A nice Paternoster image:
Image from page 165 of “The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of
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Identifier: gri_c00033125010497473
Title: The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of a master : being the only work of the kind in which the principles of effect are explained in a clear, methodical, and at the same time familiar style
Year: 1827 (1820s)
Authors: Smith, Thomas, watercolorist Sherwood, Gilbert & Piper, publisher Clowes, William, 1779-1847, printer
Subjects: Drawing Watercolor painting Color
Publisher: London : Printed for Sherwood, Gilbert, and Piper, Paternoster-Row
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
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Text Appearing Before Image:
ts. We shall now proceed to explain the nature of thecontrast of light and shade. Light is the contrast of shade, and shade is thecontrast of light. A dark shade is a contrast to a lighter shade; andvice versa. A bright light is a contrast to any other light whichis not so bright. • Small and agitated lights are best contrasted by large i 2 108 LIGHT AND SHADE. dell flat shades, as in. the sketch on coloured paper,where the flittering light of the flying spray at thebottom of the waterfall is well contrasted by the sombrestillness of the dark rocks against which it beats, andin an opposite sense the broad light of the eveningsky is relieved by the small dark foliage of the trees onthe left-hand side. In the same way a mass of building which are inshade may be relieved and contrasted by perforations,which admit the light as in Fig. 11., where the darkside of the ruined abbey is relieved, and rendered lessheavy by the windows through which is seen the lightof the evening sky. Fig. 11.
Text Appearing After Image:
1 The strongest contrast to a light is by making thatlight the only light in the picture, all the rest being inshade. A square flat shade is best contrasted by any smallirregular lights, as in.Fig. 12, the squareness of the dark i CONTRAST OF COLOUR. 109 tomb is contrasted by the light leaves of the bramblewhich hang over it. Fig. 12. Every light or shade may be contrasted by a lightor shade of a different form, according to rules given forthe contrast of form.
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