DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1211#0020
.16 *
extremities, and is supposed to arise from some other object placed in the full
light, near to the shadowed part of that you are painting, upon which it
throws a reflected light on its extremities: as will be evident, if two balls are
held near each other in a line with the light; take away the furthest from the
light, and no such reflected tint will appear—all will be darkness on the shade
sideof the other, if near no other object, and it will stick to the ground if it
happen to be as dark as the shade; but produce the reflected tint again, and
it will appear to start from it, or from your paper by the same management,
in proportion to the judicious arrangement of your tints. It often happens, that
the stalks and green leaves belonging to white flowers have a tint of other
colours, as yellow, orange, red, &c. ; in that case it must be remembered,
that they can only be admitted in their full or pure state in the very smallest
proportion.; and that if there is necessarily a larger portion of them, they
must either be flung into the shade,, or their strength broken by another tint,
otherwise it would be a mixed composition, and not a white one. White
objects that have an inclination to any other colour, either in parts or alto-
gether, lose their place in composition as white ones, and belong to that class
of colours they have a tint of, and may be considered as lighter reds,
blue, &c.
Note. There is another cause for the extremities on the shade side being
made less dark than the deepest shade, setting reflection out of the question ;
and that is, that in point of perspective they should be so, as objects weaken
in strength of colour as they retire from the eye, both in the light and in
the shade.
extremities, and is supposed to arise from some other object placed in the full
light, near to the shadowed part of that you are painting, upon which it
throws a reflected light on its extremities: as will be evident, if two balls are
held near each other in a line with the light; take away the furthest from the
light, and no such reflected tint will appear—all will be darkness on the shade
sideof the other, if near no other object, and it will stick to the ground if it
happen to be as dark as the shade; but produce the reflected tint again, and
it will appear to start from it, or from your paper by the same management,
in proportion to the judicious arrangement of your tints. It often happens, that
the stalks and green leaves belonging to white flowers have a tint of other
colours, as yellow, orange, red, &c. ; in that case it must be remembered,
that they can only be admitted in their full or pure state in the very smallest
proportion.; and that if there is necessarily a larger portion of them, they
must either be flung into the shade,, or their strength broken by another tint,
otherwise it would be a mixed composition, and not a white one. White
objects that have an inclination to any other colour, either in parts or alto-
gether, lose their place in composition as white ones, and belong to that class
of colours they have a tint of, and may be considered as lighter reds,
blue, &c.
Note. There is another cause for the extremities on the shade side being
made less dark than the deepest shade, setting reflection out of the question ;
and that is, that in point of perspective they should be so, as objects weaken
in strength of colour as they retire from the eye, both in the light and in
the shade.