COLOURS IN REGARD TO BACK-GROUNDS

by Leonardo Da VinciDecember 8th, 2023

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Chap. CCLXIII.—Of avoiding hard Outlines. Do not make the boundaries of your figures with any other colour than that of the back-ground, on which they are placed; that is, avoid making dark outlines. Chap. CCLXIV.—Of Outlines. The extremities of objects which are at some distance, are not seen so distinctly as if they were nearer. Therefore the painter ought to regulate the strength of his outlines, or extremities, according to the distance. The boundaries which separate one body from another, are of the nature of mathematical lines, but not of real lines. The end of any colour is only the beginning of another, and it ought not to be called a line, for nothing interposes between them, except the termination of the one against the other, which being nothing in itself, cannot be perceivable; therefore the painter ought not to pronounce it in distant objects. Chap. CCLXV.—Of Back-grounds. One of the principal parts of painting is the nature and quality of back-grounds, upon which the extremities of any convex or solid body will always detach and be distinguished in nature, though the colour of such objects, and that of the ground, be exactly the same. This happens, because the convex sides of solid bodies do not receive the light in the same manner with the ground, for such sides or extremities are often lighter or darker than the ground. But if such extremities were to be of the same colour as the ground, and in the same degree of light, they certainly could not be distinguished. Therefore such a choice in painting ought to be avoided by all intelligent and judicious painters; since the intention is to make the objects appear as it were out of the ground. The above case would produce the contrary effect, not only in painting, but also in objects of real relievo.

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COLOURS IN REGARD TO BACK-GROUNDS.

Chap. CCLXIII.—Of avoiding hard Outlines.

Do not make the boundaries of your figures with any other colour than that of the back-ground, on which they are placed; that is, avoid making dark outlines.

Chap. CCLXIV.—Of Outlines.

The extremities of objects which are at some distance, are not seen so distinctly as if they were nearer. Therefore the painter ought to regulate the strength of his outlines, or extremities, according to the distance.

The boundaries which separate one body from another, are of the nature of mathematical lines, but not of real lines. The end of any colour is only the beginning of another, and it ought not to be called a line, for nothing interposes between them, except the termination of the one against the other, which being nothing in itself, cannot be perceivable; therefore the painter ought not to pronounce it in distant objects.

Chap. CCLXV.—Of Back-grounds.

One of the principal parts of painting is the nature and quality of back-grounds, upon which the extremities of any convex or solid body will always detach and be distinguished in nature, though the colour of such objects, and that of the ground, be exactly the same. This happens, because the convex sides of solid bodies do not receive the light in the same manner with the ground, for such sides or extremities are often lighter or darker than the ground. But if such extremities were to be of the same colour as the ground, and in the same degree of light, they certainly could not be distinguished. Therefore such a choice in painting ought to be avoided by all intelligent and judicious painters; since the intention is to make the objects appear as it were out of the ground. The above case would produce the contrary effect, not only in painting, but also in objects of real relievo.

Chap. CCLXVI.—How to detach Figures from the Ground.

All solid bodies will appear to have a greater relief, and to come more out of the canvass, on a ground of an undetermined colour, with the greatest variety of lights and shades against the confines of such bodies (as will be demonstrated in its place), provided a proper diminution of lights in the white tints, and of darkness in the shades, be judiciously observed.

Chap. CCLXVII.—Of Uniformity and Variety of Colours upon plain Surfaces.

The back-grounds of any flat surfaces which are uniform in colour and quantity of light, will never appear separated from each other; vice versâ, they will appear separated if they are of different colours or lights.

Chap. CCLXVIII.—Of Back-grounds suitable both to Shadows and Lights.

The shadows or lights which surround figures, or any other objects, will help the more to detach them the more they differ from the objects; that is, if a dark colour does not terminate upon another dark colour, but upon a very different one; as white, or partaking of white, but lowered, and approximated to the dark shade.

Chap. CCLXIX.—The apparent Variation of Colours, occasioned by the Contraste of the Ground upon which they are placed.

No colour appears uniform and equal in all its parts unless it terminate on a ground of the same colour. This is very apparent when a black terminates on a white ground, where the contraste of colour gives more strength and richness to the extremities than to the middle.

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