The text provides guidance on shading techniques for drawing a head or an academy figure, focusing on principles applicable to both natural observation and modeling. It discusses the importance of understanding light and shadow interactions to effectively illustrate depth and form. The document explains the practical application of making an object appear in 'relief' by appropriately managing light and shadow intensity.
How to Shade a Head and an Academy Figure,
According to Models or Nature.
Referring to the basic ideas about shadows given at the end of our first part (page 61), we will apply these principles to shading a head or an academy figure from nature or a model, without fearing to delve into details that may seem too meticulous at first glance, but whose necessity is demonstrated by experience.
I. Method of Shading a Head from Nature or from a Model.
After presenting some observations on the lights and shadows of the head, we show how to illuminate the head to be drawn most advantageously, and then we provide the means to execute the shaded drawing of the head.
Observations on Light and Shadow of the Head.
When we draw, our greatest light is the white of the paper, or the white pencil if we draw on colored paper; to make this white appear more or less bright, stronger or weaker shadows are needed: this rule applies to all types of drawings; here we focus on the head.
If the figure is in open air, lit by daylight, the brightest part will be on top. If this figure is in a room lit by a window, the brightest light will be a little lower, more or less, depending on the height of the window.
When shading a head, the goal is first to find ways to make the general mass turn, without bothering about details that can be regarded as specifics.
We know that the head, stripped of its hair, resembles an egg; thus, we must look for ways to make this 'egg' appear in relief on canvas or paper.
On a spherical body, the strongest light, like the darkest shadow, is never on the edge or outline. If the head stands out against a dark background, the edge of the head (on the shadow side), will be distinguished by a half-tone less dark than the shadow of the head, and the edge on the side that receives light will, instead of being distinguished by a bright light, be distinguished in half-tone.
Translation Notes:
- "Academy Figure" refers to a traditional full-length figure study.
- "Bosse" is a French term meaning a model or cast used for drawing practice.
- "Relief" indicates the three-dimensional effect or appearance of depth.
- "Half-tone" is a method of showing lighter shadows, not completely black.