Part 2 (1/2)

Interesting effects of texture are so the irain To produce this, it is necessary that the drawing be made on fairly thin paper

The _ over a piece of rain, and, holding it firorously over the surface of the paper The grain of the canvas will be found to be clearly reproduced, and, as the crayon is absolutely black, the effect is capable of reproduction by the ordinary photographic processes

CHAPTER IV

VALUES

[Side note: _The Color Scheme_]

After the subject has beenthe pen work, we have to consider and determine the proper disposition of the Color By ”color” is a 23 The success or failure of the draill largely depend upon the disposition of these ele a matter of secondary concern Beauty of line and texture will not redee in which the values are badly disposed, for upon them we depend for the effect of unity, or the pictorial quality If the values are scattered or patchy the draill not focus to any central point of interest, and there will be no unity in the result

[Illustration: FIG 23 C D M]

There are certain general laws by which color ly disposed, but it ht to be disposed naturally as well By a ”natural” scheme of color, I ht and shade Now the gradation fro sche 24, yet the effect is unnatural, since the sky is black In a purely decorative illustration like this, however, such logic need not be considered

[Illustration: FIG 24 D A GREGG]

[Side note: _Principality in the Color-Scheme_]

Since, as I said before, color is the factor which makes for the unity of the result, the first principle to be regarded in its arrangement is that of Principality,--thereThere should not, for instance, be two principal dark spots of equal value in the sa, nor two equally pro 25, and that by Mr Pennell, Fig 5, are no exceptions to this rule; the black figure of the oldas one note in the fore in the latter The work of both these artists is e manner in which they dispose their values

[Illustration: FIG 25 DANIEL VIERGE]

[Side note: _Variety_]

The next thing to be sought is Variety Too obvious or positive a scheme, while possibly not unsuitable for a conventional decorative drawing, e color areas should be echoed by shout the picture Take, for exa 26

Observe how the ht holes seen through the inn door Without this repetition of the white the draould lose

11, a tiny white spot in the shadow cast over the street would, I venture to think, be helpful, beautifully clear as it is; and the black area at the end of the wall seeure

[Illustration: FIG 26 DANIEL VIERGE]

[Side note: _Breadth of Effect_]

Lastly, Breadth of Effect has to be considered It is requisite that, however numerous the tones are (and they should not be too nueneous The color ether broadly, and not be cut up into patches

[Illustration: FIG 27 HARRY FENN]

It is iamut from black to white is a short one for the pen One need only try to faithfully render the high lights of an ordinary table glass set against a gray background, to be assured of its limitations in this respect To represent even approximately the subtle values would require so round would suffice to give a selass as a whole The gray background would, therefore, be lost, and if a really black object were also part of the picture it could not be represented at all Observe, in Fig 27, how just such a problem has been worked out by Mr Harry Fenn

It will be s in their broad relation To be specific,--in the example just considered, in order to introduce a black object the scheray background could be given its proper value, thus denored, and just enough suggested to give the general effect This reasoning would equally apply were the light object, instead of a glass, so positive shadows Just so n should be rendered as not to darken the object below its proper relative value as a whole In this faculty of suggesting things without literally rendering the

Itfrom the necessary eli

The degree of such elimination depends, of course, upon the character of the subject, this being entirely a reater the nu, three or four are all that can bewith three,--black, half-tone, and white

[Illustration: FIG 28 REGINALD BIRCH]

[Side note: _Various Color-Schemes_]