The Elements of Drawing by John Ruskin (acx book reading .TXT) 📖

51. Generally, then, every solid illumined object—for instance, the stone you are drawing—has a light side turned towards the light, a dark side turned away from the light, and a shadow, which is cast on something else (as by the stone on the paper it is set upon). You may sometimes be placed so as to see only the light side and shadow, sometimes only the dark side and shadow, and sometimes both or either without the shadow; but in most positions solid objects will show all the three, as the stone does here.

52. Hold up your hand with the edge of it towards you, as you sit now with your side to the window, so that the flat of your hand is turned to the window. You will see one side of your hand distinctly lighted, the other distinctly in shade. Here are light side and dark side, with no seen shadow; the shadow being detached, perhaps on the table, perhaps on the other side of the room; you need not look for it at present.

53. Take a sheet of note-paper, and holding it edgewise, as you hold your hand, wave it up and down past the side of your hand which is turned from the light, the paper being of course farther from the window. You will see, as it passes, a strong gleam of light strike on your hand, and light it considerably on its dark side. This light is reflected light. It is thrown back from the paper (on which it strikes first in coming from the window) to the surface of your hand, just as a ball would be if somebody threw it through the window at the wall and you caught it at the rebound.

Next, instead of the note-paper, take a red book, or a piece of scarlet cloth. You will see that the gleam of light falling on your hand, as you wave the book, is now reddened. Take a blue book, and you will find the gleam is blue. Thus every object will cast some of its own color back in the light that it reflects.

54. Now it is not only these books or papers that reflect light to your hand: every object in the room on that side of it reflects some, but more feebly, and the colors mixing all together form a neutral[11] light, which lets the color of your hand itself be more distinctly seen than that of any object which reflects light to it; but if there were no reflected light, that side of your hand would look as black as a coal.

55. Objects are seen therefore, in general, partly by direct light, and partly by light reflected from the objects around them, or from the atmosphere and clouds. The color of their light sides depends much on that of the direct light, and that of the dark sides on the colors of the objects near them. It is therefore impossible to say beforehand what color an object will have at any point of its surface, that color depending partly on its own tint, and partly on infinite combinations of rays reflected from other things. The only certain fact about dark sides is, that their color will be changeful, and that a picture which gives them merely darker shades of the color of the light sides must assuredly be bad.

56. Now, lay your hand flat on the white paper you are drawing on. You will see one side of each finger lighted, one side dark, and the shadow of your hand on the paper. Here, therefore, are the three divisions of shade seen at once. And although the paper is white, and your hand of a rosy color somewhat darker than white, yet you will see that the shadow all along, just under the finger which casts it, is darker than the flesh, and is of a very deep gray. The reason of this is, that much light is reflected from the paper to the dark side of your finger, but very little is reflected from other things to the paper itself in that chink under your finger.

57. In general, for this reason, a shadow, or, at any rate, the part of the shadow nearest the object, is darker than the dark side of the object. I say in general, because a thousand accidents may interfere to prevent its being so. Take a little bit of glass, as a wine-glass, or the ink-bottle, and play it about a little on the side of your hand farthest from the window; you will presently find you are throwing gleams of light all over the dark side of your hand, and in some positions of the glass the reflection from it will annihilate the shadow altogether, and you will see your hand dark on the white paper. Now a stupid painter would represent, for instance, a drinking-glass beside the hand of one of his figures, and because he had been taught by rule that "shadow was darker than the dark side," he would never think of the reflection from the glass, but paint a dark gray under the hand, just as if no glass were there. But a great painter would be sure to think of the true effect, and paint it; and then comes the stupid critic, and wonders why the hand is so light on its dark side.

58. Thus it is always dangerous to assert anything as a rule in matters of art; yet it is useful for you to remember that, in a general way, a shadow is darker than the dark side of the thing that casts it, supposing the colors otherwise the same; that is to say, when a white object casts a shadow on a white surface, or a dark object on a dark surface: the rule will not hold if the colors are different, the shadow of a black object on a white surface being, of course, not so dark, usually, as the black thing casting it. The only way to ascertain the ultimate truth in such matters is to look for it; but, in the meantime, you will be helped by noticing that the cracks in the stone are little ravines, on one side of which the light strikes sharply, while the other is in shade. This dark side usually casts a little darker shadow at the bottom of the crack; and the general tone of the stone surface is not so bright as the light bank of the ravine. And, therefore, if you get the surface of the object of a uniform tint, more or less indicative of shade, and then scratch out a white spot or streak in it of any shape; by putting a dark touch beside this white one, you may turn it, as you choose, into either a ridge or an incision, into either a boss or a cavity. If you put the dark touch on the side of it nearest the sun, or rather, nearest the place that the light comes from, you will make it a cut or cavity; if you put it on the opposite side, you will make it a ridge or mound; and the complete success of the effect depends less on depth of shade than on the rightness of the drawing; that is to say, on the evident correspondence of the form of the shadow with the form that casts it. In drawing rocks, or wood, or anything irregularly shaped, you will gain far more by a little patience in following the forms carefully, though with slight touches, than by labored finishing of texture of surface and transparencies of shadow.

59. When you have got the whole well into shape, proceed to lay on the stains and spots with great care, quite as much as you gave to the forms. Very often, spots or bars of local color do more to express form than even the light and shade, and they are always interesting as the means by which Nature carries light into her shadows, and shade into her lights; an art of which we shall have more to say hereafter, in speaking of composition. a, in Fig. 5, is a rough sketch of a fossil sea-urchin, in which the projections of the shell are of black flint, coming through a chalky surface. These projections form dark spots in the light; and their sides, rising out of the shadow, form smaller whiter spots in the dark. You may take such scattered lights as these out with the penknife, provided you are just as careful to place them rightly as if you got them by a more laborious process.

60. When you have once got the feeling of the way in which gradation expresses roundness and projection, you may try your strength on anything natural or artificial that happens to take your fancy, provided it be not too complicated in form. I have asked you to draw a stone first, because any irregularities and failures in your shading will be less offensive to you, as being partly characteristic of the rough stone surface, than they would be in a more delicate subject; and you may as well go on drawing rounded stones of different shapes for a little while, till you find you can really shade delicately. You may then take up folds of thick white drapery, a napkin or towel thrown carelessly on the table is as good as anything, and try to express them in the same way; only now you will find that your shades must be wrought with perfect unity and tenderness, or you will lose the flow of the folds. Always remember that a little bit perfected is worth more than many scrawls; whenever you feel yourself inclined to scrawl, give up work resolutely, and do not go back to it till next day. Of course your towel or napkin must be put on something that may be locked up, so that its folds shall not be disturbed till you have finished. If you find that the folds will not look right, get a photograph of a piece of drapery (there are plenty now to be bought, taken from the sculpture of the cathedrals of Rheims, Amiens, and Chartres, which will at once educate your hand and your taste), and copy some piece of that; you will then ascertain what it is that is wanting in your studies from Nature, whether more gradation, or greater watchfulness of the disposition of the folds. Probably for some time you will find yourself failing painfully in both, for drapery is very difficult to follow in its sweeps; but do not lose courage, for the greater the difficulty, the greater the gain in the effort. If your eye is more just in measurement of form than delicate in perception of tint, a pattern on the folded surface will help you. Try whether it does or not: and if the patterned drapery confuses you, keep for a time to the simple white one; but if it helps you, continue to choose patterned stuffs (tartans and simple checkered designs are better at first than flowered ones), and even though it should confuse you, begin pretty soon to use a pattern occasionally, copying all the distortions and perspective modifications of it among the folds with scrupulous care.

61. Neither must you suppose yourself condescending in doing this. The greatest masters are always fond of drawing patterns; and the greater they are, the more pains they take to do it truly.[12] Nor can there be better practice at any time, as introductory to the nobler complication of natural detail. For when you can draw the spots which follow the folds of a printed stuff, you will have some chance