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Updated: June 23, 2025
Pictures that do not go far in the direction of light, starting from a middle tone, should not go far in the direction of dark either. In this respect note the pictures of Whistler, a great master in matters of tone; his lights seldom approach anywhere near white, and, on the other hand, his darks never approach black in tone.
This process requires certain modifications to be made in the darks of the original drawing. The dense black shadow under the eaves of a roof, for instance, are not in nature as black as the charcoal, but perhaps a rich, warm brown. If the ground is in sunlight, it is a dull, golden yellow and reflects the yellow glow of the sand beneath. Or it may be a blue reflection, or even of a reddish tone.
And Rose, as she said, was really grateful to him for telling her what it was she had been doing all the while, just as Monsieur Jourdain was grateful for the information that he had been talking prose all his life and never known it. What she had felt, of course, at the very outset, was the need of something to indicate roughly the darks and lights in her design.
This is effected purely and entirely by the correct accentuations of the explanatory lights and darks.
The lightning was incessant. I stood at the corner of the piazza and watched the splendid effects of lights and darks, in a moment coming and in a moment gone, on the campanile and church of St. Mark's. It was most sublime.
Then I begged hard that it should be left as it was, and I was met by arguments that I could not discuss, "the effect was not true so," "the lights were too strong," or "the darks too heavy;" "but very little retouching was necessary," and it ended in the pretty sketch being destroyed after having been re-varnished and re-bitten two or three times.
Parri, on the other hand, used body colours in making his grounds and tints, placing them with much discretion where it appeared to him that they would look best that is, the lights on the highest points, the middle tints towards the sides, and the darks on the outlines; with which method of painting he showed more facility in his works and gave longer life to pictures in fresco, seeing that, having laid the colours in their places, he would blend them together with a rather thick and soft brush, and would execute his works with so high a finish that nothing better can be desired; and his colouring has no equal.
But, at the action, the shadow swept away from the boy's face again, all his lights and darks came flashing out, eyes and teeth and color sparkling in his smile, like sunshine after rain; he made his low obeisance, poised the tray upon his head, and, with a wave of his hand, went out. "A rivederla!" he called back to her from the door, and was gone.
She was luminously mild, used her hands like a Madonna in a picture, was more lovely and winning in the motions of her little head, the wistful deeps and darks of her eyes, the pathetic curve of her mouth, than any Madonna short of Leonardo's. Grifone threw up his arms; such a pass confounded him; he had no tools to pick this sort of lock. Oh, but the thing was impossible!
Do not attempt the full range of tone at first, but keep the darks rather lighter and the lights darker than nature. Attempt the full scale of tone only when you have acquired sufficient experience with the simpler range, and gradually add more colours as you learn to master a few. But restraints are not so fashionable just now as unbridled licence.
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