transcribed by Lala Ragimov, original spelling kept
An introduction to the general art of drawing.
A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)
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CHAP.
XI.
What
light and shadows be, and how thorow the same all things come to have
their being.
IT
would be in vain to make a further progress in our Instruction,
unless we understand first the nature and virtue of lights and
shades, for there are no things in nature which can be distinguisht
by us in a lesser or a further distance from us, much less can be
expressed by the Art of drawing without this knowledge, for without
dark and light nothing can be made like, or to resemble unto, or
after that, which it ought to resemble, so that by consequence the
lights and shades gives a being and representation unto all things;
and to prove this, draw a counterfeit upon white paper with black
Chalk, laying aside all sorts of Colours or Crions, then you and
others shall judge that the Counterfeit is well drawn, and the
likeness good. (I speak of one that is fit and well-experienced in
such things.)--- Here is asked, what correspondence hath black chalk
wherewith you made your shades, and the white paper, thorow which is
represented the light of your counterfeit, which have lively colours,
and being of that same, after whom you took your draught, that such a
lively picture so like should be made; this likeness is not caused
thorow the circumference or out-stroke; it is not the black chalk,
nor the white paper, neither any single strokes drawn;
General shadow.
Lights
and shades can express all things.
Prove.
but it is only
the lights and shades properly set in their places, with such a just
and equal ballance as can be imaginable, and the life it self; (after
which we have taken our draught) doth represent unto us, for it is
impossible, that either a round circle, or a round spot of flat
colour should represent a Globe, except the roundness and likeness of
the same should be given him, by shadowing and heightening; also
thorow the circumferent or circular stroke, the generality of the
Globe might be discerned, as may be apprehended out of the foregoing
chapter, but without observing the roundness of the same on every
side. --- Prove.
General shadow.
Shadows
upon shadows.
It is also to be observed, that in the shadowing, a
generality is to be observed, thorow which means many things may be
seen divers ways, as in great even shadows, in the which many times
more or less darknesses are hid principally, if you behold them close
by, but standing at some distance, then the same changes in a general
Mass, or a flat even shadow, upon which (in your drawings, and in
observing the shadowed parts) you must take provident and direct
care, that in your drawings the general darkness of your shades be
not spoiled, by some meaner or lesser interwoven darknesses, making
them either too hard or too soft, and so also must you do concerning
light.
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CHAP.
XII.
Of
the Plain, smooth, sharp, and sweet drawing.
Learners
abhorre plain drawing.
HAving
said sufficient of the lights and shadows, and their virtue: it
seemeth necessary also to say something of the plain, smooth, sharp
and sweet drawing, for in respect that Learners are most of that
temper and condition, to have (in the beginning of their drawings)
and abhorring of plain and smooth drawing and so use and habit
themselves to draw hard and stiff; which to avoid, let them with
great patience and indefatigable labor, strive to get the best manner
of drawing; and although in the beginning they do not please us, it
matters little, for none is born a Master; and he can never be
expected to do well that never did do ill; we learn from day to day,
we amend from day to day, and all is for to become a compleat and
well-experienced Drawer, which consisted in that, that a Drawer at
once draws plain, smooth and sharp, and yet finishes all sweet, so
that the shadows and lights seem to melt the one into the other, all
which we hope to demonstrate clearly unto you.
Plain
drawing then, is to lay all the shades plain and even, whether it
be by hatching or smutching, after such a sort that the edges round
about keep within the pale of their drawings, and that it may clearly
appear that for a circumscribed figure such a shadow have, and have
sides roundabout not to vanish away in one unpaled fuzziness, or
blurr; in which the sharpness and the edgings of their form cannot be
seen; and to obtain this, you shall observe not to make your shades
at first too hard. Secondly; that you do not put one shadow upon the
other too dark, neither too strong, but always a little differing the
one with the other, then you shall at once have plain, soft and
smooth drawing; but putting your shades too dark or hard one upon the
other, than your work presently will become hard and stiff. -- Plain
drawing and sweet drawing is subject to both.-- By drawing too sweet
you make your draught too fuzzy; and by drawing hard and sharp you
make your draught too stiff; but to choose out of two evils, it will
be better to draw plain, and that which is somwhat stiff, then to
draw smooth and soft, the which is a childish manner of drawing, and
brings him to fuzziness; for stiffness thorow the means already shewn
you will easily overcom if you take diligent heed thereunto,
likewise have a care whether you smutch, rousel, dosle or wash not to
pass one thing too often for by that means you com many a time to
lose your plain and even drawing, and what is here said of
the shades, the same must also be observed of the light and strong
heightenings.
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CHAP. XIII.
Of
the Heightenings.
THE
Heightenings are those parts in a draught, where the highest parts
thereof are represented to be, and whereupon the day doth give his
utmost light; which if we draw upon white paper, then for the
uttermost light is left the white paper, for a higher light then that
is not to be had, and for the lesser light it must be a little
faintly shadowed, and the rest work out proportionably; as it is
becoming; but upon coloured paper, white crion, and
Tobaccho-pipe-clay are used for the first and second heightnings,
putting each in his due and proper places, according to more or less
light required, which operation hath a singular and great power in
this manner of drawing, wherefore it is necessary that good heed
should be taken there in, -- in the operation then of that , you
shall take heed that you heighten not in too many places. Secondly,
that you do not heighten any thing more than is fitting. thirdly,
you shall not heighten too near the dark or shadows, neither too near
any out-line or circumferent stroke, except it be accidental to make
some reflection, otherwise they shew hard and stiff. Fourthly, that
you make your heights not sharp and flat, and in places that admits
of much heightning, put the greatest light in the middle, and the
lesser toward the edges, for to beget the better rounding. Fifthly,
take care for to leave conveninent faints of the ground of your
paper, between your heightnings and shades, which will give a great
lustre to your heightnings and shadows, and will cause a singular
plainness and evenness, as I will yet make appear in another place.
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CHAP. XIV.
Of
the Reflection.
Reflections
wheron they fall most.
Reflection by what occasioned.
Reflection by what occasioned.
SOmetimes
(according to the condition of the work) appear some lights in the
shadows upon the edges of round bodies, and principally upon such
bodies, which are made smooth, evenner and most glassie, or
glittering, as silver and gold or other bright metals, as is that
same from whence that light is occasioned, and this is called
Reflection. It is commonly occasioned out of this, viz. That if the
upper plain be struck with any light, then doth it reflect upon the
next shadowed body, which is opposite unto it,
Use
not too much of reflection.
Wherefore.
Not
to make reflection without cause.
and
although this gives a Ornament to a Draught yet shall you be
circumspect no to use too much of it, for it causes a glittering like
brass or copper: be it then, that whether you draw after Plaister, or
after the life, always take head to that, that the reason of your
actings always may be found therein; that is, that the caus of more
or less reflection, or no reflection at all, compleatly may be seen
and discerned.
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CHAP. XV.
Of
the Observation of Perspective of light and dark.
Necessitie
of observation.
THAT
which in a draught or picture, is most needful to the observation of
Perspective of dark and light, (causing a draught or picture to be
like in all things unto the compleat nature it self) and this being
wanting, then such a draught or picture is held irrational and dead:
there then we will declare what it is, and how it must be gained:
this observation then, (that I may express the sense and meaning and
working of the same) is that which causes all things contained in a
draught or picture, to com forward or sink backward, and cause all
things from the first to the last to stand in their due and proper
places; and the vacuitie or emptiness (between body and body) to go
from you, or to come to you forward, naturally to the eye, as if it
was accessible by feet, and for this cause it is called Perspective
observation:
Similitude.
and like as one in Perspective doth observe the distance
which every Colume hath, the one after the other, and also the
standing of every Colume in his proper and singular place; even so
(in a draught or picture, throw the diminution of dark and light)
must be observed the distance agreeable to the appropriated
declination, and place of everything be it then that you draw after a
draught, Plaister-figure, the life or picture,
What you shuld take heed of in your observation.
you must then (for to
beget a good observation) take care what appeareth forward, and what
backward, or how one thing followeth the other. Secondly, you must
observe by what means they appear forward, or go backward; whether it
comes to pass throw dark or light, and thorow what degree of more or
less dark or light it comes forward or backward,
Dark comes forward as well as light.
for the dark can as well (as the light) according to proportion (it is strong or weak) com forward as go backward; so that in this as one of the difficultest studies belonging to the Art of Drawing and Painting, good heed is to be taken with all care and diligence. And although this instruction in writing in Practitioner cannot very well be taught, I will nevertheless put forward this lection in a word to the Learner, for to show a mean in general to a good observation. In drawing, then take good heed hereunto, that in your diminution of dark and light, you make such a distinction, as is betwixt your lesser light and your coloured paper, upon which commonly you draw with white Crion; thus shall you gain a good observation in your drawings and paintings of going backward, and coming forward.
Similitude.
What you shuld take heed of in your observation.
Dark comes forward as well as light.
for the dark can as well (as the light) according to proportion (it is strong or weak) com forward as go backward; so that in this as one of the difficultest studies belonging to the Art of Drawing and Painting, good heed is to be taken with all care and diligence. And although this instruction in writing in Practitioner cannot very well be taught, I will nevertheless put forward this lection in a word to the Learner, for to show a mean in general to a good observation. In drawing, then take good heed hereunto, that in your diminution of dark and light, you make such a distinction, as is betwixt your lesser light and your coloured paper, upon which commonly you draw with white Crion; thus shall you gain a good observation in your drawings and paintings of going backward, and coming forward.
