Tracing on Glass, Landscapes and Candlelight Shadows
Pounce the glass drawing onto paper; draw trees under a clouded sun; soften shadows by lamplight and doorway grace.
A text page under the running head PARTE, finishing the glass-tracing method and adding three short chapters on light. It tells how to mark the view on the glass with brush or red-chalk pencil, trace and pounce it onto good paper, and paint with aerial perspective; chapter 91 advises drawing landscapes when the sun is veiled by cloud so trees take the sky's universal light. Chapter 92 gives a screen of chancery paper for soft, unterminated shadows by candle or lamp, and chapter 93 opens on the grace of a face seen at the dark doorway of a dwelling.
On this page
From glass to paper: mark, trace, pounce, and add aerial perspective
Cover one eye and with brush or ground red-chalk pencil mark on the glass what appears beyond; then trace the glass onto paper, pounce it onto good paper, and paint it, afterward making good use of aerial perspective.
Where to draw landscapes: trees under a clouded sun
Landscapes should be drawn with the trees half illuminated and half shaded, but better still when the sun is covered by clouds, so the trees take the universal light of the sky and the universal shadow of the earth. Their parts grow darker the nearer they lie to the middle of the tree and of the ground.
Shadows by candlelight: smoky and unterminated
By candle or lamp at night, interpose the frame with translucent paper, or a whole sheet of chancery paper without tracing, and the shadows will appear smoky and not terminated. The light without the paper is left to fall on the paper where you draw.
Grace of a face seen at a dark doorway
The greatest grace of shadows and lights is added to the faces of those who sit at the doors of dark dwellings. The observer's eye sees the shady part of the face darkened by the dwelling's shadow and the lit part heightened by added brightness.