Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/397

Rh Local Color is the color of objects when viewed in ordinary daylight, and comparatively near to the eye. Local color is, of course, modified by increase or diminution in the brightness of the light on the increased or diminished distance from the spectator. Cast shadows are darker than the objects which throw them. Foreground objects appear to exhibit the brightest lights, the most powerful shaded sides, and also cast the strongest shadows, while the atmosphere between the sketcher and the objects in the distance and middle distance tends to reduce the value of those which are furthest from the eye.

Breadth is a most desirable quality to be aimed at, so that the lights and shades may be massed, and not cut up into small detached pieces.

The color of a drawing should not be carried in its full intensity up to the very edge, otherwise the subject will appear to be cut out, with consequent loss of atmospheric effect, and for the same reason the principal objects should not be placed too near the margin, and lines such as roads should be arranged so as to lead the eye into the picture. The area of washes should diminish as the work proceeds. The general coloring must not be darkest in the immediate foreground, but nearer to the middle distance, where also the highest lights should be placed.

Meaning and decision should always be given to all strong and dark touches.

The entire horizon must never be allowed to cut hard against the sky, and endeavors ought to be made to produce some appearance of mystery in every drawing.

Light and color should always be carried through the picture, that is, the sky should not be entirely cold whilst the landscape is warm, nor vice versa. The sky color must always be carried into the landscape.

Aerial perspective is the modification of light, shade, and color which is caused by the atmosphere, or more especially by vapor in the form of mist or haze, interposing between