SHADOWING (n.)

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

4 sources
6 quotations

Quotation

{Of hatching.} In shadowing, with hatches, or small strokes (as in your print) use the pen of a Ravens-quill ; and be sure not to cross any stroake, before the former be dry ; left they runne into each other.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique du dessin

Quotation

CHAP. VII. Of Shadowing a naked body.
I. The shadows of the neck, in a child or young woman, are very fine, rare, and hard to be seen : In a man, the finews and veins are expressed by shadowing of the rest of the neck, and leaving them white : the shoulder is shadowed underneath : the brawn of the arm must appear full and white, shadowed on one side.
[...].

 
CHAP. VIII.
The way and manner of Shadowing.
I. If it be a surface only it is best shadowed by drawing lines (either straight or oblique, according as the superficies is) through the better half thereof.
            2. If it be in a body, it is a double shadow, and is used when a superficies begins to forsake your sight, as in Colums and Pillars, where it is double darkned, and representeth to the eye, as it were the backside, leaving that unshadowed to the light.
            III. The treble shadow, is made by crossing over again the double shadow ; and is used for the inward parts of things, as in clefts of the earth, wells, caves, the insides of pots, cups and dishes.
            [...].

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
L’HISTOIRE ET LA FIGURE → figure et corps
EFFET PICTURAL → qualité de la lumière

Quotation

XV. In colouring and shadowing of every thing ; you must do the same in your picture which you observe with your Eye, especially in objects lying near ; but according as the distance grows greater and greater, so the Colours must be fainter and fainter, till at last they loose themselves in a darkish sky colour.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → perspective

Quotation

CHAP. XXII. Of Mixing Colours and shadowing.
I. In mixing be careful not to make the colour too sad, nor take the pensils out of one colour and put them into another.
            II. In mixing colours, stir them well about the water severally till they are well about the water severally till they are well mixed ; [...].
            III.
Green is shadowed with Indico and yellow berries.
IV.
Blew is shadowed with Indico, Litmose and flory ; [...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
CONCEPTION DE LA PEINTURE → lumière

Quotation

Observations for Placing the Lights, and for Shadowing of Garments, and other things in general.


Observation I.


Let all the Lights be placed one way in those Piece of Work, whether in the Figure, Faces, or Garments. If the Lights fall sideways on the Picture, you make the other side (which is furthest from the Light) darkest. And let the Lights be placed all together on the one side, and not confusedly on both sides alike, […].

The Reason why the Shadows must generally fall one way.


First, because the Light doth not with all its brightness illuminate any more then that part that is directly opposite unto it.
The second Reason is taken from the nature of the Eye ; for the first part of the Body coming to the Eye with a bigger angle, is seen more distinctly ; but the second part being further off, is seen by the Eye in a lesser angle. […]. 


Observation II.


That part of the Body must be made lightest, which hath the Light most directly opposite to it ; as the Light be placed above the Head, descending then, the top of the Head must be made Lightest, the Shoulder next Lightest, and so you must lose by degrees. […]. As for Sattens and Silks, and all other Shining Stuffs, have certain Bright Reflections, exceeding Bright, with sudden Light Glances, especially where the Light falls brightest ; and so the Reflections are less bright, by how much the Garment falls more inward from the Light. The like is seen in Armour, and Brass Pots and Kettles, or any Glittering Metalls : you may see a sudden Brightness in the middle or centre of the Light, which causes the Shining nature of such things.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Quotation

Chap. VI, Of Shadowing, and Rules to be observed therein.
The out-lines of any Draught or Picture give the Symmetry or Proportion, which is enough to a good judgment : So the Figures before in this Book have only the out-lines, and those are best to practice first by : I say, the Out-lines shew the Proportion to a good judgment ; but the Lines and Shadows give the lively likeness. In Shadowing therefore of any Picture you must observe these Rules following.

RULE I.
Cast your Shadows always one way, that is, on which side you begin to shadow your Figure, either on the right or left side, you must continue so doing through your whole work. As in the figure of a Man, if you begin to shadow his left Cheek, you must shadow the left side of his Neck, the left side of his Arms, the left side of his Body, […].
RULE II.
All Shadows must grow fainter and fainter, as they are farther removed from the opacous body from whence they issue.
RULE III.
In great Winds, where Clouds are driven to and for several ways ; as also in Tempests at Sea, where Wave exposeth Wave ; here contrary shadows must concur, as striving for superiority : here in such cases you must be sure to supply the greatest first, and from them, according to your judgment supply the lesser ; practice and imitation of good Copies will be your best director.
RULE IV.
All Circular bodies must have a Circular shadow, as they have a Circular form, and as the object of light which causeth shadow is Circular.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière