The Light for Drawing from Nature
A guiding line, imperceptible shadows on rounded surfaces, and the steady north light of the studio.
A text page under the running head SECVNDA (folio 40), gathering short precepts on drawing and light. Chapter 84 teaches to draw by a guiding line and notes the imperceptible gradations of shadow on globular surfaces; chapter 85 prescribes an unchanging north light, or a cloth-screened south window, set so each body casts a shadow as long as its height. Chapter 86 explains how to choose the light to match the setting feigned, where open country gives soft encircling light and the uncovered sun gives dark, sharp-edged shadows tinged by the blue of the air. A running header and a marginal note at the top and left margin are visible but not transcribed.
On this page
Drawing by a guiding line
When you draw and move some beginning of a line, look throughout the whole body you are drawing at whatever meets the straight course of that begun line. The line becomes a plumb and check against which the rest of the forms are placed.
Imperceptible shadows on globular surfaces
Among the shadows are shadows imperceptible in darkness and in figure. Globular surfaces carry as many varied darknesses and brightnesses as there are varieties of darkness and brightness in the objects that stand before them.
How high the light should be; the north window
The light for drawing from nature should come from the north so it does not change; if used at midday, screen the window with cloth against the shifting sun. Set its height so every body casts a ground shadow as long as its own height.
Choosing the light: figures in open country versus the uncovered sun
The setting you feign dictates the light: figures in open country, with the sun hidden, are girded by a great sum of soft light. But when the sun sees them their shadows turn very dark against the lit parts, with sharp boundaries both primitive and derivative, while the blue of the air tinges the side it faces.
