DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1211#0011
I shape be what it will, should have the same proportion of light and shade
upon them as a single ball; that is, one-eighth extreme light, one-eighth ex-
I j treme shade, and six-eighths a gradation between the two extremes ; and the
\nearer this rule is kept to, I believe, in copying from nature, the more ac-
curate will be the representation of the objects copied from it.
The disposition of light and shade, as in fig. 1, produces, as appears
there, the convex or globular form ; and the being able to produce with the
pencil that, and the concave ox cup-like appearance, in all the different
varieties that the outline of a drawing occasions, is the whole almost of light
and shade. The effect on a concave object is more complex, and can only
be thoroughly understood by copying cup-like forms, in as many different
situations as they will admit of being placed in. The effect of light upon
the cup-like form standing in the same light, as fig. 1, is as follows in fig. 2.
The rays of light are supposed to come in parallel lines, at least they are so
to our perception, though not in reality, but proceed from the sun in
diverging lines, like the rays from a candle, or the spokes of a wheel: as it
is difficult to apply these rules of light and shade to a drawing from nature,
their application to a few objects is here shewn, which I hope will make it
easy for a lady to apply them to others.
We will take a flower of the snow-ball tree, which consists of an umbel
or number of little flowers, rising by foot-stalks, from one common centre^in
every direction, and forming a ball-like appearance, which must be shaded
exactly like fig. 1, as to the general effect, and as to the partial shade, or
that which is owing to the space between each little floret, or to the turning
of the leaves to or from the light, it will soon be visible to an attentive
observer. In shading the flower, you must, without paying any attention
to the number of little florets it consists of, first reduce the whole to the
appearance of the simple ball, and afterwards express the partial shade upon
and between each floret; and you must observe, that the spaces between them
that are on the light part of the ball are kept light, because the light
penetrates into them, and only the edges of each floret must be relieved with
dark touches on the sides turned from the light; while the spaces between
upon them as a single ball; that is, one-eighth extreme light, one-eighth ex-
I j treme shade, and six-eighths a gradation between the two extremes ; and the
\nearer this rule is kept to, I believe, in copying from nature, the more ac-
curate will be the representation of the objects copied from it.
The disposition of light and shade, as in fig. 1, produces, as appears
there, the convex or globular form ; and the being able to produce with the
pencil that, and the concave ox cup-like appearance, in all the different
varieties that the outline of a drawing occasions, is the whole almost of light
and shade. The effect on a concave object is more complex, and can only
be thoroughly understood by copying cup-like forms, in as many different
situations as they will admit of being placed in. The effect of light upon
the cup-like form standing in the same light, as fig. 1, is as follows in fig. 2.
The rays of light are supposed to come in parallel lines, at least they are so
to our perception, though not in reality, but proceed from the sun in
diverging lines, like the rays from a candle, or the spokes of a wheel: as it
is difficult to apply these rules of light and shade to a drawing from nature,
their application to a few objects is here shewn, which I hope will make it
easy for a lady to apply them to others.
We will take a flower of the snow-ball tree, which consists of an umbel
or number of little flowers, rising by foot-stalks, from one common centre^in
every direction, and forming a ball-like appearance, which must be shaded
exactly like fig. 1, as to the general effect, and as to the partial shade, or
that which is owing to the space between each little floret, or to the turning
of the leaves to or from the light, it will soon be visible to an attentive
observer. In shading the flower, you must, without paying any attention
to the number of little florets it consists of, first reduce the whole to the
appearance of the simple ball, and afterwards express the partial shade upon
and between each floret; and you must observe, that the spaces between them
that are on the light part of the ball are kept light, because the light
penetrates into them, and only the edges of each floret must be relieved with
dark touches on the sides turned from the light; while the spaces between