DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19950#0041
KEEPING.
41
necessary that some objects much darker in tone than the
general shade of the middle distance should be introduced,
and in the effective placing of these lies the skill of
the Artist. A little experience will suggest where these
dark points should appear. Howard, in his "Sketcher's
Manual," gives positive rules for their introduction, or, at
any rate, tells us where they ought not to be—for instance,
not in the centre, or equidistant between any two principal
divisions of the picture. As to what to make these points
of, that must be left to your ingenuity. The sudden deep-
ening of the heart of a shadow may do much to give relief
to a mass. You may venture to introduce a figure, perhaps;
or, if you have not time to make out the detail, put your
point of effect in, at any rate, and trust to your ingenuity
to give it form at home, where you may turn it into any
shape you choose that is consistent with the scene; but
the dark spot you must have, to give the feeling of space
and relief to the mass.
A variety of effects of light are frequently the result of
accident. The colours run together in a manner altogether
unexpected, and with an effect not to be produced by aim.
This is particularly the case with the remote distance:
where separate tints are placed on the damp paper, they
run together and harmonize without destroying each other's
hue, and when dry will suggest the idea of corn-fields,
ploughed lands, and meadows, of which an ingenious artist
will readily avail himself. It requires, certainly, an ardent
imagination, as well as skill and practice, to seize these
accidents and turn them to the best advantage, but
41
necessary that some objects much darker in tone than the
general shade of the middle distance should be introduced,
and in the effective placing of these lies the skill of
the Artist. A little experience will suggest where these
dark points should appear. Howard, in his "Sketcher's
Manual," gives positive rules for their introduction, or, at
any rate, tells us where they ought not to be—for instance,
not in the centre, or equidistant between any two principal
divisions of the picture. As to what to make these points
of, that must be left to your ingenuity. The sudden deep-
ening of the heart of a shadow may do much to give relief
to a mass. You may venture to introduce a figure, perhaps;
or, if you have not time to make out the detail, put your
point of effect in, at any rate, and trust to your ingenuity
to give it form at home, where you may turn it into any
shape you choose that is consistent with the scene; but
the dark spot you must have, to give the feeling of space
and relief to the mass.
A variety of effects of light are frequently the result of
accident. The colours run together in a manner altogether
unexpected, and with an effect not to be produced by aim.
This is particularly the case with the remote distance:
where separate tints are placed on the damp paper, they
run together and harmonize without destroying each other's
hue, and when dry will suggest the idea of corn-fields,
ploughed lands, and meadows, of which an ingenious artist
will readily avail himself. It requires, certainly, an ardent
imagination, as well as skill and practice, to seize these
accidents and turn them to the best advantage, but