. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. fying colors and light and shade asdistance increases to secure the effect of air intervening between us and any remote objecthas a very appreciable influence upon color. Itsoftens the contrast of light and shadow and mellowshard outlines. The denser the atmosphere the moreit blurs the vision, until, as in an extreme instance, afog blots out the landscape altogether. In high altitudes the air is clear and objects aremore distinct than when seen ne
. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. fying colors and light and shade asdistance increases to secure the effect of air intervening between us and any remote objecthas a very appreciable influence upon color. Itsoftens the contrast of light and shadow and mellowshard outlines. The denser the atmosphere the moreit blurs the vision, until, as in an extreme instance, afog blots out the landscape altogether. In high altitudes the air is clear and objects aremore distinct than when seen near the surface of theearth at the sea level. Moisture arising from theground and particles of dust that remain suspendedin the air constitute minute reflecting bodies whichin the aggregate interfere with perfect sight. It is thought by some that blue, or any colortinged with it, has a retiring quality. This may betrue and, if so, could be explained by the fact that pureair is in itself of a bluish tint. But it is doubtful ifblue differs from other pigments to the extent thatit can be called a distance color. Reds or yellows, 48. ^^ go ^ ^ o Q ■^^ < .S -& u .5o ^ 1^ ■»i o o o a w o-S Pm ^5 < ^ <u p^ o -a « o T3 — n 43 H ni u O fin 2 i 21 S^ ^ to as well as blues, can be made to retire if the tonesare properly adjusted in their relation to other colors. The artist having a well-defined conception ofwhat he is to do determines what method of treat-ment he will adopt as being suitable to his instance, in the pastoral scene we obtain reposeby gentle gradations of light and color, whereas, ina battle picture, we see brilliant lights and shadowsin violent contrast. The emotional influence of anytreatment must be considered and the degree andarrangement of light and shade should be governedby the character of the subject. It is a common error to make shadows too simple way of testing lights and darks is by com-paring a white card with the lights and
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