Shadows Should Not Be Confused With Reflection. There can be reflected darks as well as lights. Thus, we are apt to speak of shadows in the water when we really refer to reflections. There can, of course, be shadows thrown into any body of water. Reflections are cast only on the surface of the water, and the surface is generally what we see. In fact, the less clear the light and water the more clear are the reflections. And in this case a shadow would hardly be seen. Because it is customary, we say, ''Reflections in the water." Reflections, however, are on the Avater. Reflections are not affected in shape by any changes except by those on the surface of the water, such as ripples or waves. Reflections have the same perspective as the object causing them except that the former are inverted.
Shadows Not Considered as Lines. In putting in shadows and tones, lines should not be considered as lines, but simply as part of the surface by which we endeavor to represent or render something in nature or as a result of imagination. The lines placed more or less evenly and close together are components of some unit or part of a whole. By such means we try to imitate nature.
Where to Avoid Placing Lights. Every object under the influence of a single light receives it only on that surface which is exposed to its direct rays. Therefore, avoid strong lights on the shaded side
The Comparative Values of Different Tones should be explained to pupils at frequent intervals. Fig. 7 is a pencil
exercise in which the contrasting effect of a single tone is again shown by means of contrasting effects. Note that the prevailing tone on the telegraph post is the same throughout.
Yet, while against the sky, it appears as a dark mass, as, contrasted with the still darker tones of the wall, it is comparatively light.
The drawing of the skeleton of the wreck of a small sailing vessel on a sandy beach (Fig. 8) shows the brilliant effects caused by a strong, direct sunlight on a light surface. The shadows are crisp and rather sharply defined, with small, clustered blacks accentuating the high lights. The shadows are concentrated and scarcely weakened by reflected lights. This drawing is not a "studio" composition, but made directly from a sketch made on the shore of Lake ?Michigan several years ago.
Foregrounds and Backgrounds. There is no absolute rule regulating the question as to whether the foreground should be darker in tone than the background; for circumstances, as to time and place, must be taken into consideration. Generally speaking, however, the foreground and middle ground should be the parts of the picture in which appears the greatest display of color or tone; where the darkest effects are shown.
Sections
- Action Drawing
- Advice To Teachers
- Beginners Instructions
- Blocking In
- Clay Modeling
- Copying By Triangulation
- Decorative Ornamental Art
- Drawing From Nature
- Early Exercises
- Elementary Lines
- Elementary Perspective
- Expression Emotion
- Foreshortening
- Geometrical Form
- How To Draw Animals
- How To Draw Cartoons
- How To Draw Charcoal Crayon
- How To Draw Flowers
- How To Draw Women Men Children
- Lettering
- Light And Shade
- Materials For Drawing
- Models Measurements Proportions
- Outlines For Beginners
- Paper Folding Cutting
- Pen And Ink Drawing
- Principles Of Composition
- Simple Story Pictures
- Solid Black Effects
- Stimulating Imagination
- Tracing Transferring
- Two Handed Exercises