The Elements of Drawing, in Three Letters to Beginners. Ruskin John

      70. You will find also, as you deal with more and more complicated subjects, that Nature's resources in light and shade are so much richer than yours, that you cannot possibly get all, or anything like all, the gradations of shadow in any given group. When this is the case, determine first to keep the broad masses of things distinct: if, for instance, there is a green book, and a white piece of paper, and a black inkstand in the group, be sure to keep the white paper as a light mass, the green book as a middle tint mass, the black inkstand as a dark mass; and do not shade the folds in the paper, or corners of the book, so as to equal in depth the darkness of the inkstand. The great difference between the masters of light and shade, and imperfect artists, is the power of the former to draw so delicately as to express form in a dark-colored object with little light, and in a light-colored object with little darkness; and it is better even to leave the forms here and there unsatisfactorily rendered than to lose the general relations of the great masses. And this, observe, not because masses are grand or desirable things in your composition (for with composition at present you have nothing whatever to do), but because it is a fact that things do so present themselves to the eyes of men, and that we see paper, book, and inkstand as three separate things, before we see the wrinkles, or chinks, or corners of any of the three. Understand, therefore, at once, that no detail can be as strongly expressed in drawing as it is in reality; and strive to keep all your shadows and marks and minor markings on the masses, lighter than they appear to be in Nature; you are sure otherwise to get them too dark. You will in doing this find that you cannot get the projection of things sufficiently shown; but never mind that; there is no need that they should appear to project, but great need that their relations of shade to each other should be preserved. All deceptive projection is obtained by partial exaggeration of shadow; and whenever you see it, you may be sure the drawing is more or less bad: a thoroughly fine drawing or painting will always show a slight tendency towards flatness.

      71. Observe, on the other hand, that, however white an object may be, there is always some small point of it whiter than the rest. You must therefore have a slight tone of gray over everything in your picture except on the extreme high lights; even the piece of white paper, in your subject, must be toned slightly down, unless (and there are thousand chances against its being so) it should all be turned so as fully to front the light. By examining the treatment of the white objects in any pictures accessible to you by Paul Veronese or Titian, you will soon understand this.17

      72. As soon as you feel yourself capable of expressing with the brush the undulations of surfaces and the relations of masses, you may proceed to draw more complicated and beautiful things.18 And first, the boughs of trees, now not in mere dark relief, but in full rounding. Take the first bit of branch or stump that comes to hand, with a fork in it; cut off the ends of the forking branches, so as to leave the whole only about a foot in length; get a piece of paper the same size, fix your bit of branch in some place where its position will not be altered, and draw it thoroughly, in all its light and shade, full size; striving, above all things, to get an accurate expression of its structure at the fork of the branch. When once you have mastered the tree at its armpits, you will have little more trouble with it.

      73. Always draw whatever the background happens to be, exactly as you see it. Wherever you have fastened the bough, you must draw whatever is behind it, ugly or not, else you will never know whether the light and shade are right; they may appear quite wrong to you, only for want of the background. And this general law is to be observed in all your studies: whatever you draw, draw completely and unalteringly, else you never know if what you have done is right, or whether you could have done it rightly had you tried. There is nothing visible out of which you may not get useful practice.

      74. Next, to put the leaves on your boughs. Gather a small twig with four or five leaves on it, put it into water, put a sheet of light-colored or white paper behind it, so that all the leaves may be relieved in dark from the white field; then sketch in their dark shape carefully with pencil as you did the complicated boughs, in order to be sure that all their masses and interstices are right in shape before you begin shading, and complete as far as you can with pen and ink, in the manner of Fig. 6, which is a young shoot of lilac.