Art . to begin the study of light and shade in Form III withcylindrical objects which, although they are simjile enough when drawn in outline,present subtle gradations in shading on account of rounded surfaces. Withrectangular objects these difficulties are not encountered, and the first lesson inlight and shade may begin with some simple rectangular object, such as a plain,white, cardboard box with dimensions anywhere from four to eight inches. LIGHT AND SHADE 255 If the room cau Ije arranged so that tlie light falls upon each box from onedirection only, the boxes may be placed on the boards
Art . to begin the study of light and shade in Form III withcylindrical objects which, although they are simjile enough when drawn in outline,present subtle gradations in shading on account of rounded surfaces. Withrectangular objects these difficulties are not encountered, and the first lesson inlight and shade may begin with some simple rectangular object, such as a plain,white, cardboard box with dimensions anywhere from four to eight inches. LIGHT AND SHADE 255 If the room cau Ije arranged so that tlie light falls upon each box from onedirection only, the boxes may be placed on the boards across the aisles with a sheetof white or light gray paper under each, so that the cast shadow may be pupil may then proceed to sketch the box he sees best, as follows: 1. Making a very light sketchy outline of the box. of good size and well placed on the drawing paper. 2. Sitting well back in the seat, with eyes half closed, and studying the box to see which face is definitely in 3. In the same manner studying the shape of the cast shadow, taking pencil measurements, and straight edge tests, to determine its exact shape andproportions in relation to the box. 4. Blocking in the shape of the cast shadow, using a very faint sketchy outline. 5. Testing the pencil on another sheet of paper,, to see how heavy the strokes must be to make the shade and cast,shadow correct in value. It isadvisable that the pencil lines should follow the direction of the surface,therefore the vertical surface that is in shadow should be covered withfirm, vertical strokes that touch or almost touch, without lapping, butthe cast shadow should be expressed with a layer of strokes laidhorizontally, on account of the horizontal surface on which the box rests. 256 ART 6. When these tones made up of pencil strokes have been placed in the drawing, the edges that are not defined by tones may be strengthened with a soft gray line. There should be time in the same lesson to make another draw
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