Some artists have shaded their lights with gold and silver paint. The late Sir Edward Burne-Jones was very fond of this, and drawings with much decorative charm have been done this way. The principle is the same as in drawing with white chalk, the half tone being given by the paper.
Keep the lights separate from the shadows, let the half tone paper always come as a buffer state between them. Get as much information into the drawing of your lights and shadows as possible; don't be satisfied with a smudge effect. Use the side of your white chalk when you want a mass, or work in parallel lines (hatching) on the principle described in the chapter on line drawing.
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RHYTHM
The subject of Rhythm in what are called the Fine Arts is so vague, and has received so little attention, that some courage, or perhaps foolhardiness, is needed to attack it. And in offering the following fragmentary ideas that have been stumbled on in my own limited practice, I want them to be accepted only for what they are worth, as I do not know of any proper authority for them. But they may serve as a stimulus, and offer some lines on which the student can pursue the subject for himself.
The word rhythm is here used to signify the power possessed by lines, tones, and colours, by their ordering and arrangement, to affect us, somewhat as different notes and combinations of sound do in music. And just as in music, where sounds affect us without having any direct relation with nature, but appeal directly to our own inner life; so in painting, sculpture, and architecture there is a music that appeals directly to us apart from any significance that may be associated with the representation of natural phenomena. There is, as it were, an abstract music of line, tone, and colour.
The danger of the naturalistic movement in painting in the nineteenth century has been that it has turned our attention away from this fundamental fact of art to the contemplation of interesting realisations of appearances—realisations often full of poetic suggestiveness due to associations connected with the objects painted as concrete things, but not always made directly significant as artistic expression; whereas it is the business of the artist to relate the form, colour, and tone of natural appearances to this abstract musical quality, with which he should never lose touch even in the most highly realised detail of his work. For only thus, when related to rhythm, do the form, tone, and colour of appearances obtain their full expressive power and become a means of vitally conveying the feeling of the artist.
Inquiry as to the origin of this power and of rhythm generally is a profoundly interesting subject; and now that recent advances in science tend to show that sound, heat, light, and possibly electricity and even nerve force are but different rhythmic forms of energy, and that matter itself may possibly be resolved eventually into different rhythmic motions, it does look as if rhythm may yet be found to contain even the secret of life itself. At any rate it is very intimately associated with life; and primitive man early began to give expression in some form of architecture, sculpture, or painting to the deeper feelings that were moving him; found some correspondence between the lines and colours of architecture, sculpture, and painting and the emotional life that was awakening within him. Thus, looking back at the remains of their work that have come down to us, we are enabled to judge of the nature of the people from the expression we find in hewn stone and on painted walls.