LIGHT and SHADOW

A Treatise on Painting by da Vinci Leonardo, is part of the HackerNoon Books Series. You can jump to any chapter in this book . LIGHT and SHADOW. here LIGHT and SHADOW. Chap. CLXXV.— The Course of Study to be pursued. The student who is desirous of making great proficiency in the art of imitating the works of Nature, should not only learn the shape of figures or other objects, and be able to delineate them with truth and precision, but he must also accompany them with their proper lights and shadows, according to the situation in which those objects appear. Chap. CLXXVI.— Which of the two is the most useful Knowledge, the Outlines of Figures, or that of Light and Shadow. The knowledge of the outline is of most consequence, and yet may be acquired to great certainty by dint of study; as the outlines of the different parts of the human figure, particularly those which do not bend, are invariably the same. But the knowledge of the situation, quality, and quantity of shadows, being infinite, requires the most extensive study. Chap. CLXXVII.— Which is the most important, the Shadows or Outlines in Painting. It requires much more observation and study to arrive at perfection in the shadowing of a picture, than in merely drawing the lines of it. The proof of this is, that the lines may be traced upon a veil or a flat glass placed between the eye and the object to be imitated. But that cannot be of any use in shadowing, on account of the infinite gradation of shades, and the blending of them, which does not allow of any precise termination; and most frequently they are confused, as will be demonstrated in another place. Chap. CLXXVIII.— What is a Painter’s first Aim, and Object. The first object of a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art, deserves the greatest praise. This perfection of the art depends on the correct distribution of lights and shades, called . If the painter then avoids shadows, he may be said to avoid the glory of the art, and to render his work despicable to real connoisseurs, for the sake of acquiring the esteem of vulgar and ignorant admirers of fine colours, who never have any knowledge of relievo. Chiaro-scuro Chap. CLXXIX.— The Difference of Superficies, in regard to Painting. Solid bodies are of two sorts: the one has the surface curvilinear, oval, or spherical; the other has several surfaces, or sides producing angles, either regular or irregular. Spherical, or oval bodies, will always appear detached from their ground, though they are exactly of the same colour. Bodies also of different sides and angles will always detach, because they are always disposed so as to produce shades on some of their sides, which cannot happen to a plain superficies. Chap. CLXXX.— How a Painter may become universal. The painter who wishes to be universal, and please a variety of judges, must unite in the same composition, objects susceptible of great force in the shadows, and great sweetness in the management of them; accounting, however, in every instance, for such boldness and softenings. Chap. CLXXXI.— Accuracy ought to be learnt before Dispatch in the Execution. If you wish to make good and useful studies, use great deliberation in your drawings, observe well among the lights which, and how many, hold the first rank in point of brightness; and so among the shadows, which are darker than others, and in what manner they blend together; compare the quality and quantity of one with the other, and observe to what part they are directed. Be careful also in your outlines, or divisions of the members. Remark well what quantity of parts are to be on one side, and what on the other; and where they are more or less apparent, or broad, or slender. Lastly, take care that the shadows and lights be united, or lost in each other; without any hard strokes, or lines: as smoke loses itself in the air, so are your lights and shadows to pass from the one to the other, without any apparent separation. When you have acquired the habit, and formed your hand to accuracy, quickness of execution will come of itself. Chap. CLXXXII.— How the Painter is to place himself in regard to the Light, and his Model. Let A B be the window, M the centre of it, C the model. The best situation for the painter will be a little sideways, between the window and his model, as D, so that he may see his object partly in the light and partly in the shadow. Chap. CLXXXIII.— Of the best Light. The light from on high, and not too powerful, will be found the best calculated to shew the parts to advantage. Chap. CLXXXIV.— Of Drawing by Candle-light. To this artificial light apply a paper blind, and you will see the shadows undetermined and soft. Chap. CLXXXV.— Of those Painters who draw at Home from one Light, and afterwards adapt their Studies to another Situation in the Country, and a different Light. It is a great error in some painters who draw a figure from Nature at home, by any particular light, and afterwards make use of that drawing in a picture representing an open country, which receives the general light of the sky, where the surrounding air gives light on all sides. This painter would put dark shadows, where Nature would either produce none, or, if any, so very faint as to be almost imperceptible; and he would throw reflected lights where it is impossible there should be any. Chap. CLXXXVI.— How high the Light should be in drawing from Nature. To paint well from Nature, your window should be to the North, that the lights may not vary. If it be to the South, you must have paper blinds, that the sun, in going round, may not alter the shadows. The situation of the light should be such as to produce upon the ground a shadow from your model as long as that is high. Chap. CLXXXVII.— What Light the Painter must make use of to give most Relief to his Figures. The figures which receive a particular light shew more relief than those which receive an universal one; because the particular light occasions some reflexes, which proceed from the light of one object upon the shadows of another, and helps to detach it from the dark ground. But a figure placed in front of a dark and large space, and receiving a particular light, can receive no reflexion from any other objects, and nothing is seen of the figure but what the light strikes on, the rest being blended and lost in the darkness of the back ground. This is to be applied only to the imitation of night subjects with very little light. Chap. CLXXXVIII.— Advice to Painters. Be very careful, in painting, to observe, that between the shadows there are other shadows, almost imperceptible, both for darkness and shape; and this is proved by the third proposition, which says, that the surfaces of globular or convex bodies have as great a variety of lights and shadows as the bodies that surround them have. Chap. CLXXXIX.— Of Shadows. Those shadows which in Nature are undetermined, and the extremities of which can hardly be perceived, are to be copied in your painting in the same manner, never to be precisely finished, but left confused and blended. This apparent neglect will shew great judgment, and be the ingenious result of your observation of Nature. Chap. CXC.— Of the Kind of Light proper for drawing from Relievos, or from Nature. Lights separated from the shadows with too much precision, have a very bad effect. In order, therefore, to avoid this inconvenience, if the object be in the open country, you need not let your figures be illumined by the sun; but may suppose some transparent clouds interposed, so that the sun not being visible, the termination of the shadows will be also imperceptible and soft. Chap. CXCI.— Whether the Light should be admitted in Front or sideways; and which is most pleasing and graceful. The light admitted in front of heads situated opposite to side walls that are dark, will cause them to have great relievo, particularly if the light be placed high; and the reason is, that the most prominent parts of those faces are illumined by the general light striking them in front, which light produces very faint shadows on the part where it strikes; but as it turns towards the sides, it begins to participate of the dark shadows of the room, which grow darker in proportion as it sinks into them. Besides, when the light comes from on high, it does not strike on every part of the face alike, but one part produces great shadows upon another; as the eyebrows, which deprive the whole sockets of the eyes of light. The nose keeps it off from great part of the mouth, and the chin from the neck, and such other parts. This, by concentrating the light upon the most projecting parts, produces a very great relief. Chap. CXCII.— Of the Difference of Lights according to the Situation. A small light will cast large and determined shadows upon the surrounding bodies. A large light, on the contrary, will cast small shadows on them, and they will be much confused in their termination. When a small but strong light is surrounded by a broad but weaker light, the latter will appear like a demi-tint to the other, as the sky round the sun. And the bodies which receive the light from the one, will serve as demi-tints to those which receive the light from the other. Chap. CXCIII.— How to distribute the Light on Figures. The lights are to be distributed according to the natural situation you mean your figures should occupy. If you suppose them in sunshine, the shades must be dark, the lights broad and extended, and the shadows of all the surrounding objects distinctly marked upon the ground. If seen in a gloomy day, there will be very little difference between the lights and shades, and no shadows at the feet. If the figures be represented within doors, the lights and shadows will again be distinctly divided, and produce shadows on the ground. But if you suppose a paper blind at the window, and the walls painted white, the effect will be the same as in a gloomy day, when the lights and shadows have little difference. If the figures are enlightened by the fire, the lights must be red and powerful, the shadows dark, and the shadows upon the ground and upon the walls must be precise; observing that they spread wider as they go off from the body. If the figures be enlightened, partly by the sky and partly by the fire, that side which receives the light from the sky will be the brightest, and on the other side it will be reddish, somewhat of the colour of the fire. Above all, contrive, that your figures receive a broad light, and that from above; particularly in portraits, because the people we see in the street receive all the light from above; and it is curious to observe, that there is not a face ever so well known amongst your acquaintance, but would be recognised with difficulty, if it were enlightened from beneath. Chap. CXCIV.— Of the Beauty of Faces. You must not mark any muscles with hardness of line, but let the soft light glide upon them, and terminate imperceptibly in delightful shadows: from this will arise grace and beauty to the face. Chap. CXCV.— How, in drawing a Face, to give it Grace, by the Management of Light and Shade. A face placed in the dark part of a room, acquires great additional grace by means of light and shadow. The shadowed part of the face blends with the darkness of the ground, and the light part receives an increase of brightness from the open air, the shadows on this side becoming almost insensible; and from this augmentation of light and shadow, the face has much relief, and acquires great beauty. Chap. CXCVI.— How to give Grace and Relief to Faces. In streets running towards the west, when the sun is in the meridian, and the walls on each side so high that they cast no reflexions on that side of the bodies which is in shade, and the sky is not too bright, we find the most advantageous situation for giving relief and grace to figures, particularly to faces; because both sides of the face will participate of the shadows of the walls. The sides of the nose and the face towards the west, will be light, and the man whom we suppose placed at the entrance, and in the middle of the street, will see all the parts of that face, which are before him, perfectly illumined, while both sides of it, towards the walls, will be in shadow. What gives additional grace is, that these shades do not appear cutting, hard, or dry, but softly blended and lost in each other. The reason of it is, that the light which is spread all over in the air, strikes also the pavement of the street, and reflecting upon the shady part of the face, it tinges that slightly with the same hue: while the great light which comes from above being confined by the tops of houses, strikes on the face from different points, almost to the very beginning of the shadows under the projecting parts of the face. It diminishes by degrees the strength of them, increasing the light till it comes upon the chin, where it terminates, and loses itself, blending softly into the shades on all sides. For instance, if such light were A E, the line F E would give light even to the bottom of the nose. The line C F will give light only to the under lip; but the line A H would extend the shadow to all the under parts of the face, and under the chin. In this situation the nose receives a very strong light from all the points A B C D E. Chap. CXCVII.— Of the Termination of Bodies upon each other. When a body, of a cylindrical or convex surface, terminates upon another body of the same colour, it will appear darker on the edge, than the body upon which it terminates. And any flat body, adjacent to a white surface, will appear very dark; but upon a dark ground it will appear lighter than any other part, though the lights be equal. Chap. CXCVIII.— Of the Back-grounds of painted Objects. The ground which surrounds the figures in any painting, ought to be darker than the light part of those figures, and lighter than the shadowed part. Chap. CXCIX.— How to detach and bring forward Figures out of their Back-ground. If your figure be dark, place it on a light ground; if it be light, upon a dark ground; and if it be partly light and partly dark, as is generally the case, contrive that the dark part of the figure be upon the light part of the ground, and the light side of it against the dark. Chap. CC.— Of proper Back-grounds. It is of the greatest importance to consider well the nature of back-grounds, upon which any opake body is to be placed. In order to detach it properly, you should place the light part of such opake body against the dark part of the back-ground, and the dark parts on a light ground; as in the cut. Chap. CCI.— Of the general Light diffused over Figures. In compositions of many figures and animals, observe, that the parts of these different objects ought to be darker in proportion as they are lower, and as they are nearer the middle of the groups, though they are all of an uniform colour. This is necessary, because a smaller portion of the sky (from which all bodies are illuminated) can give light to the lower spaces between these different figures, than to the upper parts of the spaces. It is proved thus: A B C D is that portion of the sky which gives light to all the objects beneath; M and N are the bodies which occupy the space S T R H, in which it is evidently perceived, that the point F, receiving the light only from the portion of the sky C D, has a smaller quantity of it than the point E which receives it from the whole space A B (a larger portion than C D); therefore it will be lighter in E than in F. Chap. CCII.— Of those Parts in Shadows which appear the darkest at a Distance. The neck, or any other part which is raised straight upwards, and has a projection over it, will be darker than the perpendicular front of that projection; and this projecting part will be lighter, in proportion as it presents a larger surface to the light. For instance, the recess A receives no light from any part of the sky G K, but B begins to receive the light from the part of the sky H K, and C from G K; and the point D receives the whole of F K. Therefore the chest will be as light as the forehead, nose, and chin. But what I have particularly to recommend, in regard to faces, is, that you observe well those different qualities of shades which are lost at different distances (while there remain only the first and principal spots or strokes of shades, such as those of the sockets of the eyes, and other similar recesses, which are always dark), and at last the whole face becomes obscured; because the greatest lights (being small in proportion to the demi-tints) are lost. The quality, therefore, and quantity of the principal lights and shades are by means of great distance blended together into a general half-tint; and this is the reason why trees and other objects are found to be in appearance darker at some distance than they are in reality, when nearer to the eye. But then the air, which interposes between the objects and the eye, will render them light again by tinging them with azure, rather in the shades than in the lights; for the lights will preserve the truth of the different colours much longer. Chap. CCIII.— Of the Eye viewing the Folds of Draperies surrounding a Figure. The shadows between the folds of a drapery surrounding the parts of the human body will be darker as the deep hollows where the shadows are generated are more directly opposite the eye. This is to be observed only when the eye is placed between the light and the shady part of the figure. Chap. CCIV.— Of the Relief of Figures remote from the Eye. Any opake body appears less relieved in proportion as it is farther distant from the eye; because the air, interposed between the eye and such body, being lighter than the shadow of it, it tarnishes and weakens that shadow, lessens its power, and consequently lessens also its relief. Chap. CCV.— Of Outlines of Objects on the Side towards the Light. The extremities of any object on the side which receives the light, will appear darker if upon a lighter ground, and lighter if seen upon a darker ground. But if such body be flat, and seen upon a ground equal in point of light with itself, and of the same colour, such boundaries, or outlines, will be entirely lost to the sight. Chap. CCVI.— How to make Objects detach from their Ground, that is to say, from the Surface on which they are painted. Objects contrasted with a light ground will appear much more detached than those which are placed against a dark one. The reason is, that if you wish to give relief to your figures, you will make those parts which are the farthest from the light, participate the least of it; therefore they will remain the darkest, and every distinction of outline would be lost in the general mass of shadows. But to give it grace, roundness, and effect, those dark shades are always attended by reflexes, or else they would either cut too hard upon the ground, or stick to it, by the similarity of shade, and relieve the less as the ground is darker; for at some distance nothing would be seen but the light parts, therefore your figures would appear mutilated of all that remains lost in the back-ground. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. da Vinci Leonardo (2014). A Treatise on Painting. Urbana, Illinois: Project Gutenberg. 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