Part 2 (2/2)

While it is true that every subject is likely to contain soestion for its appropriate color-scheme, it still holds that, many times, and especially in those cases where the introduction of foreground features at considerable scale is necessary for the interest of the picture, an artificial arrangement has to be devised

It is well, therefore, to be acquainted with the possibilities of certain color combinations Theis that obtained by placing the proray The white shohiter because of the gray around it, so that the contrast of the black against it is extre This may be said to be the illustrator's _tour de force_ We have it illustrated by Mr Reginald Birch's drawing, Fig 28 Observe how the contrast of black and white is fraray , the horse, and the knight In the drawing by Mr Pennell, Fig 29, we have the same scheme of color

Notice how the trees are darkest just where they are required to tell ainst the white in the centre of the picture

An admirable illustration of the effectiveness of this color-schearstaff Brothers,”

Fig 69 Another scheray area, as in the Vierge drawing, Fig 26 and in Rico's sketch, Fig

11

[Illustration: FIG 29 JOSEPH PENNELL]

[Illustration: FIG 30 B G GOODHUE]

[Illustration: FIG 31 JOSEPH PENNELL]

Still another and a radation, from black to white, wherein the white occupies the centre of the picture, is to be noted in Fig 20

Observe how the dark side of the foreground tree tells against the light side of the one beyond, which, in its turn, is yet so strongly shaded as to count brilliantly against the white building Still again, in Mr Goodhue's drawing, Fig 30, note how the transition froly softened by the gray shadow Notice, too, how the brilliancy of the drawing is heightened by the gradual es as they approach the centre of the picture Yet another exa 50 The gradation here is from the top of the picture doards

The sketch of the coster woradation reversed

The drawing of the hanso 32, by Mr Raven Hill, illustrates a very strong color-sche the black on the upper side, leaving it to tell strongly against the white below Notice how luminous is this same relation of color where it occurs in the Venetian subject by Rico, Fig 14 The shadow on the water qualifies the blackness of the gondola below, per a brilliant contrast with the white walls of the building above

It is interesting to observe how Vierge and Pennell, but chiefly the forraysof form and of direct shadoithout any local color This33 Observe in this, as a consequence, how brilliantly the tiny black counts in the little figure in the centre Notice, too, in the drawing of the soldiers by Jeanniot, Fig 34, that there is very little black; and yet see how brilliant is the effect, owing largely to the figures being per is indicated but the sky-line of the large building in the distance

[Illustration: FIG 32 L RAVEN HILL]

[Illustration: FIG 33 DANIEL VIERGE]

[Illustration: FIG 34 P G JEANNIOT]

CHAPTER V

PRACTICAL PROBLEMS

I have thought it advisable in this chapter to select, and to work out in some detail, a few actual problems in illustration, so as to familiarize the student with the practical application of some of the principles previously laid down

[Illustration: FIG 35 FROM A PHOTOGRAPH]

[Illustration: FIG 36 D A GREGG]

[Side note: _First Proble 35, shows the porch of an old English country church Let us see how this subject has been interpreted in pen and ink by Mr D A Gregg, Fig 36 In respect to the lines, the original co essentially unpleasant Where the strong accent of a picture occurs in the centre, however, it is generally desirable to avoidhas been ”vignetted,”--that is to say, per the values, it will be seen that there is no absolute white in the photograph A literal rendering of such low color would, asin the preceding chapter, be out of the question; and so the essential values which directly contribute to the expression of the subject and which are independent of local color or accidental effect have to be sought out We observe, then, that the principal note of the photograph is ainst the light wall beyond

This is the direct result of light and shade, and is therefore logically adopted as the principal note of Mr Gregg's sketch also

The wall at this point is hten the contrast To still further increase the light area, the upper part of the porch has been left al the construction of the weather-beaten tiray tone sufficient to relieve it frorass, were it rendered literally, would , and this is therefore only suggested in the sketch The roof of theequally objectionable on account of its 's excellent handling of the old ork of the porch is orthy of study

[Side note: _Second Problem_]