Suitable Contrast. It is, however, more a question of
suitable contrast than anything else. In pictures where a single human figure or a group occupies the foreground, the background should be light and merely suggestive in the way of details. The contrast is more generally produced by having the objects in the foreground dark and those in the background light. The lines in the background should, in certain instances, be much finer than those in the foreground, and with very slight, if any, accentuations.
Avoid Flatness. The keynote of attractiveness in a picture is frequently a matter of contrasts. Flatness is an almost unpardonable fault. By introducing strong contrasts, flatness is avoided. By playing heavy lines against light ones, strong tones against weak ones, contrasts are produced.
Practice Outline. The outline is of the greatest importance, frequently being complete in itself as a means of representation of form. To copy slavishly the outlines found in copies or nature is not altogether necessary if the general forms are preserved.
Mass Drawing. In drawing, a knowledge of the masses will aid greatly in giving the general impression and in indicating the position and form of the various details. These masses should be shaded in the drawing to reproduce the tones as they appear to the eye. A soft pencil is best adapted for this purpose. A very limited range of tones is required to produce excellent results. It is best to draw masses not with the point of the pencil, but by holding it at an angle and drawing with the side of the lead. This is to relieve the mind of the impression of lines and to allow the mind to concern itself simply with the shape and density of the various tones of light and dark. It is a good plan to outline the various masses before filling them in, as this will enable the pupil to adhere more closely to the true shapes and edges of the masses.
Easy Examples in Light and Shade. The examples in Fig. 9 show how, by simple means, the direction of the light may be indicated. In i may be seen the light coming from the right side; 2 shows the light coming from above, and in 3 the light on the walnut is from below.
The heavy lines in an outline or slightly shaded drawing should be made to indicate those parts which are against the light; the light lines the parts n arest to the light. In the drawings of the tree trunks, light and shade effects are shown
by opposite instances. In 4 the light comes from the right, in 5 from the left. Draw other objects from nature or imagination, such as a cup, a stone, an ink-bottle or top, and note the light and shade effects.
Accentuation in Outline Drawings. In outline drawings, this general rule may well be adopted, subject to exceptions dependable largely on the common sense of teacher and pupil: The strongest accents and broadest lines should represent the nearest or most important lines of the subject.
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