DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19950#0043
contrast.
43
CHAPTER IY.
contrast.
CONTRAST OF COLOURS TO BE SEEN IN THE LIGHTS AND SHADOWS OF NATURE—
THE BEGINNER THWARTED IN PRACTICE BY HIS PREVIOUS HABITS IN BLACK-AND-
WHITE—SUNRISE OR SUNSET THE BEST TIME FOR SKETCHING—THE SECRET OF
COLOUR LIES IN SHADING: THE TRUE COLOUR TO BE SEEN IN HALF-TINT; LIGHT
"PALES" THE COLOUR, AND SHADE " DULLS" IT—BOLD STYLE OF COLOURING
SEEN IN BURFORD'S PANORAMAS USEFUL TO THE SKETCHER—HOW HIS EFFECTS
ARE OBTAINED—INSTANCES OF POSITIVE CONTRAST IN LIGHT AND SHADOW—
WHAT TO AVOID IN COLOURING—HARMONY, AND HOW FAR NECESSARY TO A
SKETCH.
The next important point in a sketch, and that which
gives it value and character, is Contrast. In the practice
of Black-and-white, tins is confined to light and shadow
and to the disposition of lines. Though both are necessary
in works of colour, yet, as you are supposed to have mas-
tered them already, we pass them by, and confine our
attention to contrast of colours, wliich gives the principal
charm to Painting, and places it above the practice of Black-
and-white. As our present object is to avoid the dulness
complained of by the student, we shall be content, if we
can but obtain brightness, to err on the side of crudity.,
43
CHAPTER IY.
contrast.
CONTRAST OF COLOURS TO BE SEEN IN THE LIGHTS AND SHADOWS OF NATURE—
THE BEGINNER THWARTED IN PRACTICE BY HIS PREVIOUS HABITS IN BLACK-AND-
WHITE—SUNRISE OR SUNSET THE BEST TIME FOR SKETCHING—THE SECRET OF
COLOUR LIES IN SHADING: THE TRUE COLOUR TO BE SEEN IN HALF-TINT; LIGHT
"PALES" THE COLOUR, AND SHADE " DULLS" IT—BOLD STYLE OF COLOURING
SEEN IN BURFORD'S PANORAMAS USEFUL TO THE SKETCHER—HOW HIS EFFECTS
ARE OBTAINED—INSTANCES OF POSITIVE CONTRAST IN LIGHT AND SHADOW—
WHAT TO AVOID IN COLOURING—HARMONY, AND HOW FAR NECESSARY TO A
SKETCH.
The next important point in a sketch, and that which
gives it value and character, is Contrast. In the practice
of Black-and-white, tins is confined to light and shadow
and to the disposition of lines. Though both are necessary
in works of colour, yet, as you are supposed to have mas-
tered them already, we pass them by, and confine our
attention to contrast of colours, wliich gives the principal
charm to Painting, and places it above the practice of Black-
and-white. As our present object is to avoid the dulness
complained of by the student, we shall be content, if we
can but obtain brightness, to err on the side of crudity.,