , and t h e

po i n t of t h e brus h w h en sma l l p arts are wo rked upon or w h en careful

d raw i ng is requ i red .

Th e studen t s h ou ld carry t h e fi rs t was h es ove r as muc h of t h e su r

face of t h e paper as poss ib l e . T h e fi rs t was h , w h i c h mus t be ve ry

l ig h t , c an gene ra l l y be carri ed over t h e en t i re pape r wi t h t h e

F I G . 62 . From a Wa te r-color S e p ia D ra wing .

except ion of t h e h ig h l ig h ts . B e fo re beg i n n i ng wi t h t h e w as h es.some art i s ts go o ve r t h e ent i re pape r w i t h c l ea r i n orde r to

d ampen t h e pape r so t h at t h e was h es w i l l no t d ry too qu i ckl y and

produce wate r marks ; but t h i s i s no t n ecessa ry , as t h e fi rs t l ig h t

was h wi l l d ampen t h e ent i re paper w i t h t h e ex cep t ion of t h e h ig hl ig h ts .

Wh en t h e fi rs t w as h h a s d ri ed , a second may be p l aced upon i t.

but i f t h e second i s appl i ed w h i l e t h e pape r i s we t . t h e fi rs t w i l l

be a t l e as t part i a l l y removed . T h e second was h s h ou ld be ca rri ed

over as muc h of t h e pa per a s poss i b l e.and ove r t he con tours of

https://www.forgottenbooks.com/join

F I G . 63 . From -Co lor S e p i a S tudy .

B R U S H D I I’A IVI A

'

G. I 35

t h e d ifficu l t i es of p rod uc i ng a rt i s t i c effec t s by t h i s met h od a l on e a re

so gre at t h at s tuden ts a re adv i sed not to at t empt i t . T h ey s h ou l d

obta in effects by work in g over ou t l i n es as muc h as poss ib l e and by

dec rea s ing t h e s i z e of t h e was h es as t h e i r s t reng t h i n creases , un t i l

fi na l ly t h e accen t s of dark, w h i c h comp l et e t h e d rawing, are added .

W h en a bru s h d raw ing i s we l l s ta rted i t w i l l b e wel l to'

give,i n

some smal l p ar t,an accen t of d ark as s t ron g a s may be des i red i n

t h e fi n i s h ed d r aw ing,i n o rde r t h at as t h e d raw i ng p rogresses t h e

da rks m ay be compared wi t h t h i s accen t . I n t h i s way t h e va l ue s

may be gi ven so as to avo i d mak ing too l ig h t o r too dark a st udy .

I f t h e co lo r run s o r i s dropped upon pa rts w h ere i t i s no t desi red,

i t may be removed by absorb ing i t w i t h b lo t t i ng paper or w i t h a b rus h

from w h i c h t h e co lor h as been pressed .

W h en t h e s t udy i s h a rd an d crude as a resu l t of u n avo i dabl e

wate r l i n es , t h e pape r s h ould be d r i ed and t h en t h o ro ug h l y was h ed

wi t h c l ean wate r and a sof t sponge or a brus h . T h e grai n of t h e

pape r s h ou ld no t be in j ured i n do i ng t h i s , and if l i t t l e ro l l s of pape r

begi n to form,t h ey s h ow t h at t h e was h in g process mus t s top i f t h e

pape r i s n ot to be spo i l ed . Was h i ng in t h i s way wi l l grea t ly imp rove

a h a rd d raw ing,and most s at i sfactory effec t s are somet imes prod uced

by was h i ng a d raw i ng w h i c h i s apparen t l y i n a h ope les s cond i t ion .

Some art i s t s ob ta i n t h e i r effe c ts p r in c i pa l l y by us e of t h e sponge

and brus h upon d rawings i n ten t ion al l y made crude and h ard,i n

o rder t h a t t h ey may be sof ten ed an d broug h t toge t h er by was h i ng .

S tuden ts s h ou l d know t h e val ue of t h i s met h od , bu t t h ey s h ou ld a im

to p roduce res u l t s d i rec t ly,and s h ou ld never work wi t h t h e i n ten t ion

of produc i ng fa l s e effe cts w h i c h a re to be subj ected to t h e ac t ion of

a cc id en t a l p ro cess es .

S t uden t s shou ld a im to produce an atmosp h er i c effec t by grad ing

t h e was h es as t h ey are appl i ed , and espec i a l ly by grad in g t h em a long

t h e con tou rs . A h ard effec t w i l l b e gi ven by any d rawing i n w h i c h

t h e was h es are keen an d s h a rp at t h e con tours , or i n w h ic h l in es of

l ig h t o r ofdark a re formed by wat er l in es o r by was h es w h i c h do not

q u i t e meet .

The wet met hod — T h is m et h od is ca l l ed t h e D u tc h met h od

because used by t h ese pa i n te rs,and i t d iffe rs from t h e d ry me t h od

i n mak i ng use of p ape r w h i c h i s kep t we t un t i l t h e fi n is h i ng touc h es

https://www.forgottenbooks.com/join

I 38 L I GH T A N D 05 .

are appl ied.T h i s avo id s t h e crude e ffec t gi ven by t h e d r y met h od

w h en obj ects a re s h arp ly defined,or w h en was h es dry and form

w ate r l i nes .

T h e paper to be used i s soaked i n w a te r , and a l so a p iece of blot

t i ng paper as l arge as t h e paper , and t h e two are t h en p l aced

toget h er upon t h e draw ing board,t h e b lo tt i n g paper be in g under

t h e w ate r—co lo r paper,and bot h are secured to t h e board by rubber

bands en c i rcl i ng t h e board and pl aced upon t h e edges of t h e paper .

Th e d raw ing is t h en made wi t h t h e po i n t of t h e brus h . j us t enoug h

wa te r be i ng used to moi sten t h e b rus h and cause i t to take up t h e

co lo r . Wh en t h e pr i nc ip al fo rms are suggested i n out l in e . t h e masses

of dark are put in w i t h t h e s ide of t h e b rus h,j u s t enoug h water being

used to cau se t h e color to m ix and to flow from t h e brus h to t h e wet

paper . Th e wate r upon t h e pape r d i l u tes t h e col o r and causes i t

to flow even ly and produce tones w h i c h sof t ly b l en d i n to eac h ot h e r .

N o tenden cy to h ard ou tl ines i s p roduced . bu t , on the cont ra ry , t h e

effec t of t h e d rawing i n i t s fi rs t stag es i s ex t rem el y b l u rred , for t h e

d ifferen t tones grade i n to eac h ot h e r and p roduce s imp ly masses of

l ig h t and dark wi t h no separat i ons o r dec ided forms t h roug h ou t t h e

d ra w in g . Th e paper bei ng wet a l l t h e t ime,t h e re i s no danger t h a t

t h e co lor w i l l d ry and produce water l i n es,and as muc h t ime as is

des i red may be spen t i n s tudy ing t h e propor t ion s a nd forms of t h e

dark masses as t h ey are p ut in . W h en t h e pape r h as been covered

so as to sugges t t h e effect of l ig h t an d s h adow . t h e d ark s s h oul d b e

s t rengt h ened by work i ng more colo r i n to t h em w it h t h e b rus h . Th e

co lor s h ou l d be taken d i rec t l y f rom t h e pan an d worked i n to t h e d ark

masses t h roug h out t h e d rawi ng un t i l t h e prope r con trasts of l ig h t

and dark are obt a ined . I n t h u s s t ren g t h en ing t h e darks . i f t h e

co lor spreads i n to t h e l ig h t s i t may be t aken up w i t h t h e b lot ter ;and t h e b r i s t l e brus h may be us ed to l ig h ten any par ts w h i c h may

be too dark .

Wh en t h e masses and t h e effec t h a ve been obta i n ed as expl a in ed.

t h e paper s h ou l d be a l lo w ed to d ry so t h a t i f co lor i s p l aced upon i t

wi t h t h e brus h fu l l of col or i t w i l l no t run. T h e n ecessa ry dec is ion

and t h e accen t s s h oul d t h en be pu t i n wi t h was h es w h i c h a re

a l l owed to dry w i t h ou t b l en d ing : a nd t h e d rawi ng s h ou l d be fin i s h ed

by carefu l l y d ra w i ng w i t h t h e po i n t of t h e b ru s h any deta i l s of dark

1 ; (15 1-1 1 ) 1m [VI / VG . I 39

need ed , and by t aki ng ou t w i t h a s t iff b r i s t l e b rus h any accen t s o f

l ig h t .

T h is me t h od g ive s softn ess,except w h e re dec is ion i s p roduced by

t h e fin i s h i ng touc h e s,and i s an ar t i s t i c met h od capabl e of produc ing

t h e mos t b eaut ifu l effect s . T h e met h od i s at fi rs t difii cult , pa rt icula rly w h en co l ors are used i f t h i s me t h od i s no t u sed by s tuden ts ,i t s p r i n c i p l e s h ou ld be appl i ed as fa r as poss ib l e so a s to cause t h e

was h e s p l aced upon dry paper to b len d and to soften in to eac h o t h e r

in a l l t h e fi rs t s tages o f a ny drawing . D ec i s ion an d keen n ess are

g iven on l y by t h e accen ts prod uced by t h e l ast work upon t h e

d raw ing .

T h e best met h od fo r t h e s t uden t w h o repre sen t s va l ue s seems to

b e a comb i n at ion o f bot h m et h ods , t h e fi rs t work be in g don e wi t h

t h e pape r wet,and wi t h colo r w h i c h i s worked i n to t h e pape r so

t h a t t h e d iffe ren t va l ue s t h roug h o ut t h e d rawing are represen ted

by tones w h i c h sof t l y grade into eac h o t h e r . Wh en t h e masses

a re q u i t e s t rongly i n d i ca ted,t h e pape r s h oul d be a l l owed to d ry and

t h e d rawi n g fin i s h ed a s exp l a i n ed under t h e dry met h od .

”

Figs . 6 2 . 63 , 64 , an d 65 are s tuden ts’ d rawings i n ten ded as s tud i es

o f va l ues , a nd mad e by combin i ng bot h me t h ods as exp l a i n ed above ;t h ey s h ow how.

t h e kn owl edge ga in ed by s t i l l-l i fe s tudy in c h arcoa l

may be appl i ed to more in te re s t i ng subj ec t s .

CH AP TE R V l l l.

D R A WI N G I N T H E P U B L I C S CH OOL S .

T H E P E N c I I. oR T H E. B R U S H .

T h e ques t ion w h et h e r t h e publ i c sc h oo l pup i l s h a l l fi rs t s tudy

i n ou t l i n e,i n l ig h t and s h ade

,or i n co lo r i s on e upon w h i c h very

d ifferen t Op in ion s are h e l d . S ome teac h ers c l a im t h a t t h e pupi l

s h ou ld begin w i t h co lo r ot h ers t h a t h e s h ou ld begin w i t h l ig h t and

s h ade and ot h e rs c l a im t h a t h i s fi rs t s t udy s h ou l d be i n o ut l i n e .

I f pup i l s cou ld st art r ig h t l y a nd unde r t h e best cond i t ion s,i t i s

not a mat te r of great importa nce w h et h e r pup i l s begi n w i t h out

l i n e or wi t h l igh t and s h ade bu t i t i s gen e ra l ly impo ss ibl e to secure

t h e best cond i t ion s a nd t h e q uest i on rea l l y i s w h at i s adv i sable,

con side r ing t h e fac t t h a t most of t h e in s t ruc t io n i s g iven by grade

teac h e rs,and i s given under very poor cond i t ions a s to l ig h t and

mater i a l s .

Out l i n e i s a med ium w h i c h conven t ion a l l y rep resen ts t h e l eas t

importan t fea t ures of a sub j e c t ; l ig h t an d s h ade effec ts a re fa r

more importan t t h an con tours and co lor effec ts are more importan t

t h an l ig h t and s h ade . B u t t h e ques t ion of t h e re l a t i ve importance

of t h e t h ree i s of l i t t l e a s s i s tan ce i n en abl i n g us to dec ide h ow t h e

pupi l may make t h e mos t rap i d advan ce,fo r h e must be abl e to

draw , and ab l e to give val ues and al so color effe ct s , i f h e i s to pain t

a p i c ture ; and h i s t ra i n ing mus t no t gi ve un due a tten t ion i n any

on e d i rect ion .

I t i s a l so ev iden t t h a t i t s h ou l d no t p resen t t h e mos t d iffi cu l t p rob

lems to t h e younges t pup i l s . I t i s a q uest i on i f work i n l ig h t and

s h ade wou ld be more d ifficul t fo r young pup i l s t h an work i n out l in e,

i f t h e pup i l s cou ld h ave , as i n s t ructor , an a rt i s t who was a t t h e same

t ime a tra i ned teac h e r ; bu t as rega rd s co lor, t h e re can h a rd ly b e

muc h d iffe ren ce of op in ion . P robabl y mos t a rt i s ts wi l l say t h a t

t h ey h ave persona l l y seen co lor as i t rea l ly appears on l y afte r h av ing

s tud ied many yea rs ; and often t h ey wi l l sa y t h a t t h ey h ave fo r t h e

https://www.forgottenbooks.com/join

1 4 2 y ou r A mi

-1)

T h e work don e i n t h e past h as been p ri n c ip a l ly in pen c i l out l i ne

h en ce t h e penc i l i s n ow d is card ed i n favor of crayon , co lo red crayon s,t h e b rus h

,an d pen and i nk . E ven t h e fi rs t i n s t ruct ion in some

schoo l s i s w i t h t h e b rus h,and somet imes br us h -work i s t h e p r in cipal

i n s truc t io n given t h roug h a l l t h e grades . As a resul t of s uc h met h ods,

we find on ex h ib i t i o n i n some p l aces drawi ngs w h i c h to t h e pub l i c are

m uc h more inte res t i ng t h an t h e penc i l out l i n es ex h i b i t ed i n former

years,and pup i l s a re muc h more in te res ted i n suc h work t h an i n

t h e work former ly done . T h ere i s no quest ion t h at in te res t i s in

c reased by a ny an d a l l work w h i c h s uggest s p i ct u re-mak ing . B ut

t h e i n tere st of t h e pupi l i s no t t h e on ly po in t to be con s idered ; _if

i t were,we s h ou ld no t ask h i m to s tudy spe l l i ng or ar i t h me t i c if h e

does not l ik e t h e se stud i es o r s h ows more i n terest i n manua l t ra in

i ng,c h em i st ry , or a ny ot h er subj ec t . T h e pup i l ’s i n te res t i s des i rab le ,

bu t i s i t to be al l owed to i nflu en ce i n s tru ct i on i n drawing more t h an

i t does inst ruc t ion in ot h e r subj ec ts ? Good i n st ru ct ion wi l l c reate

inte res t,and ye t i n teres t i s n o t proof of good i n s t ruct i o n fo r met h ods

w h i c h make t h e pup i l ’s work or t h e teac h e r ’s work easy w i l l often

be popu l ar,and t h e more h armfu l t h ese met h ods are

,t h e more i n terest

t h ey wi l l often c reat e .

T h e popu l ar i n teres t i n l ig h t and s h ad e . i n crayon d rawing, i n

co lo red crayons . in brus h wo rk , i n pain t i ng, and i n pen and ink

in t h e lower grades of t h e pub l i c sc h oo ls i s l arge l y due to t h e rea c

t i on from t h e mec h an i ca l work of outl i n e d raw i ng mrf/mm'

m/lr t a ng /I I ,

and i s often not based on sound p r i n c i p l es o r sound in st ruct i on . Th e

pup i l w h o rece i ves in s truc t i on not based upon so und a rt pr in c ip l es

w i l l be no b et te r off t h a n t h e on e w h o forme rly was ta ug h t to make

mec h an ical free-h and d rawi ngs . T h ere wi l l . h o w ever . be a great

d iffe ren ce i n t h e cost , for w h i l e i n s t ruct ion i n pen c i l d rawing is

i nexpen s ive as fa r as mater i a l s a re con cern ed,t h e i n s t ruc t i on w h i c h

a l l ows t h e pupi l to t h i n k t h a t h e can pa in t before h e can d raw wi l l

cos t m any t imes as mu c h fo r ma te ri al s a s t h a t forme rl y prov i ded .

T h e pub l i c s h oul d un der stand t h a t to give a boy a pa i n t—box does

not make h im an art i s t. or gi ve h im t h e power to d raw any more

t ru t h fu l l y t h an h e c a n draw wi t h t h e l ead pen c i l . P ub l ic sc h ool

graduates h ave g en e ra l ly been un abl e to d raw wi t h an y degree of

fac i l i ty , or even accu racy , t h e s impl es t obj ect s abou t t h em .and

D IVA lV/zVG I A" 7

‘

I I E I’

UR L I C S CI /0OI . S . l 43

con sequ en t ly t h e p ub l i c d emands t h a t some c h ange i n d rawi ng be'

made . T h i s demand i s now met i n some p l aces by putt ing in to t h e

h an ds of t h e p up i l a brus h i n stead of a penc i l . Wit h t h i s b rus h t h e

pup i l m akes draw ings w h i c h a re freer t h an the out l i n e d rawings he

fo rmer ly mad e ; bu t are t h ey an y t ruer , any more l ike t h e obj ec ts

s t ud i ed,a nd w i l l t h i s t ra in ing en ab l e t h e pup i l to d raw correc t ly ?

Wit h t h e b rus h t h e p up i l dr aws l eaves,fl owers , v egetabl es , etc .

T h ese subj ec t s are suc h t h at t h ey are recog n i zed if t h e d rawi ngs

a re f ar f rom correc t ; t h e h an d l ing of t h e brus h produces var i e ty

a nd acc i den t a l effect s w h i c h a re of ten p l e as ing and art i st i c,so

t h a t to t h e casua l ob se rver,w h o cannot compa re t h e d rawings w i t h

t h e obj ec ts,i t may seem as i f t h e wo rk was a grea t advance ove r

t h e s impl e out l i ne work prev iousl y don e . B u t ask t h e p up i l w h o

h as us ed t h e b rus h exc l us iv e ly,or even la rge ly

,t h roug h a l l t h e

grades,to d raw a c h ai r o r a corn e r of a room or a l andscape

,

and h e w i l l i n m any cases d ra w no b e t ter t h an h e formerly d id .

T h e remedy for poor d rawing i s no t to b e found i n a c h ange of

med i ums . I f i n s truct i on in drawi ng i s based upon good met h ods ,t h e p en c i l o r t h e brus h o r any o t h e r med i um can be used , an d t h e

s tuden t w i l l l e arn to d raw ; bu t un t i l h e s t ud ie s t h e appearan ces of

n atu re,an d not s imp ly t h e h and l i ng of an y medi um , h e w i l l neve r

d raw any b et t er t h an h e h as drawn wi t h t h e i n s truct i on of t h e pas t,w h i c h h as taug h t h im to u se a pen c i l mec h an i c al ly .

I do no t mean to s ay t h at i n many places good may not resul t

f rom t h e pres en t movemen t i n favor of ot h e r med i ums t h an t h e pen

c i l,bu t t h i s w i l l come pr i n c ip a l ly w h en d i recto rs of d rawing b as e

t h e i r effor ts on t h e se r io us s tudy of n ature and on t h e ca refu l com

par i so n and correc t i on of a l l wo rk , un t i l t h e eye h as l earn ed to se e

t ru ly enoug h to a l low t h e h an d to exp ress fo rm rap id l y .

T h e p up i l w h o h a s n o t l ea rn ed to d raw qu i te t ru t h fu l l y by t h e

use of t h e pencil, or some ot h er med ium , w h i c h p e rm i ts frequen t

c h anges,wi l l o n ly waste t ime a nd money by t ak ing up work w i t h

t h e brus h and I nd i a i nk , o r work i n co lo r ; and t eac h e rs a re e arn est ly

adv i s ed no t to a l l ow pup i l s to at tempt t h i s work un t i l t h ey can draw

fa i r ly we l l i n o u t l i n e .

I fp rope r in s truc t i on in t h e l owe r grades i s gi ven in penc i l out l i n e ,pup i l s w i l l b e i n te res ted

,an d t h ey wi l l l ea rn to d raw before t h ey

I 44 L I GH T A N D S l/A D E .

en te r t h e h ig h e r grammar grades,so t h at i n t h ese grades i t wi l l be

poss ib l e to begin t h e use of t h e b rush and o t h e r med iums more

difficu l t t h an t h e penc i l . T h e fi rs t subj ects for brus h in s tr uct io n

s h oul d be fo l i age,vegetab les

,etc .

,for e r ro rs i n d rawi ng wi l l not

appear at fi rs t gl an ce in t h i s wo rk ; but t h e brus h s h o ul d no t be

us ed un t i l p up i l s can avo id t h e mos t se r ious e rro rs of drawing .

P up i l s may rece i ve good i ns truct i on in out l i n e an d l ig h t and s h ade

and s tudy excl us i ve l y or l a rge ly wi t h t h e brus h , bu t t h ey wi l l ga in

not h i ng by so do ing . On t h e con t rary,t h ey w i l l l o se ; fo r to l earn to

d raw i s a difii cult probl em if made as s impl e as poss ib l e,and t h e

b rus h makes i t muc h more d ifficu l t t h an ot h e r med i ums t h e p up i l

ma y use. wit h far l es s expend i tu re of t ime and money . T h e penc i l

i s c l ean er t h an any ot h e r med i um and more d urabl e ; i t i s equa l ly

wel l ad apted for t h e s l ig h tes t sketc h o r fo r t h e most carefu l s tudy,

an d i t a l l ows c h ang es to be made muc h more read i ly t h an mos t

ot h e r med i ums . I t i s a t t h e same t ime t h e c h eapes t med i um,t h e

mos t educa t i on al , and t h e bes t i n a l l w ays ; and far from be ing

c h i ld i s h o r mec h an i cal , i t i s , and h as been , a favor i t e med i um of

near ly al l great a rt i s ts .

T h e penci l i s adapted , no t on ly fo r t h e fi rs t wo rk in t h e pub l i c

sc h oo l s,bu t for t h e us e of a l l art s tuden ts and w h en s t uden ts h ave

t h e advan tages of a s tud io and an art i s t a s teac h er,t h ey s h ou ld use

t h e pen ci l pa rt of t h e t ime , even i f t h ey begi n w i t h t h e s t udy of

l ig h t a nd s h ade i n c h arcoa l , for i t i s n ecessa ry to study form as

w e l l as va lues . To w h i c h eve r subj ec t t h e s tuden t fi rs t g ives h i s

a tt en t ion , h e s h ou l d c h ange for a t ime . and make t h e ot h e r of fi rs t

importance .

C h a rcoa l i s bet t er adap ted for t h e s t udy of va l ues t h an any ot h e rmed ium , fo r c h anges i n t h e va l ues o f t h e c h a rcoa l d rawing may be

made most read i ly . Th e penc i l i s be t te r adap ted to t h e s tudy of

fo rm t h an t he c h arcoal , for i t h as a fine,durabl e po i n t

,and wi t h

i t t h e fa in tes t to uc h es ma y be made ; so t h a t i t i s poss ib l e to

c h ange a draw i ng many t imes wi t h ou t an y use of t h e e rase r,by

g radual l y s t rengt h en i n g t h e touc h es . M a k in g a d rawi ng in t h i s way.

w i t h ou t t h e use of t h e e raser . un t i l t h e correc t l i n e s h ave been found.

g i ves t h e best d ri l l i n d rawi ng , and i s t h e on l y art i s t i c met h od and

t eac h ers of pri vate c l a sses and of a rt-sc h oo l st uden ts s h ou l d d epend

https://www.forgottenbooks.com/join

1 46 L I GH T A N D S H A D E .

t h e pup i l s c an see i t on ly t h roug h t h e h o l e cu t in t h e pape r p l aced

in fron t of i t . T h e re are few pup i l s w h o w i l l n ot see t h e l ig h t and

dark upon t h e cyl i nde r w h en i t i s t h us s i tuated,and af te r t h ey h ave

don e t h i s,t h e pape r i n fron t of t h e cy l in de r may be removed

,and

t h ey wi l l t h en real i ze t h a t t h e l ig h t an d dark was rea l ly upon one

w h i t e obj ec t,and due w h o l ly to l ig h t an d s h ade . P upi l s w h o can

s ee t h ese effec ts of l ig h t and s h ade wi l l read i ly rep re sen t t h em by

s imp l e masses,and may t h us begi n t h e i r s t udy of n atu re ’s l ig h t s an d

s h ado w s .

W h en work more advanced t h a n t h i s i s d e s i red,i t w i l l b e wel l to

s tudy t h e c ube , or a s im i l a r obj ec t , a s fo l lows

F i rst p lace t h e cube i n a s id e l ig h t p roduc ing an effec t s im i l ar to

t h a t of t h e p l int h i n Fig . 8 ,an d h ave t h e pup i l s represen t t h e effect

a s i n Fig . 49 . Nex t p l ace t h e c ube w i t h t h e l ig h t i n fron t of t h e

pupi l s so t h a t t h e effe c t i s s im i l a r to t h a t of t h e p l i n t h i n Fig . 1 1 .

T h e pup i l s wi l l represen t t h e cast s h ado w and t h e t w o vert i ca l

s h adow su rfaces by dark tones , an d t h e top of t h e cube by an

ou t l in e . Next p l ace t h e c ube so t h a t t h e l ig h t comes from be h ind

t h e p up i l s , and so t h a t t h e effec t i s s im i l ar to t h a t of t h e p l i n t h i n

Fig . ( 0,and ask t h e pupi l s to mak e a l ig h t an d s h ade d rawi ng of t h e

cube . Th e pup i l s h ave been accus tomed to represen t t h e cast s h adow

and t h e s h adow surfaces by dark ton es w h i c h h ave p roduced t h e

effect of t h e drawings . B u t now t h e effec t of t h e s ubj ec t i s en t i re ly

l ig h t , and cannot be repres en ted by s h ad i ng a ny s u rface of t h e obj ect

a s t h e pupi l s h ave been i n t h e h ab i t of do ing . T h i s e ffect w i l l s h ow

t h e pupi l s t h a t i t i s o ft en n ecessa ry to us e a background,and t h i s

m ay now be repre sen ted so t h a t t h e cube comes ou t l ig h t aga i n st i t

as t h e obj ect does ag a i ns t i t s background i n n at ure .

T h e cub e s h ou l d now be pl aced in d iffe ren t pos i t i on s and wi t h d if

ferent backg rounds , so t h a t i t s s h adow su rface appears fi rs t darker

a nd t h en l ig h t e r t h an t h e background , and t h e pup i l s s h ou ld b e asked

to represen t t h e va lu e of t h e background as we l l a s'

t h a t of t h e

s h adow and cas t s h adow . D raw i ngs suc h as Fig . 5 1 wi l l re s ul t .

I t i s now t ime to ask t h e pup i l s to obse rve t h at t h e l ig h t faces a re

no t equa l ly l ig h t , a nd t h e sp h e re s h ou ld be s t ud i ed to s h ow t h e gra

dat i on t h a t t h ere i s i n t h e masses bot h of l ig h t an d of s h adow.T h e

pup i l s s h ou ld make a carefu l s t udy of t h e sp h ere from t h e obj ect,

D IVA TH E P U B L I C S CH OOL S . 1 47

an d s h oul d g ive al l t h e gradat ion s t h at can be s een . After t h i s t h ey

may s tudy a co lo red obj ec t an d a w h i t e obj ec t a t t h e s ame t ime . I n

t h e i r work f rom t h i s t ime on t h ey s h ou l d re presen t a background o r

not , accord i ng to t h e n atu re of t h e s ubj ec t . T h ey s h ou ld unders t an d

t h a t a d ark obj ec t s een aga in s t a l ig h t b ackground,or an y obj ec t

w h i c h appears d arker t h an i t s background,may be effec t i ve l y ren

de red w i t h o ut a background ; bu t w h en any obj ec t appears l ig h te r

t h an i t s background,i n w h o l e or in part

,a sketc h t rue i n v al ues can

no t be made w i t h out t h e us e of a background . I f pup i l s are t aug h t

to obse rve n at ure,and unders tand t h a t t h e i r sketc h es s h ou l d be

t ru t h fu l repres en tat i on s of w h at t h ey see,t h ey wi l l b e in te res ted in

t h e work , and w i l l m ake rap id p rogress .

T h e ar t i s t i c m et h od of m ak i ng t h es e penc i l sketc h es i s to sugges t

t h e p roport i on s of t h e d rawing and i ts p r in c i p al masse s by l ig h t l y

in d i cat i ng t h e p r i n c ipa l s h adows an d cast s h adows,and t h en s t rengt h

ening t h em so a s to obta i n d rawi ng and va l ues a t t h e s ame t ime , as

exp l a i n ed i n C h ap . V . P ub l i c s c h oo l pup i l s w i l l not be ab l e , h ow

ever,to d raw wel l enoug h to work in t h i s way at fi rs t

,and t h ey wi l l

b e ob l iged to i n d i cat e t h e out l i n e s of t h e obj ects before beg i n n ing

t h e s h ad ing . I f i n obta i n i ng correc t form t h e ou tl in e s become

s t rong,t h e e rase r s h ou ld be used to make t h em very fa in t b efo re

t h e d rawi ng i s s h aded . Wh en poss ib l e n o s h adow or edge s h ou l d

be defin ed i n a fini s h ed d rawing by an out l i ne ; an d w h enever a

b ackground i s used t h e fo rms m ay a lways be s h own by t h e v al ue s

a lon e .

P e rfect ly accu ra te geomet r i c so l i ds a re no t t h e best s ubj ec t s fo r

t h i s work,a s i t i s d iffi cu l t to rep re sen t t h e fa c t s of t h e i r fo rm in a

d raw ing a rt i s t i ca l l y h an d led,an d a subj ec t s uc h as Fig . 54 i s fa r

prefe rabl e to t h e cube of Fig. 49. T h e type so l id s s h ou l d , h owever ,be s t ud i ed fi rs t

,and sketc h es s im i l ar to Fig . 52 are adv i sab le , as t h ey

s h ow at t h e s ame t ime t h e s t uden t ’s capac i ty for d rawi ng t ruly a nd

fo r ren der in g l ig h t and s h ade effec ts .

At fi rs t pup i l s s h oul d be a l l owed to work s lowly and c aref ul l y i n

o rde r t h a t t h e s h ad i ng may not ex ten d beyond t h e outl i n es ; an d

no d i rect i on s s h ou ld be gi ven res t r i c t i ng t h em to s h ad in g by means

of l i n e s o r by m ean s of s t rokes i n an y spec i a l d i rec t ion . T h ey s h ould

us e a sof t pen ci l,h av i ng a w ide po int , so a s to p roduce even ton es.

1 48 L I G I /T A N !) S H A D E .

i n an y way t h a t occu rs to t h em,and s h ou ld at fi rs t t h i n k on ly of

t h e v a l ue s and t h e forms of t h ese tones .

Afte r t h e s tuden ts h ave wo rked for some t ime represen t i ng t h e

darks by tones secu red by w h a teve r use of t h e pen c i l i s n at ura l to

t h em,t h ey wi l l wo rk more free ly and d i rect ly , and t h ey may t h en be

asked to p roduce s h ad in g by mov i ng t h e p en c i l b ack an d fort h i n

t h e d i rect ion of t h e su rface to be s h aded , so as to obta in t h e s h ad ing

by mean s of l i n es w h ose d i rect i on h e l ps to exp ress t h e s urface . T h us

on t h e fo reground t h e s t rokes of t h e pen c i l ma y be abou t h o ri zon ta l ,and upon t h e background t h ey may be vert i cal o r i n c l i n ed a l i t t l e

f rom t h e vert i ca l . T h e pen c i l s t rokes t h a t fo rm t h e s h ad ing upon

any obj ec t may h ave suc h a d i rec t ion t h a t t h ey h e lp to express t h e

fo rm of t h e obj ec t bu t i t w i l l not be poss ibl e to fo rmu l a te ru l es for

de te rm in ing t h e d i rect i on of t h e penci l l i n es u sed i n s h ad i ng,for

t h ere must a lways be var i ety,and t h e pr in c i pa l d i rect i on s mus t be

cont ra s ted by l i n e s h av i ng ot h e r d i rec t ion s . I t wi l l no t do for t h e

l ines of s h ad i ng always to be ve rt i c a l upon ve rt i c a l s urfaces,o r h o ri

zont a l upon h ori zon ta l s u rface s , or ob l i que upon ob l i que surfaces,or to fo l l ow t h e exac t cu rva t ure of curved su rfaces : bu t t h e p up i l

w i l l be ass i s ted by rememberi ng t h a t s uc h d i rect ion s w i l l oft en pro

duce t h e mos t sat i sfac tory resu l ts . T h e effec t w i l l b e most sa t isfa ctory w h en t h e s h ad in g fo l l ows t h ese gen e ra l d i rec t i on s , and i s var i ed

b y ot h e r l i n es w h i c h keep t h e effec t from becom ing monotonous .

P upi l s i n t h e lower g rades do not d raw freely enoug h to profi t by

d evot i ng muc h at ten t ion to t h e d i rec t io n an d k ind of l i n es by w h ic h

t h e s h ad ing is obta in ed . U n t i l p up i l s c an draw qu i te f ree ly and

give t h e masse s of l ig h t an d s h ade read i ly,i t w i l l on l y be n ecessary

to see t h a t t h ey use t h e s id e of a soft penc i l so as to p roduce even

tones of s h ad e ; and a l so to see t h at t h ey do no t use i ts po in t,o r a

s h a rp or h ard pen c i l . so as to produce fine l i n es e i t h e r w h en s h ad

i ng o r w h en d rawing t h e con tou r of an y obj ect .

Th e h e l p to be deri ved from t h e most su i tab l e d i rect io n of t h e

penc i l l i n es , or rat h er t ints by w h i c h t h e s h ad i ng i s g iv en .i s men

t ioned i n orde r t h a t teac h ers may unders tan d t h a t ru l es fo r h and l ing

canno t be gi ven , and t h at t h e on l y po i n t w h i c h s h ou l d dec ide sa t i s

factory t ec h n ique i s w h e t h e r i t gi ves a p l e as ing and t rue impres s ion

of t h e obj ect represen ted .

https://www.forgottenbooks.com/join

1 50 L I GH T A N D S H A D E .

t h ey wis h to make l ig h t and s h ade d rawi ngs and to pa in t befo re t h ey

can d raw in outl i n e t h ey wi s h to d ra w t h e h uman fig ure before t h ey

can draw a cub e . Of ten teac h ers al l ow pup i l s to spend t h e i r t ime in

at tempt ing t h e ad van ced w h en t h ey can not represen t t h e s impl e sub

ject s. T h us,i n t h e publ i c sc h oo l s

,pup i l s ofte n make i l l us t ra t ive

d rawi ngs from imagi n a t i on,dep i ct i ng subj ects t h a t would requ i re t h e

sk i l l of a t ra i ned i l l us t rato r to d raw wi t h any degree of t rut h . S uc h

work int e res ts t h e pup i l s and t ra in s t h e i n te l l ec t. an d i s va l uab l e in

t h i s way,but i t c ann ot t ra i n t h e eye to see . I t i s not p roperly t h e

s tudy of d rawing, and s h ou ld no t be pe rm i t ted to take t h e p lace of

t h a t s tudy of n a ture and t h at c r i t i c i sm of a l l d raw ings w h i c h d i s

covers t h e i r erro rs . fo r advance i s imposs ib l e excep t by d iscovery of

e rro r . T h e teac h i ng w h i c h i s based upon t h e i d ea t h a t c ri t ic i sm of

d ra w i ngs wi l l d i s cou rage t h e pup i l,and t h a t i f a l l owed to work wi t h

ou t cr i t i c i sm h e w i l l in t ime outgrow h i s e rrors and draw co rrect ly ,wi l l res u l t i n t h e los s of muc h va luab l e t ime an d effo rt .

A rt students w h o rea l i ze t he d iffic ul ty of success as a rt i s ts w i l l dowe l l to con s ide r t h e probl em of t eac h i ng d rawi ng in t h e pub l i c

sc h oo l s , fo r by g i v i ng pa rt of t h e i r t ime to t h i s teac h i ng t h ey can

support t h emse lves . so t h a t t h ey can pa i n t f rom love of art . To

teac h drawing wel l i s n o t a low aim , and i f advan ced a rt st uden ts

s h ou l d fi t t h emse lve s fo r teac h ing by norma l s tudy. t h ey wou ld often

ben efi t t h emse lves w h i l e e l evat i ng draw ing i n st ruc t i on .

S c h oo l comm i ttees w ou ld ass i s t i n improv ing d rawing in struct ion

i f i n se l ect i ng teac h ers of d rawing t h ey ac ted on t h e p r in c ip l e t h a t

t h e bes t teac h e r i s , ot h e r t h ings be i ng equa l . t h e on e w h o can draw

and pa in t t h e best . I t s h ou ld be unde rstood t h a t t h e a rt teac h e r

can n eve r become perfect i n h i s profes s ion . but must a lway s be

st udying and growing in art i s t i c po w e r .

I ft h e bes t res ul ts are des i red , t h e d i rec to r o r spec i a l te ac h e r of

d ra w i ng s h ou ld h ave at l e as t two days eac h week i n w h i c h to study.

to draw , or to pain t . D rawi ng te a c h e rs are often expec ted and

fee l compel l ed to prepa re papers a nd mate ri a l s for teac h ers and

c lasses . so t h a t al l t h e i r t ime ou t of sc h oo l i s occup i ed in wo rk w h i c h

amoun ts to t h e mak ing of tex t-books an d cop i es fo r teac h ers and

pupi l s . T h ere i s no more reason why t h e d rawing teac h e r s h ou ld

b e expected to make suc h cop ie s t h a n t h e re i s w h y t h e mus i c teac h e r

D A’A H

'

I A'

G [IV TH E I ’Ub’

L /C S CI /OOL S . 1 5 1

s h ou l d be expec t ed to prepare mus i c c h a rt s . D raw i ng teac h ers

s h ou l d n o t b e ob l iged to do suc h work . Th e work t h ey do in sc h oo l

i s fa r more t ry i ng an d d iffi cu l t than any ot h er te ac h i ng,an d i n stead

of work i ng a l l t h e t ime. in sc h oo l and o ut . t h ey s h oul d do j ust i ce to

t h emse l ves an d t h e i r pup i l s by study i ng n atu re part of t h e t ime .

I n no o t h e r way can t h i s mos t d iffi cu l t s ubj ect of i n s t ruct ion b e

p rope rl y p re s en t ed . Commi t tees s h ou ld a l so unders t an d t h a t no

system of d raw in g i n st r uct io n can be dev i sed w h i c h w i l l d i spen se

wi t h t h e spec i a l t eac h e r. o r w h i c h can succeed wi t h out a compe ten t

spec i a l i s t to i n s t ru c t an d d i rec t t h e regul a r teac h e rs .

C H AP TE R I X .

A D V I C E T O T H E A R T S T U D E N T .

T h e person w h o wi s h es to s tudy art s h o u ld rea l i z e t h a t i t i s a

profess ion i n w h ic h n ot h in g of a rt i s t i c v a l ue can be p roduced wi t h

ou t pat i en t s tudy an d ser ious and l ong-con t i n u ed effo rt . Th e l ife

of t h e art i s t i s on e of n eve r-ce as ing work . To i t h e mus t b r ing t h e

en t h us i asm of you t h,t h e s t rengt h of man h ood , and al l t h e en ergies

of h i s sou l ; fo r h i s prob lem i s not t h e rep re sen ta t ion of t h e ex ter io r

a lon e, bu t t h e s tudy of t h e soul — t h e sou l of nat ure . Th e most

t a l en ted men fa i l to so l ve t h e mys te r i es of n ature,and t h e problems

of t h e a rt i s t c an no more eas i l y be so lved i n a few years , or i n even

a l i fet ime . H e must a lways be a st uden t . an d by s tudy advance day

by day , i f h e does n ot w i s h to go backward . T h i s i s t rue , no t on ly

of t h e work w h i c h d i s t i n gu i s h es a rt from indus t ry,bu t of t h e mec h an

i c al p h ases o f h i s work , and studen ts s h ou l d no t begi n t h e st udy of

a rt w i t h ou t s e r ious con s id e rat i on of a l l t h a t i t i nvo l ves .

M any beg i n t h e study of ar t w i t h n o defin i te purpose. or wi t h

s imply t h e a im to acqu i re s l ig h t genera l kn owl edg e . Of course , i t

i s d es i rab l e t h at art s h oul d b e a subj ec t of gen e ra l s tudy,and t h a t

a l l sc h oo l s s h ou l d give a rt i n s t ruc t i on su i ted to t h e i r pup i l s . Not h

i ng wi l l do more to a dva nce a peop l e t h an t h e s t udy of a rt.an d t h e

love fo r a rt and n atu re w h i c h i t wi l l p roduce but t h ose w h o st udy

s h ould h ave a defin i te resu l t i n v i ew , a nd one w h i c h i s possib l e fo r

t h em to at ta in.

Adv ice i s n eeded by t h o se w h o spend t ime a nd mon ey on t eac h ers

ignoran t of a r t , and w h ose met h ods con s i s t s impl y of al l ow ing p upi l s

to t h i nk t h at t h ey are st udy ing pa in t i ng w h i l e mak i ng cop i es w h ic h

a re worked upon by t h e teac h e r. so t h a t . as a re su l t o f a few l esson s ,o i l pa int in g s a re p roduc ed . w h ic h a re tak en h ome for fram i ng . T h e

publ i c s h ou l d unde rstan d t h a t no on e can produce work fi t fo r exhi

b i t iou wi t h out long s tudy ; an d t h a t n o teac h e r i s g i v in g good inst ruc

t ion w h en h e wo rks long upon h i s pupi l' s d rawings . No te ac h e r

s h ou ld al l o w pup i l s to t h i n k t h e i r fi rs t wo rk more s a t i sfactor y o r

https://www.forgottenbooks.com/join

1 54 [JG/I T A A'

I ) S I /A D E .

from s imp l y t h e sa l e of a rt i s t i c p a in t i ngs . T h ere a re , h owever, many

good pa in te rs w h o do not se l l o ne p i ctu re a ye ar,and w h o l i v e by

i l l ust ra t in g,t eac h i ng

,des ign i ng

,or by ot h er work, w h i c h i s a neces

sity and no t a c h o i ce , an d w h ic h p reven ts t h em from do ing in a rt t h e

bes t work of w h ic h t h ey are capab le .

I fart s tuden ts wou ld ask teac h ers w h om t h ey respec t and w h ose

work may often be wide ly known,t h ey wou l d find t h a t often t imes

t h ese teac h ers cou l d n o t l i ve by t h e sa l e of t h e i r p a i n t ings and if,

i nves t igat i ng fu rt h er,t h ey d i s cove r t h a t even t h e pa in ters w h ose

work occup i es t h e bes t p l aces at t h e l ead ing ex h ib i t io n s of ten sel l

compara t i ve ly few p ict ures , t h ey m ig h t w i se l y dec ide to en ter some

ot h er p rofess ion .

T h e s t uden t w h o con s ide rs t h e se facts w i l l r ea l i z e t h a t i f h e t r i es

fo r t h e best i n a rt t h e c h an ces a re t h a t h e w i l l h ave a smal l and

uncerta in in come,and t h at h e w i l l ga in succe ss

,i f at a l l

,on ly after

m any years of h a rds h ip ; and t h a t for on e w h o fi n a l ly succeeds in

maki ng money by t h e sa l e of real l y good p i ct ure s t h ere a re a h un

d red w h o t ry and fa i l . Th ese fai l ures are n o doubt oft en due to t h e

fac t t h at t h e work i s n ot art i s t i cal l y great ; but i t i s ve ry d i scouraging

to t h e art i s t w h o tr i es to be s er iou s an d to p rod uce good work

an d w h o succeeds in a measure — to wi tn es s t h e fin an ci a l success

of many w h o are not se r io us,who are not s tud en ts of n atu re or even

cl ever pa in ters .

Fi nan c i a l success i s ga ined i n many d ifferen t ways mos t ra re i s

t h a t due to i n sp i ra t ion , — to t h e genius w h i c h p roduces great art .T h i s gen iu s i s genera l l y recogn i z ed and rewa rded w h enever great

work i s p roduced,t h oug h many of t h e p a in te rs now accorded great

n ess l i ved a l arg e par t of t h e i r l i ves i n a lmost poverty . Fi nanc ia l

success i s , h o w eve r, frequen tl y due. not to a rt i s t i c mer i t . but to bus i

ness ab i l i ty or soc i a l influence . I t i s a l so due to t h e effort to su i t

t h e pub l i c a nd to pa int i ts id ea l s . or , i n ot h e r wo rds , to pa in t w h at

uneducated eyes see in s tead of g ood a rt and t h e t ru t h con cern ing

n atu re . T h i s i s espec i a l ly t ru e reg ard i ng l and scape art . I n figu re

work i t i s eas i e r to apprec i ate t h e best art,bu t oft en i n t h i s l in e t h e

work w h i c h i s h a rd . mec h an i ca l . and most l i ke a s h a rp p h otograp h

i s t h a t w h i c h i s soug h t for. and t h e i n a rt i st i c pa i n ter i s o ften mos t

s uccessfu l fin an ci a l l y .

A D VI CE TO TI /E S T UD E N T . 1 55

To make mon ey i t i s n o t n ece ssa ry to st udy art se r io us ly or to

att empt to rep re sen t n a t ure'

s effec ts of co lo r,or even t h ose of l ig h t

and s h ade . fo r t h e p i ct u re w h i c h s e l l s i s too of ten t h e on e w h i c h

mechan i ca l ly p resen t s a p l eas i ng subj ec t t ru t h fu l l y as far as fo rm

i s conce rn ed , b ut w h i c h en t i re ly d i s regards t h e appea ran ce as fa r

as l ig h t an d s h ade and co lo r effe cts a re con ce rn ed .

I t i s ve ry doubtfu l i f a rea l ly grea t p i c tu re h as ever been produced

by a pa i n t e r whose so l e amb i t ion h as been to make mon ey.Art i s

d ue to a l ove fo r be auty w h i c h makes t h e a rt i st des i re to produce

t h e v ery bes t , w h i c h causes h im to h ave n o o t h e r a im ; w h i c h l eadsh im to go to n at ure fo r in sp i ra t i on and to study h e r pat i en t l y a nd

s e r i ous l y , to work earl y and l at e , to endu re pove rty an d h ards h i p , and

to a l l ow no t h i ng to i n te rfe re wi t h the comm un ion of h i s sou l wi t h

t h e sou l of n a t ure , w h ere i n l i e s at once h i s c h ief p l easu re and h i s

educa t i on . Th i s love fo r n a tu re an d for beauty wil l p roduce t h e

gre at a rt w h i c h i s recogn i z ed,and w h i c h i n t ime b rings fame and

mon ey to t h e few w h o are gen i uses . B u t grea t gen i us i s ve ry rare,

and mos t w h o t h i n k t h ey posses s i t w i l l fa i l t o real i z e t h e i r expect a

t ion s ; and t h oug h t h ey may p roduce rea l l y good and ser ious work

i t i s no t t h e bes t,an d n o t soug h t by t h e few w h o apprec i a te t h e

best art .

T h e a r t s tud en t s h o ul d und ers tan d t h ese facts,and i n t h e beg in

n ing dec ide e i t h er to work fo r l ove of n at ure an d of t h e bes t a rt,or

to make a bus i n ess of art . B efo re dec id ing for t h e fo rme r h e s h ou ld

carefu l l y s tudy t h e exper i e nces of t h e few w h o are a rt i s t i cal ly great

and no te h ow many years t h ey st ud ied before t h ey obta in ed success,

and h ow h ard t h ey wo rk even at t h e h e ig h t of t h e i r s uccess to s at i sfy

t h emse l ves . I f s t ude n ts on l y rea l i zed t h a t t h e maste r w h ose work

t h ey adm i re so muc h ve ry l i ke ly p a i n ted a dozen o r even more t imes

t h e h ead o r h and w h i c h seems so h as t i ly don e w i t h b road an d care

l ess s t rokes,before t h e fin a l s a t i s fac to ry resu lt was secu red

,t h ey

wou ld begi n to app rec i a te t h e d iffic u l t i es of t h e a rt i s t a nd to con s id e r

more s er i ous l y t h e p rob l em before t h em . S tuden ts s h ou l d real ize

t h a t grea tn ess i s d ue to i n sp i ra t i on or gen i us , bu t t h a t gen i us in t h e

case of t h e p a in te r m us t b e combi n ed wi t h t h e facu l ty fo r h ard work .

Some work longer t h an o t h e rs to accomp l i s h t h e s ame resu l t s , but

t h e h i s to ry of a rt reco rd s n on e w h o h ave p a i n t ed mast erp i eces w h i l e

r56 L I GH T A N D S H A D E .

t h ey h ave been mere c h i ld ren . C h i l d ren no t i n t h e i r teen s as ton is h

t h e world by t h e i r gen i u s i n musi c ; i t c e rta i n l y i s no t due to work

o r s tudy w h en t h e most d iffi cu l t maste rp i e ce s and beaut ifu l compo

si t ions are pe rfect ly executed w i t h ou t t h oug h t o r s tudy by t h e gen i us

of t h e c h i ld . B u t t h e l anguage of t h e pa in te r i s more d ifficu l t even

for t h e in sp i rat ion of t h e gen iu s,w h o mus t work long and mos t ser i

ously to acqu i re t h e man ua l sk i l l a nd dexte r i ty w h i c h w i l l perm i t h i s

gen ius to expre ss i tse l f . T h e ear l i e r t h e se r i ou s art s t uden t rea l i zes

t h i s an d begin s to stud y n atu re pa t i en t ly, t h e gre at er h i s c h ances

of s uccess .

1

I f t h e s tuden t dec ides t h a t fin an c i a l s uccess i s h i s a im,h e wi l l

mos t eas i l y an d su re ly obt a i n i t by maki ng soci a l affa i rs and bus i

n es s met h ods h i s c h i e f conce rn . H e s h ou l d s t udy art i sts and t h e i r

work to d i scover t h e tas te of t h e pub l i c , and w h en h e h as dec ided

w h a t se l l s best h e s h oul d pa in t i n l i ke man ner .

P eop l e may assert t h a t a l l are c reated free an d equa l , bu t t h e

s tuden t of na tu re can no t agree w i t h t h i s s ta temen t , for h e d i scovers

t h a t t h roug h a l l t h e lower and t h roug h a l l t h e h ig h er fo rms of l i fe

n at u re g ives un equa l po w ers . As fo r men . no two are a l ike i n every

respect . T h e st uden t of na tu re i s los t befo re h e r myster ies , and

wi t h awe and reve ren ce h e con temp l ates t h e m ig h ty i n te l l igence.t h e God w h o ru l es a nd d i rec ts al l t h i ngs . H e soon i s compe l l ed to

adm i t t h a t not h i ng i s by c h an ce . t h a t l a w regu la t es a l l t h ings .produces al l l i fe , and arranges even t h e s impl es t d e ta i l s of a l l l ife ,so t h a t f rom t h e p l an ets down to man an d h i s most i n s ign ifi can t

1 U nt i l a few years a g o C h av annes never sold a p ic ture . M i l l e t l ived h is l ifein penury a nd obscuri ty . B u t t h irty years of pers istent ridicu le h a v ing fai l ed to

destroy D eg as’

g enius. some recog ni t ion h as been extended to i t . T he fate of

al l g reat art ists in t h e nineteent h century is a score ofyears ofneg l ec t a nd obloquy .

T h ey m a y h ard ly h ope for recog ni t ion before t h ey are fifty ; some few cases pointt h e o t h er w ay. bu t v ery few . T he rule is t h irty years ofneg lec t a nd obloq uy.

t h ena fl ag of t ruce w il l be h eld ou t t o t h e recalc i trant art ist who cannot be prev entedfrom paint ing beaut iful pictures Come . l e t us be friends ; l et ‘

5 k iss a nd makei t up ; send a p icture to t h e academy ; w e

'

ll h ang i t on t h e l ine a nd make you a n

academic ian t h e first v acancy t h at occurs .

‘

T o day t h e academy w ould l ike to

g e t M r.Wh ist ler, bu t M r. Wh ist ler repl ies to t h e academy as D eg as repl ied t o t h e

g ov ernment offic ial who w anted a picture for t h e L ux embourg : je ne v eux

pa s C-tre condui t a u post e pa r l es serg ents de v i l le From Modern

P a int ing .

”

by G eorg e Moore .

https://www.forgottenbooks.com/join

r58 [JG/I T 5 l D E .

t h a t i t s h olde r was qu a l ified to teac h a rt . S uc h cert ific at es may h ave

en ab l ed t h e i r posse sso rs to obta i n pos i t i on s , b ut t h ey cou ld not

en ab l e t h em to teac h w h a t can on ly be acqu i red by years of s t udy

and exper i ence,and muc h of t h e bad in s t ruc t ion i n d rawing h as been

due to t h e me t h ods w h i c h al l owed s tuden ts w h o we re j us t begin n i ng

to s t udy d rawing t o rec e i ve d i p lomas s tat i ng t h a t t h ey w ere q ua l ified

to teac h a r t .

T h e studen t of a r t a t p resen t mus t re al i z e t h a t a l l t h i s i s c h anged,

an d t h at now t ra in ed d raug h tsmen and even t h e bes t art i s t s are com

pet in g for t h e work w h i c h a few y e ars ago t h e a rt s t uden t found to

do,an d t h e pos i t ion of teac h er i n any academy or p r iva te sc h oo l i s

eager ly soug h t by art i s ts w h o h ave gene ra l l y s tud i ed abroad many

years .

T h e t eac h e r of drawing i n t h e p ub l i c s c h ool s requ i res t ra in ing

w h i c h t h e art i s t se ldom obta i n s . T h i s n orma l t ra i n ing i s obt a in ed

at n orma l and norma l ar t s c h ool s,an d at presen t t h ere a re many

fi rs t-c la ss teac h ers of exper i en ce w h o h ave stud i ed i n a rt and norma l

a rt sc h oo l s from fou r to si x years,an d often longer , w h o are wai t i ng

for a c h an ce to teac h d rawing in t h e pub l i c sc h oo l s . I n t h e fu ture

i t wi l l not b e poss ib l e fo r a rt s tuden ts to support t h emse lves after a

year or t w o of s tudy , for t h e pos i t i on s w i l l be obta i n ed on l y b y t h e

very bes t an d t h ose wi t h t al en t or i nfl uen ce . S o t h e s tuden t mus t

real i z e t h a t w h et h e r h i s a im i s to teac h o r to pract i ce a rt,h e s h oul d

no t en ter an ar t sc h oo l unt i l h e h as s h own t h a t h e h as unusual

art i s t i c ta l ent .

I t i s not n ecessa ry for a s t uden t to en ter a s c h oo l o r to s tudy wi t h

a teac h er t o d i scove r w h et h e r h e h as ta l en t o r n ot . I f h e h a s ab i l i tyh e wi l l be fond of ar t an d of d raw i ng, and h e wi l l d raw and p rove

h i s ta l en t,or at l east h i s t as te

,for a rt

,and h e may by h i s own effor t s

acqu i re enoug h sk i l l to prove t h e ques t i on of ta l en t . Th e s tuden t

w h o canno t take a few l esson s at a good a rt sc h ool o r w i t h a good

art i s t s h ou l d s t udy t h e a rt magaz in es w h ic h reproduce art i s ts ’

d ra w in g s , and w h i c h gi ve d i rec t i on s by a rt i s ts and good teac h e rs

for art s tudy ; and h e s h ou ld st udy part i cu l a r ly t h e reprodu ct ion s

of t h e d rawi ngs and stud i es by t h e o l d m aste rs,for t h ey gi ve t h e

b est poss ib l e mater i a l fo r s t udy and i n sp i ra t i on . H e s h oul d take

t h ese d ra w i ngs , not as cop i es . bu t to s h ow h ow to wo rk and study

A D VI CE TO T I I E A A’

T S T U D E AW‘

. 1 59

from na t ure . Any s t uden t w h o wi l l d raw from n ature w i t h suc h

mate ri a l to en t h us e and suggest ways of work ing w i l l no t go as t ray.

and w i l l oft en be bet t er off t h an i f w i t h a poo r teac h e r o r a t a poor

a rt sc h oo l . T h e s t uden t w h o s tud i es i n t h i s way at h ome may in a

few years be fa r i n advan ce of t h os e w h o h ave s tud i ed an equa l t ime

unde r poo r in s t ruc t ion .

T h i s i s poss ib l e b ecause m et h ods of wo rk are often a l l owed to

occupy t h e a t t en t io n of a r t sc h oo l s tuden ts,so t h a t t h e i r a im i s no t

a rt i s t i c , bu t mec h an i ca l , and i t i s poss ib l e fo r s t uden t s to s tudy m any

years i n even n ot ed a rt sc h oo l s w i t h o ut obta i n i ng t h e fi rs t ide a of

w h a t a rt i s o r h ow t h ey o ug h t to work to secu re a rt i s t i c res u l ts . I n

t h e book “ M od ern P a i n t i ng , w h i c h a l l a rt s tudents oug h t to s tudy,M r. George M oore speaks of t h e n ot ed E ngl i s h sc h oo l a t S out h

K en s i ngton as fo l lows

F i ve and twen ty yea rs ago t h e s c h ool s of a rt at S ou t h K en s ington were t h e mos t com ica l i n t h e wor ld ; t h ey were t h e most comp l e te

parody on t h e con t i n en t al s c h oo l of a rt poss ib l e to imagin e . T h ey

are no doubt t h e s ame to-day a s t h ey were five and t w en ty years ago ;an y way . t h e educat i on a l res ul t i s t h e same . T h e sc h ool s as I

remember t h em were fau l t l e ss i n eve ryt h i ng excep t t h e i n s t ruc t i on

d ispen sed t h e re . T h ere were n ob l e s ta i rcases . the floors were cov

e red w i t h cocoanu t mat t in g,t h e rooms adm i rabl y h eat ed wi t h h ot

wat e r p ipes , t h e re were p l as te r cas ts , and offic i a l s . I n t h e fi rs t room

t h e s tuden ts p ract i c ed d ra w i ng f rom t h e fl at . E ngraved out l i n es of

e l abora te o rn amen t at i o n w e re g iven t h em ,an d t h ese t h ey d re w wit h

l e ad p en c i l s,measur i ng t h e spaces c a reful ly w i t h compasses . I n

abou t s i x mon t h s o r a year t h e s t uden t h ad l earn ed to use h i s com

passe s co r rect ly,a nd to p roduce a fi n e. h ard , b l ack-l ead o ut l i n e t h e

h a rde r an d fi n er t h e ou t l i n e,t h e more t h e d raw ing l ooked l ike a

p robl em in a book of E ucl id .t h e bet te r t h e exam in e r was p l eased ,

a nd t h e mo re w i l l ing was h e to send t h e s t uden t to t h e room ups ta i rs ,w h ere d rawi ng was p rac t i ced from t h e an t i que .

T h i s was t h e room in w h i c h t h e w i sdom of S out h K en s in gton

a t ta ined a comp l e te efflorescence . I s h al l n ever fo rge t t h e scen es I

wi tn ess ed t h ere . H av i ng made c h o i c e of a cas t. t h e s tud en t p ro

ceeded to m e asu re t h e n umber o f h eads ; h e t h en measu red t h e c as t

i n eve ry d i re c t i on,and as ce rta i n ed by m ean s of a pl umb l in e exac t ly

1 60 L I GH T A N D S H A D E .

w h ere t h e l i n es fe l l . I t was more l ike lan d su rvey ing t h an d rawing,

and to a ccomp l i s h t h i s port io n of h i s t ask took gene ra l ly a fo rtn ig h t,

worki ng s ix h ou rs a week . H e t h en p l aced a s h ee t of t i s sue paper

upon h i s d ra w i ng,l e av ing on ly on e sma l l pa rt un cove red

,and

,h av ing

reduced h i s c h al k pen c i l to t h e fin es t poss ib l e po i n t , h e proceeded to

l ay i n a se t of ex t remely fin e l i n e s . Th ese w ere crossed by a second

se t o f l i n es,and t h e two set s of l i n es w e re el abo rate ly s t ipp l ed , eve ry

b l ack spot be i ng careful ly p i cked ou t w i t h bread . Wit h a pat i ence

t ruly s ub l ime i n i t s fo l l y,h e con t i n ued t h e process a l l t h e way down

t h e figure,accomp l i s h ing

,i f h e we re t ruly i nd ustr io us

,about a n i n c h

square i n t h e course of an even ing . Our adm i rat ion was genera l ly

d i rec ted to t h ose w h o h ad spen t t h e longes t t ime on t h e i r drawings .

After t h ree mon t h s ‘ work a st uden t began to be n ot i ced ; at t h e end

of four h e became a n i mportan t person age . I remember one w h o

h ad con t r i ved to Spend s i x mon t h s on h i s drawing . H e was a sort

of dem igod,an d we used to watc h h im

,anx ious an d al a rmed l es t h e

mig h t not h ave t h e gen i us to devote s t i l l anot h er mon t h to i t ; and

our en t h u si asm knew no bou nds w h en we l earned t h a t,a week before

t h e d rawings h ad to be sent i n,h e h ad taken h i s d rawi ng h ome and

spen t t h ree w h ol e days s t i ppl i ng i t and p i ck ing ou t t h e b l ack spots

w i t h bread .

Th e poor drawing h ad n e i t h e r c h a racte r no r con s i s t en cy ; i t

l ooked l ike not h i ng under t h e s un , except a d raw ing don e at K en

s i ngton,— a fl at , fool i s h t h i ng, but very soft an d smoot h . B u t t h i s

was enoug h i t was passed by t h e exam in e rs,and t h e st uden t wen t

i n to t h e L i fe Room to copy an I ta l i an mode l a s h e h ad cop i ed t h e

Apol lo B e lvedere .

”

S im i l a r cen sure h as been deserved by ot h er sc h ool s. and t h e s tu

den t w h o i s unabl e to s tudy i n an art sc h oo l may con sol e h imse l f

w i t h t h e t h oug h t t h at h e m ig h t wast e muc h t ime i f n o t fortunate

enoug h to en ter on e of t h e r ig h t k in d ; and eve ry s tud en t s h ould

understan d , w h e t h er h e s tud ie s at h ome or not . t h a t h e i s an d mus t

be h i s own best tea c h e r , and t h a t i f h e h as a ny ab i l i ty or capac i ty for

a rt h e can develop i t suffi c i en t ly by h ome st udy to kno w w h e t h e r i t

wi l l be wi se for h i m to make art h i s l i fe work . I f h e h a s no t ab i l i ty

w h i c h w i l l make i ts e l f ev iden t by h ome s tudy,no amoun t of s t udy

wi t h t eac h ers o r i n a rt sc h ool s w i l l en abl e h im to ob ta i n re sul ts of

https://www.forgottenbooks.com/join

1 02 L I GH T A N D S H A D E .

n ot ab le to profi t by t h ese advan tages as a re t h ose wi t h more experi

en ce,and con sequen t l y many s tuden ts go abroad a nd s tudy for several

years,and re tu rn to Ameri ca no t knowing w h a t t h ey oug h t to h ave

known before go i ng abroad to p rofi t by t h e i r s tudy . T h e studen t i s,

t h en,advi sed to st udy i n an art sc h ool a t h ome for t h ree o r fo u r years

and t h e n to go abroad fo r as long a per iod as h e can , fo r t h e re h e i s

un der t h e in fl uen ces of t h e bes t art of t h e worl d and away from t h e

pet ty j ea lous i es and d i s t rac t ion s of a bus in es s an d in art i st i c a tmos

phere, w h i c h makes t h e bes t work more d iffi cu l t i n Ameri c a t h an i n

E urope .

M any s tuden ts begi n t h e s tudy of ar t w h o h ave no t t h e moneyrequ i red fo r con t i n uous s t udy du r ing s evera l yea rs . I t i s d ifficul t toadv ise suc h st uden ts

,fo r some may be s i tua ted so t h a t t h ey can sup

po rt t h emse lves w h i l e s tudyin g,and o t h ers can no t do t h i s . General ly

i t w i l l be d iffi cu l t to s tudy profi t ab ly i f t h e m in d canno t be w h o l ly given

to study, a nd i t w i l l be bet te r fo r t h e studen t to work un t i l h e can

study for a fe w years ; w h i l e do ing t h i s h e w i l l h ave h o l i days and

even i ngs in w h i c h to s tudy , and in t h i s t ime h e may imp rove i n draw

i ng,i f h e canno t obta i n t h e best res ul t s i n a r t f rom a bra i n w h i c h i s

t i red w i t h o t h e r affa i rs . T h e studen t w h o h as ab i l i ty h as t h e oppor

t uni t y to compete fo r t h e s c h ol a rs h ips g i ven fo r fo re ign s tudy, and

often i n t h i s way h e may con tin ue h i s educat ion .

B u t t h e a rt s t uden t w i t h a l l ot h e r s tuden ts s h ou l d rea l i z e t h a t

n a tu re i s t h e great an d on ly perfec t t eac h er , and t h a t success i n any

permanen t fo rm comes on l y from t h e free and h on est express ion of

one ’s own ind i v idua l i ty . I n a l l d i rect ion s t h e ten d en cy i s not to be

h on es t and or igin a l , but to copy some ot h er pe rson , and i t i s too

gen eral ly bel i eved t h at not h i ng can be r ig h t i f a u t h o r i ty cann ot be

quoted for i t s suppor t . Most peopl e , i n s tead of study i ng n ature

or t h e fac t s of any ques t i o n to fo rm t h e i r own opi n ion s,s tudy books

and t h e opi n ion s of ot h ers , and never t h i nk of quest i on ing t h e v i ews

of accepted aut h o r i t i es . T h e absurd i ty of so do i ng i s rea l i z ed on l y

by s tudy of t h e past , w h ose record s prove t h a t upon al l subj e cts

Op in i on s are con t in ua l l y c h anging ; an d even i n t h e domai n of sc i en ce

t h e accepted t h eor ie s h a ve been a lmos t as n umerou s and a s c h ange

ab l e a s in t h a t of re l igion . To-day. for i n s tan ce . we d i scove r t h at

t h e re i s a l i g h t o r force w h i c h en ab l e s us to see t h roug h wood. metal ,

A D VI CE TO T I I E A A’

T S T UD E A I

’

T . 1 63

and ot h e r so l i d s ubs tan ces,and even t h roug h o ur own bod i es , as i f

t h ey we re t ran s l ucen t . T h e e lemen ts are be ing d iv id ed,and we are

so accus tomed to t h e marve l s of s c i en t ifi c in ven t ion t h a t we s h ould

h a rd l y be su rp r i sed i f to l d t h a t t h e p rob lem of t h e ages h as been

so lv ed,an d gol d p roduced from ot h er s ubs t an ces . T h e records of

t h e p as t p rove an evo l u t i on of m in d as we l l as matter,a nd s h ow t h at

t h e aut h o r i t i e s h ave at d i fferen t t imes s upported many d iffe ren t and

opposed v i ews of t h e same subj ects,and i t wi l l b e poss ibl e to

quo te aut h o r i ty fo r a lmos t any v i ew of an y subj ect t h at may be

broug h t up .

I n a l l age s advan ce h as b een due to t h os e who h ave d iffered from

popu l a r op i n ion,to t h os e who h ave d is carded au t h or i t i es an d stud i ed

n ature . T h e ar t s tuden t i s e arnest ly adv i sed to st udy t h e work of

a l l great a rt is t s,an d n atu re a t t h e s ame t ime , an d no t to accep t

any v i ews n ot i n h a rmony wi t h t h e op i n ions w h i c h h e h as founded

upon h i s own carefu l s t udy of na ture . S tuden ts of art an d sc i en ce

a l so wi l l b e w i se to go to n a tu re fi rs t an d a lways , an d n eve r t o

accep t t h eo r i es con cern i ng w h i c h t h e i r own study of n atu re occ as ion s

t h e l eas t doub t o r unce rta i n ty .

I t i s oft en s t at ed t h at t h e i n ven t i on s of t h e l as t few years h av e

bee n so n um ero us an d so grea t t h a t t h e e nd mus t soon be reac h ed ;b ut t h e s t ud en t can n ot a ccep t t h i s con c l us i on , an d must be l i eve t h a t

t h e e n d w i l l n ever be re ac h ed,and t h at as l ong as man ex i s t s h e w i l l

be add in g to h i s knowl edge un t i l h e h as so l ved a l l t h e p robl ems pos

s ib l e to con ce i ve of n ow and many as ye t no t t h oug h t of . Who cans ay t h a t t h e myst e r i es of l i fe

,dea t h , t h e sou l , and t h e fu tu re s h a l l

no t some d ay be so lved by t h e s c i en t i s t , and l ife be muc h more j oyfu l

an d t h e wor l d i n fin i te l y more b eaut ifu l to t h ose w h o t h en w i l l be

s t uden ts of an art an d sc i e n ce i n w h i c h our p resen t knowledge an d

powe r i s mere l y t h e al p h a of t h e res ul ts w h i c h t h e fut ure wi l l w i t h o u t

doubt b r i ng for t h

I n t h e effo rt t o h as t en t h i s d ay of knowl edge , w h i c h i s t h e d ay of

power an d h app i n e ss,l e t us exer t a l l o u r en ergi e s to be ser io u s

and h on es t s tud en ts,an d t h us workers for our own wel fare and t h a t

of t h e wor ld .

https://www.forgottenbooks.com/join

1 66 z /o'

A a'

D S H A D E .

A pex . S ee Vertex . T he summi t, or hig he ist point ofa n object .

A ppa rent Color. T he color w h ic h a ny object appears to h ave.

A ppea ra nce . T he imag e produced in the eye by the form, l ig h t a nd

s h a de, or color ofa ny objec t .

A rc . S ee C i rcle.

A rrang ement . T he orde rly disposi t ion ofobjec ts or forms .

A tmosphere. T he effec t of real i ty due to correct dra w ing a nd v a lues

a rt is t ical ly rendered .

A x i s ofa S oli d . A n imag inary s traig h t l ine pass ing t h roug h i ts centera nd abou t w h ic h t he different par ts are symme trical ly arrang ed .

A x i s ofa Fi g ure. A s traig h t l ine pass ing t h roug h the cente r ofa fig ure,a nd dividing i t into two equa l par ts .

B a la nce . T he equa l i ty ofparts , obtained by the proper dis tribu t ion of

l ines or ofl ig h t a nd dark .

B a se . T he oppos i te para l le l polyg ons of prisms . T he polyg on oppo

s i te the ve rtex ofa pyram id . T he plane surfaces of cy l inders a nd cones .

T he oppos i te paral le l s ides ofa parall e log ram or t rapezoid . T he s h ortest

or long es t s ide of a n i sosceles t ri ang l e , a nd a ny side in any ot h er tri ang le,but usual ly t he lo w e st .

B isec t . T o divide into two equa l par ts .

B lend . T o soften a nd bring tog e t h e r .

B locki ng -i a L ines . T he l ig h tes t a nd s imples t sug g es tions of the l ead

i ng l ines a nd masses oft h e subj ec t .

B lur G la ss . A mag ni fy ing g lass ofabout 1 5 inc h es focus .

B ri g h t ness or L uminosi t y . T he s treng t h of the l ig h t sent to the eye

by a ny color. A lum inous or brig h t color sends a larg e amount of l ig h t

to t h e eye .

B rok en Color. Color c h ang ed by t h e addi t ion ofg ray .

B rea d t h . S impl ic i t y due to larg e masses w h ic h subord ina te detai ls to

t he spi ri t a nd effec t oft he w h ole .

C a st . A n obj ec t made ofplas t e r-ofP ar is .

C ent er ofV ision. T he point on t h e pi c ture plane di rectly oppos i te t h e

s ta t ion-point .

Ch i a ro-oscuro. T he art ofcomb ining l ig h t a nd s h ade .

D E F I N I T I ON S . 1 67

C ircle . A plane fig ure bounded by a curved l ine, cal led a

c ircumference, a ll points of w h ic h a re equa l ly di s tant from apoint w i t h in called t h e cent er .

T he boundary l ine is ca l l ed t he C I RC UM E E R E N CE .

D I A M ETER . A s tra ig h t l ine dra w n t h roug h the center , a nd con

nect ing opposi te point s in the ci rcumference, as a b.

R A D I U S . T he dis tance from i ts center to t h e c i rcumference ,as e e.

S E M IC I RC L E . H al f a c i rc le, formed by b isecting i t w i t h a

diame te r, as a d b a .

A R C . A ny par t of t he ci rcumferenc e , as e b.

CH OR D . A s traig h t l ine w h ose ends a re in t he ci rcumference,as fg .

S EG M E NT . T he part of a c i rcle bounded by a n arc a nd a c h ord,as fft ef

S ECTOR . T he part ofa ci rc le bounded by two ra dn a nd a n arc,

as b e c b.

QU A D R A NT . A s ec tor bounded by t wo radu a nd one four t h of

the ci rcumference, as a e d a .

T A NGE N ’

I‘

. A s t ra ig h t l ine w h i c h m eets a ci rcumference, but

be ing produced does not cu t i t , as la 11. T he point ofmeet ing is

cal l ed the fa int of cont a ct or point of tn eney .

Cold Colors . T h ose in w h ic h b lue predomina t es .

Color. T he resu l t of the decompos i tion of l ig h t into the various

elements composing i t . I t is a sensa t ion due to t h e effec ts produced upon

t he eyeby t he w aves ofdifferent leng t h s found in l ig h t , a nd does not exis t

outs ide of ourselves . P ractical ly we speak ofma t eri al color as t h a t w h ic h

decomposes l ig h t, and most objects are colored in the sense t h a t t h ey

d ecompose l ig h t a nd send to t h e eye rays w h i c h a re not w h i te . T h us a

body w h ic h reflects a l l t he rays equa l ly i s w h i te ; one w h i c h absorbs al l

the rays except t h e red rays is red ; a nd one w h i c h absorbs al l t h e rays

except the b lue is b lue ; a nd one w h ic h absorbs prac t i cal ly al l the rays

i s b l ack .

Composi t ion. T he arrang ement ofthe di fferent l ines , parts , a nd masses

of a subjec t .

I 68 L /GH T A N !)

Conc a v e . Curving in w ardly .

Cone . A sol id bounded by a plane surface ca l led the ba se, w h ic h is a

c i rc le , el l ipse, or ot h er curved fig ure, a nd by a la t era l surface w h ic h isevery w h e re curved , a nd tapers to a point c a l led t h e v a r/ex . I t s base names

t h e cone. T h us a ci rcu la r cone is one w h ose base is a c i rc l e .

A R I G H T C I RCU L A R CON E is g enera ted by a n isosc e les triang lew h ic h revolves about i t s al t i tude as a n axis . T he equa ls ides oft h e t riang l e in a ny pos i t ion a re c a l l ed elf/1 1 3 11 13 of

t h e surfac e . T he leng t h ofa n e lem ent is ca l led t h e sla ntf

lzezjg /zf of t h e cone. U nless o t h er w ise s ta ted ,' cone ”

m eans a rig h t c i rcu lar cone.

Const ruc t i v e D ra w i ng . A dra w ing intended for t h e w orkman who is

to make t h e objec t .

Cont ou r. T he out l ine or perip h ery oft h e appearanc e ofa n objec t .

Cont ra s t . T he effec t due to t he juxtapos i t ion ofdifferent lines , di fferentforms

,di fferent masses ofl ig h t a nd dark , or different colors .

Conv ent iona li z a t ion I n ar t,t h e express ion oft h e spi ri t a nd impor tant

tru t h s ofna ture by a subordina t ion ofless impor tant fea tures .

Conv erg ence . L ines ex tending to w a rd a common point , or planes ex

t ending to w ard a common l ine .

Conv ex . R is ing or s w el l ing into a sp h eric a l or rounded form.

Corner. T he point ofmeet ing of t h e edg es ofa sol id. or of two s ides

ofa pl ane fi g ure .

Cy linde r. A sol id bounded by a curved surface a nd by two

Opposi te fac es c a l led bases ; t h e bases may be e l l ips es , c i rc les , or

ot h er curved fig ures , a nd name t h e cy l inder . T h us a c i rcu l arcy l inder (the ordinary form) is one w h ose bases are c i rc les .

A R IGH T C I RC U L A R C Y L I N D ER i s g ene ra ted by t he revolu t ion

of a rec tang l e abou t one s ide as a n axis . T he s ide about w h i c ht h e rec tang l e revolves is c a lled t h e Mfg /ft of t h e cy l inder, a lso i t s

a x is . T he s ide oppos i te t h e axis desc ribes t h e curved surface of

t he cy l inder, a nd in a ny of i t s pos i t ions is c a l l ed a n clement of the

surfac e .

C u t up . H aving i ts e ffec t des troyed by exag g e ra ted det a i l .

D esi g n. A ny a rrang ement or comb inat ion to produc e des i red resul ts in

indust ry or a r t .

https://www.forgottenbooks.com/join

I 70 L I GH T A N D S H A D E .

T he FOC I , e a nd j , are s i tua ted in t h e long di ame te r, a nd the

di s t ance ofeac h focus from c or d is equal to one h a l f a b.

P a ce . One of t he plane surfac es of a sol id . I t m a y be bounded by

s tra ig h t or curved edg es .

F ini shing . Comple t ing a dra w ing , w h os e l ines or masses h ave been

de t erm ined , by representing de ta i ls a nd by streng t h ening a nd accent ingw h ere t h is is requi red .

F ix a t if. A t h in varnis h used to fix c h arcoal dra w ing s .

F oreshort eni ng . Apparent decrease in leng t h , due to a pos i t ion ob l iqueto the visua l rays .

F ree-h a nd . E xecut ed by t h e h and , w i t h out the a id ofinstruments .

G ra d a t ion. A g radua l c h ang e from l ig h t to dark , or from one color toanot h er .

Group .

-A ny col lec t ion ofobjec ts to be s tudied .

H a ndling . S ée T ec h nique .

H a rd . A ny s tud y ofnature is h ard,c rude , or mec h anical w h en i ts out

l ines are too keen, or w h en objec t s are out l ined w i t h l ig h t or w i t h dark , or

a re fa lse in va lues .

H a rmony . T he pl eas ing a rrang ement of l ines,l ig h t a nd dark , or

color .

H a lf-t int . T he s h ading produced by means of para l l e l equ idis ta ntl ines .

H ori zon. I n pic toria l ar t , a h orizonta l l ine a t the leve l of t h e eye .

H ori zont a l . P ara l le l to the surfac e ofsmoot h w a te r.

I n dra w ing s , a l ine para l lel to t h e top a nd bot tom of t he s h ee t is ca l ledh orizont a l .

I nst rument a l . B y the use ofins truments .

K ey . T he sc a le ofl ig h t a nd da rk , or color .

L a t era l S urfa c e . T he surface ofa sol id , excluding the base or bases .

L a t era l E d g e . One not bounding a base .

L i g h t . T he a g ent w h ic h produces vis ion. L ig h t is supposed to

t rave l in s tra ig h t l ines by means ofm inute undu la t ions or w aves in t h e

par t i c les of e t h er w h i c h fi l l a l l space . A ray of solar l ig h t is composedofa larg e number of di ffe rent ly colored rays of l ig h t , w h ic h uni t ing formw h i te l ig h t .

D E F /N I I 7I

L I G H T ,M A S S OF . T he ent i re surface w h ose e ffect

,in cons tra st w i t h t h e

s h ado w s , is t h a t of s trong l ig h t . I t is des ig na ted by the w ordl ig h t .

”

H IG H , or G L I TTE R . T he brig h test part of a ny surface — t he

par t t h at g l i t t ers .

H A L F . T he pa rt inte rmedi a te in value bet w een the s h ado w a nd

t h e l i g h t .

D I R ECT . R ays from the sun, moon, or a ny ar t ificia l l ig h t . I n

a s tudio , rays from t h e w indo w .

I ND I R ECT . R ays reflected to a ny objec t from surround ingobjec t s .

L oc a l color. T he ac tua l color of t he l ig h t w h ic h is not absorbed bya ny object . T h is color is vis ib l e w h en the objec t is near t he eye a nd doesnot reflec t colored l ig h t received from a ny ot h er object .

L ev el of t h e E y e . T he level or pos i t ion ofa h orizonta l p lane passingt h roug h the spectator’s eye.

L ine . A line h as l eng t h only . I n a drawing i t s represent a t ion h a s

w idt h , but is called a l ine.

L I NE , S TR A IGH T . One w h ic h h as the same direc t ion

t h roug h ou t i ts ent i re leng t h .

CU RVED . One no part of w h ic h is s tra ig h t .

B ROK E N . One compos ed of di fferent suc cess ivestra ig h t l ines .

M IXE D . One composed ofstraig h t a nd curved l ines .

M edi um. T he penci l , crayon,col or, or ot h er ma teria l used to produce

t h e dra w ing .

M odel. A n objec t used for study .

M onochrome . A pa inting in one color .

N eu t ra l Color. Color w h ic h is not pure or brig h t .

Op a que C olor. P igm ent h aving a body w h ic h h ides the surface receiv

ing the color.

P a int ing . A representa t ion ofva lues made by the use oft h e brus h a nd

color. I t ma y be in monoc h rome or in color .

P a ra llel. H av ing t h e same direc t ion a nd every w h ere equal ly

d i s tant .

1 72 [JG/1 T A /Vl) S H A D E .

P a ra llelog ra m . S ee Quadr i la tera l .

P erpendi cu la r. A t a n ang le of

P erspec t iv e . T he art of represent ing on a surface t he appe aranc es

seen from a ny g iven pos i t ion.

L I N E A R . T he ar t of mak ing upon a plane, c a l led t h e p ic/ure

pla ne, s-uch a representa t ion ofobjec ts t h at t he l ines of t h e drawingappear to coinc id e w i t h t h ose of t h e obj ec t , w h en t he eye is a t onefixed point ca l led the“a non-point

A'

ER I A L . T he ar t of represent ing na ture’

s e ffec ts by l ig h t a nds h ade , or by color .

D I A G R A M . A l inear perspect ive ob tained sc ient ifica l ly by perspec t iv e met h ods . I t is often very fa l se pic toria l ly w h en not seenfrom t h e s t a t ion-

point .

P A R A L L E L . A l inear perspec t ive w h i c h repres ents a cub ica l

obj ec t by t h e use ofone vani s h ing -point (the center ofvis ion), a nda surface para l l e l to t h e pic ture plane by i ts real s h ape.

A NGU L A R . A l inea r perspe c t ive w h i c h represents a cubi ca l

obj e c t by t h e use of t wo vanis h ing -points on t h e l eve l of t h e ev e .

OB L I Q U E . A l ine ar pe rspec t ive w h i c h represent s a cub i ca l objec t

by the use oft h ree vanis h ing -points , no t more t h an one being on t h e

l eve l oft h e eye .

F R EE-H A N D or MOD E L D R A WI NG . A dra w ing w h i c h , w i t h outconfining t h e eye to t h e s ta t ion-point . represent s as far as poss ib l et h e ac tua l appe arances of objec ts . I t is made free-h and . a nd ismore sa t isfac tory t h an a n exac t di ag ram perspec t ive . except w h en

subjec ts c aus ing ve ry l arg e vi sua l ang les are to b e repres ent ed .

P la n. P l an, h orizonta l proj e c tion. a nd top vi e w h a v e t h e same mean

ing , a nd des ig na te the representa t ion of a n obj e c t mad e on a h orizonta lplane by means of ver t ical proj e c t ing l ines . I n arc h i t ec ture i t means a

h orizont a l se c t ion.

P la ne F i g ure . A par t ofa plane surface bounded b y l ines .

P lint h . A c y l inder or prism w h ose axis is it s l eas t dimens ion. I t i s ci rcu la r , fri a zrg u/a r , sq ua re, et c . ,

according as i th as c i rcl es , triang l es , squares . e t c . , for bases .

https://www.forgottenbooks.com/join

I 74 L I GH T A N D S H A D E .

A n OIsL IQU E P R I sM is one in w h ic h the edg es connec t ing the

bas es a re not perpendicu la r to t h e bases .

A R EG U L A R P R I S M is a r ig h t prism w h ose bas es are reg ularpolyg ons .

T he ofa prism is t h e perpendicula r d is tance be t w een

t he bases .

T he AX I S of a reg ular prism is a straig h t l ine connect ing the

centers ofi ts bases .

P rofi le . T he contour ou t l ine ofa n obj ec t .

P rojec t ion, ort h og rap h i c . T he vie w or represent a t ion of a n object

ob tained upon a pl ane by proj ec t ing l ines perp endicul ar to t h e plane .

P ure or N orma l Colors . T he spec trum colors .

P y ra mi d . A sol id of w h ic h one face. c a l l ed t h e ba se, is a polyg on, a nd

t he ot h er faces , c a l l ed j in'

es, are tri ang les h aving a common vertexcal led t h e wa r/m oi t h e pyramid . T he inte rsec t ions oft he l ateral faces a re

ca l led t h e

A pyramid is cal l ed t r i a ng u la r , squa re, e t c . , ac cording as i tsbase is a triang l e , square , e tc .

A R EG U L A R I ’Y R A M I I ) is one w h ose base is a reg ular polyg on

a nd w h ose ve rtex i s in a perpendi cul ar erec ted a t the center of thebase . I t s o t h e r faces are equa l i sosceles tri ang les . T he a l t i tude of

a uv oft h ese triang l es is cal led t h e sla nt ofthe pyramid .

T he A N I s of a reg u l ar pyramid is a straig h t l ine connec t ing the

ver tex a nd t h e c ent er oft h e base .

T he ofa pyram id is t h e p e rpendicula r dis tanc e from

t h e ve r tex to t h e base .

Qu a d rila t era l. A plane fig ure bounded by four s tra ig h t l ines . T h es e

l ines a re the si des . T he ang l es formed by t he l ines are the (mg /cs , a nd the

vert ices oft h ese ang l es are t h e r a ffi a '

s , oft h e quadri la tera l .

A P A R A L L EL OG R A M is a quadri l a t era l w h ic h h a s i t s oppos i t e

s ides para l lel .

A T R A I ’I CZ I U M i s a quadril a tera l w h i c h h as no t wo

s ides para l l el.

A T R A l’li ZO I l ) is a quadri l a tera l w h i c h h as two sides ,a nd only two s ides . para l l e l .

D E F /X I T/o/vs . I 75

A R ECTA NG L E is a para l lelog ram w h ose ang les a re

rig h t ang les .

A S QU A R E is a rectang l e w h ose s ides are equal .

A R H O M BOI D is a pa ra l l e log ram w h ose a ng l es a re

ob l iqu e ang les .

A R H O M B U S is a R h omboid w h ose s ides a re equa l .

T he s ide upon w h ic h a para l l e log ram s tands a nd the opposi te s id e a recal led respec t ively i ts low er a nd upper oa ses .

R eflect ed L i g h t . T he part of t he s h ado w of a ny objec t w h ic h is

l ig h tened by rays reflec ted to i t from some ot h er objec t .

R end ering or H a ndling . T he w ay in w h ic h a medium is used .

R epresent a t ion. A ny k ind ofdra w ing ,pa int ing , or s cu lp ture .

R et rea tm g . ( 1 0mg a w ay from .

S ec t ion. A proj e c tion upon a p lane para l le l to a cu t t ing pl ane w h i c h

intersec ts a ny obj ec t . T he section g enera l ly represents the part be h ind thecu t t ing plane , a nd the cu t surfaces a re represented by c ross- h a t c h ing .

S h a d e . S ee H a l f L ig h t . A lso a tone ofa color produced by the addi

t ion ofb l ack pig ment to ma t eria l colors , a nd by t h e ac t ion ofa feeb le l ig h t

upon imma teri a l colors .

S h a dow . T he pa rt of a ny su rfa c e w h i c h appea rs dark in consequence

ofrec e iv ing no dire c t l ig h t .

S H A D OW, CA S T . T he s h ado w proj ec t ed upon one object by

ano t h er .

S imple . N ot g iv ing too muc h or exag g erated deta i l .

S k e t ch . A h asty a nd unfinis h ed dra w ing .

T I M E . A sketc h made in a spec ifi ed t ime .

S oli d . A sol id h as t h ree d imens ions , l eng t h , breadt h , a nd t h ickness .

I t may be bound ed by plane surfaces , by curved surfaces , or by bot h plane

a nd curved surfaces . A s commonly unders tood , a sol id i s a l imi ted portion

ofspac e fi l led w i t h matter , bu t g eom e try does not cons ider t h e ma t t er, a nd

dea l s simply w i t h the s h apes a nd s izes of sol ids .

S phere . A sol id bounded by a curved surfac e ev ery point of

w h ic h is equal ly di st ant from a point w i t h in ca l l ed t h e center.

I 76 L I GH T A A'

D S H A D E .

S t ill L ife . Obj ec ts intended for use or orna-ment .

S t ipp ling . F i l l ing in t he spac e b e t w een h a tc h ing l ines , or producing a n

effec t , by means ofdots .

S t udy . A ny c are ful ly finis h ed dra w ing or pa int ing .

S ub jec t . A ny obj ec t , g roup, or effec t of na ture to be represent ed by

t h e ar t is t .

S urfa ce . T he boundary of a sol id . I t h as but two dimens ions , leng t ha nd breadt h .

S urfac es a re plane or c urved.

A P L A N E S U R F A L‘

E is one upon w h ic h a s tra ig h t l ine c a n be

dra w n in a ny direc t ion.

A CuR v E D S U R F A C E is one no par t ofw h ic h is pla ne .

T he surface oft h e sp h ere i s curved in every direc t ion, w h i le t h e curvedsurfac es oft h e cy l inder a nd cone are s tra ig h t in one d i rec t ion.

T a ng ent . A s tra ig h t l ine a nd a curved l ine , or two curved l ines , are

tang ent w h en t h ey h ave one point common a nd cannot int ersec t l ines or

surfac es a re tang ent to curved surfaces w h en t h ey h ave one point or one

l ine common a nd cannot int ersec t .

T est . A ny proc ess used to prove t h e work .

T int . A tone of a color produc ed by t he addi t ion of w h i te to oil

colors , w a ter to w a ter colors , a nd of w h i t e l i g h t to the imma ter ia l colors oft h e spec trum .

T echni que . T he h andl ing or w a y in w h ic h a n effec t is ob ta ined .

T ex t u re . T he c h arac t e r ofa surfac e .

T one . T one des ig na t es t he c h ang es w h i c h color underg oes by t he

add i t ion of w h i te , w h ic h l ig h t ens , or of b lack , w h i c h da rkens i ts normal

tone . T he w ord a lso means t h e effec t of some predomina t ing color produced by t h e color ofthe l ig h t w h ic h i l lumina te s t h e obj ec t .

S EL F T ON I-1s . T ones ofthe same color .

T ra nsp arent Colors . T h ose in w h ic h t h e color t ints t h e paper or

c anvas , w h i c h s h o w s t h roug h t h e color , a nd ac ts w i t h i t in produc ingt h e effe c t .

T ri ang le . A pl ane fi g ure bounded b y t h ree s tra ig h t l ines . T h es e l inesa re ca l led t h e sides . T he ang les t h a t t h ey form a re ca l led t h e a ng les of

t h e triang l e , a nd t h e ve rt ic es oft h es e ang les . t h e oft h e triang l e .

https://www.forgottenbooks.com/join

I 78 L I GH T A N D S H A D E .

V a ni sh . T o ex t end to w ards a vanis h ing point .

V a ni sh ing . Conve rg ing to w ards one point or l ine .

POI NT . A point to w ards w h ic h paral lel l ines converg e .

V a ri et y . T he effec t due to t h e comb ina t ion of par ts w h ic h a re not

al ike .

Vert ic a l. U prig h t , or perpendi cu lar to a h orizontal plane or l ine .

Vert ica l a nd p erpendi c ular are not synonymous terms .

V ert ex . S ee Ang le , Quadri la tera l , T ri ang le . T he ve rtex ofa sol id is

t h e point in w h ic h i t s axis int e rsec ts t h e la t eral surface.

V iew . S ee li lev a t ion. V i e w s are ca l led front , top. rig h t or l ef t s ide,back, or bot tom. according as t h ey a re made on t h e di fferent planes of

proj ec t ion. T h ey are a lso some t imes named according to t he part oft h e

objec t s h o w n, as edg e Vie w , end vi e w , or face V ie w .

V isu a l R a y . A s ing l e ray or l ine ofl ig h t from a ny objec t to the ey e.

A NG L I-l . T he ang l e formed a t t h e eye by t h e ou te r v isua l rays

from a ny obj ec t .

Wa rm Colors. T h ose in w h ic h red a nd ye l lo w predomina te.

Work i ng D ra w i ng . One w h ic h g ives al l t he informa t ion necessary toenab le the workman to cons truc t t h e object .

I N D E X .

Accented ou t l ine dra w ing , 1 1 2 , I1 26,

accents. 1 3, 50, 104. 1 35, 1 38 , 1 39.

acc identa l effects , 1 33, 1 35. 1 43.

aeria l perspect ive. 49.

a ids , see tests .

ang u lari ty , So.

ant iq u e , 1 10.

appearances. 1 , 2 , 3.

art due t o, 1 55, 1 6 1 .

art is difficu l t , 1 52 , 1 53, 1 57.

art j udgment , 7 1 .

a rt sc h ools , 1 53, 1 59, 1 60. 1 61 .

art s tudent ’s aims , 62 , 63.

art s tudy, 1 52 , 1 55.

a rt teac h ing , 7 1 , 1 40, 1 44. 1 50, 1 53 .

art ific ial l ig h t , 23, 38 , 40.

art ist ic rendering , So. 1 47.

art ist ’s aims , 64. 68 , 1 52 , 1 55.

a tmosp h ere , to obta in. 98 , 104. 1 35.

atom izer, 9 1 .

axis , 8 2 .

B ackg round , use of, 76 . 1 34,

1 47, 1 49.

backg round subordinate, 1 04.

bea u ty. 2 5, 1 55.

beg inner, 1 40, 1 45.

B ervil le , 8 7.

black, not seen, 49, 58 ; use of. 50.

black card , 57.

black frame, 58 .

b lack paper, 56.

blend ing , 8 1 , 97 ; penc i l w ork , 1 1 3. 1

block ing -ln l ines , 93.

block ing met h od, 80, 8 1 .

blot t ing paper. 1 35, 1 38 .

bl ur g lass. 3 6 , 55, 56 .

boards , 8 7.

bread , use of, 89, 97.

breat h , use of, 89.

broad g ray l ine , 1 1 1 .

brus h work , 1 38 , 1 42 ; dry met h od , 1 30.

1 3 1 ; w et met h od , 1 35; difficu l t , 1 44 .

brus h es , 93 , 1 3 1 ; brist l e , 1 28 . 1 38 .

1 39 ; camel’s-h a ir, 1 28 ; Japa nese , 1 38 .

C amera , 3 1 , 68 .

canvas , 8 7.

Careful dra w ing , 35, 39, 40, 43. 5 1 , 62 ,

1 43, 1 56 .

ea s t s h ado w , 4, 7, 8 , 1 1 , 1 5, 1 8 , 1 9, 2 1 ,

2 5, 38 , 44 , 58 , 1 1 9 ; unsat isfactoryw i t h out t h e s h ado w , 1 19.

center lines , 8 ’

c h amois sk in, 90.

c h arcoa l , S7, 93 ; stub of, 96 ; t o s h arpen,

98 ; use ofpoint , 95, 98 .

c h arcoa l g ray, 1 2 9.

C h avannes , 1 56 .

c h eese c lot h , 8 6 .

c h iaro-oscuro , 1 .

c h romo, 1 53.

C laude L orra in mirror, 54 .

c lot h , 90.

color study d iffi cu l t , 1 40,1 4 1 ; expen

s ive , 1 4 1 .

colored obj ects , 1 4 , 1 5, 20. 30. 35. 38 .

1 47.

co lors . mo ist. 1 28 .

1 80

comparison necessary, 3 1 , 1 43.

compos i t ions , 8 2 .

cone , 1 2 , 1 9 44.

Conté, 87, 8 8 .

contour, 39, 40.

contour el eme nt , 1 3.

cb ntours no-t s h arp , 98 , 99, 133,

con trast , 2 , 20, 2 3, 2 7, 34 , 43,

1 2 1 ; delicat e , 2 3 ; strong , 25-3;

color, 1 2 1 .

Coqu el in, S6 .

crayon h older, 98 .

crayon paper, I 1 5.

crayon sauce , 8 8 .

crayons , 8 8 ,cri t ic ism , 7 1 , 73 ; ne cessary, 1 50.

cube, 7, 8 , 9 .

cur tains , 8 5, 1 49 .

cyl inder , 9, 44, 1 45.

D ark appea ring l ig h t , 2 2 , 23, 31 .

da rk effects, _2 1 , 2

°

D eg a s , 1 56 .

detai l i-n t h e h a -lfl ig h t , 34.

de tai l in t h e l ig h t . 43.

deta i l in t h e s h ado w , 35, 38 , 43.

I I VI JE JI'

.

fee l ing due to study, 60, 63.

fing er, use of, 8 9, 97, 98 .

d etai l subordinate , 3 1 , 37, 63 , 64, 1 04.

d ictat ion, 1 45.

d ifferent li g h ts , 1 5.

d iffi cu l t effec ts , 20d iffused l ig h t ,dim inishing g lass , 54 .

d i-rec t l ig h t , 9, 1 3, 36 .

d irect ion of. s h ading , 96, 1 48 .

d irec tor ofdra w ing , 1 50 ; req u ired , 1 51

d ista nce , 68 .

d istorted p h otog rap h , 68 , 69.

d istort ion, 68 . 69.

d i v iding l ine of l ig h t a nd s h ade. 4.

34 » 3-5

drapery , 4 2 .

dra w ing , 2 ,

“8 .

(l I'y th e t h0d , 1 30.

D utc h met h od , 1 35. h ome study. 1 6 1

ll

c losed,

E asel , 8 6 .

effec t due to posit ion, 5, 28 .

effec t of con-trast , 2 , 56, 58 .

effec ts c h ang eable, 83.

e l ement , 30, 35.

e lim inat ion of deta il , 62 1 04 .

erasers , 90 ; use oif, 1 1 4, 1 47.

E u rope , 8 3.

e v ol ut ion, 1 63.

exag g era ted deta i l , 3 1 , 53.

eye, norma l , 2 , 31 , 53, 80 ; h alf

first direct ions , 9“

fix a t if, 9 1 .

fixing , 5 1 , 9 1 , 9 °

foh a g e , 1 43, 1 44 =

fores h orte ned , 39 .

form study w i t h t h e penc i l , 1 44.

lI‘

usa ins Ve’net ien, 8 7.

G enius . 1 54 .

g eometric forms , 52 , 78 , 99, 1 1 7, 1 47.

G iot to. 8 4 .

g l azed obj ects , 2

g l it ter l ig h t or point , see h ig h l ig h t . 6.

1 9. _ 3, 47.

g radat ion, 1 3, 1 4. 1 9. 35, 44 , 1 46 .

g raded w as h es , 1 33.

g rammar of art , .1 6 1 .

g ray dra w ing s , 50, 5 1 . 58 .

g roups , 1 49.

l l a lf l ig h t , 6. 34 .

h and l ing . 7

h armony. , 2 . 73. 8 3. 97.

h atc h ing , 96 , 1 1

h ig h l ig h t , 6 , 9 , 1 2 1 5. 2 5. _28 . 29 ; r ariesin s t reng t h . colo i , a nd form, 26, 2 7,

https://www.forgottenbooks.com/join

1 8 2 A VLZE X .

perspect ive , 68 , 69.

p h otog rap h s , 5, 7, 30, 66 . 104, 1 53.

picture-mak ing , 1 42 .

picturesque, 1 27.

p ig ments , 1 28 .

point . use of c h arcoal , 7 1 , 90. 95» 97,

98 ; of penc i l point , 1 1 4, 1 1 5. 1 47.

1 48 ; of brus h point , 1 29, 32 . 1 38 .

pol is h ed obj ects , 7, 2 6, 36 .

popular met h ods , 1 42 .

posters , 1 30.

pressure , 89.

princ ipl es revie w ed , 43. 44, 45.

prog ress , 1 49 .

prominent deta il , 34 .

publ ic sc h oo l s , 7 1 , 8 6, 1 40, 145.

pupi l of eye. 3 1 .

pyramid , 1 3.

Rap h ael , 74. 78 .

rapping , use of. 90 .

rays of l ig h t . 3.

real ism, 46, 47.

reflected dark , 1 5, 36 .

reflected l ig h t . 6. 7, 9, 1 8 . 20. 36. 37 ;

no t l ig h t , 37.

reflect ions , 5, 27, 28 .

rel at ions , 47, 48 .

R embrandt , 1 2 5, 1 29 .

R eyno lds , 77, 7S .

rubber bands. 1 38 .

rules impossibl e , 4 1 , 8 2 , 1 48 .

S ab le brus h , 1 28 .

sandpaper, 98 .

sc h olars h ips , 1 62 .

sc h ool comm i t tees , 1 50.

sc h ool s tud ios, 86 .

sc ience fal l ibl e , 1 6 2 T abl e. 8 6 .

sc ient is t . 53. t eac h ers ofdra w ing , 1 44. 1 45. 1 57. 1 58 ;

sel ec t ion, 8 3. of pa int ing . 1 58 . 1 6 1 .

self-tra ining , 1 49, 1 59, 1 6 1 . t ec h nique varies. 70, 72 . 73, 1 48 ; choic i

sent iment important . 65. of. 72 ; depends on educa t ion, 70 : no

sepia . 1 28 . art . 73: tes t for, 2 . 1 48 .

severa l l ig h ts , 40.

s h ade, see h alf lig h t .s h ad ing instead ofoutl ines , 1 27, 1 47.

s h ado w , 3, 4 , 8 , 9 , 1 2 , 1 3, 1 5, 24 , 35, 36 ,

44 ; w i t h ou t cast s h adow. 1 19.

s h ado w elements , 9, 12

s h e l lac , 9 1 .

sig h t imperfect , 1 , 2 , 53 ; due to mem

c ry , 1 .

si l h ouette , 1 29.

simple masses, 24 , 31 .

s impl ifying diffiCult , 63.

sketc h , 79 .

sketc h -book, 1 2 1 .

skyl ig h t , 8 5.

S ou t h K ensing ton, 1 59.

sp h ere , 3, 4, 5, 6, 7. 1 4. 44, 1 46 .

spong e , 1 35.

stag es , 96, 97.

stat ion—point , 69.

st i l l l ife , 1 10.

stretc h er , 8 7, 2 , 1 31 .

stretc h ing paper, 1 30 ; by frame , 1 3 1 .

studio, 8 5.

stud io effects, 9. 1 1 , 1 9. 2 1 . 2 2 .2 8 . 8 3

studio l ig h t , 8 5.

study. 78 .

study abroad , (6 1 .

study at distance , 58 , 92 .

study requ ired , 1 52

stumps , 8 8 , 89.

subordinat ion of deta i l , 62 , 64. 10

success due to correc t see ing , 1 1

success , financ ial . 1 53, 1 54 , 1 56.

sug g est ion, 47, 6 2 . 76 , 1 1 7, 1 27.

sunl ig h t . 3. 1 8 . 33. 47. 8 5.

system. 1 51 .

1 1V1) E X .

t es ts for v alues , 2 , 54 . 55, 56 , 57, 58 ,

59, 60, 6 1 ; inferior t o fee l ing , 60; l eadt o fe el ing , 60.

t ex t-books , 1 50.

t h umb cl ips , 8 7.

me ske tc h es . 79. 94, 97, 104.

1 1 0.

ppi-ng t h e h ead, 59.

‘

ria l l ines , 1 1 2 , 1 44.

trut h essent ial , 62 ; unsat isfactory, 66 .

U niformi ty unpleasant , 1 1 7.

uni t of va lu e , 46.

unqualified teac h ers , 1 4 1 .

unsat isfactory m et h ods , 93.

use of h and , 59 ; of eraser,

Va lues , 2 , 30, 31 , 45, 46 , 51 .

be stud-ied , 48 , 51 , 76 , 79,

Cu

(42

1 8 3

ch-a-rcoa l, 1 44 ; scale of, 48 , 1 35 ; of

reflect ions , 37 ; not taug h t , 52 ,

c h a ng ed , 69.

v ariety necessary, 99, 1 04, 1 49 ; casts h ado w , 38 .

v eg etables , 1 44 .

vig net ted , 1 2 1 .

Vinc i , L eonardo da , 4 1 , 42 , 75, 78 .

v is ion, blu-rred , 32 , 49, 55,

na tural , 2 , 3 1 , 53, So.

v isual imag es , 2

Was h , t o lay a , 1 31 , 1 32 , 1 33.

w ater-co lor b locks , 1 30.

w ater-color study, 1 49.

w ater mark s , 1 3 1 , 1 32 , 1-33, 1 35.

w e t met h od, 1 35.

-"h a tma n

’

s paper , 8 7, 1 1 3, 1 29.

Wh ist ler, 1 56 .