When the surface is highly polished, as, for example, on the curve of the napkin ring, there will be a 'high light.'
The general colour of the tinted paper will give the general prevailing tint of the background and the middle tints of the models.
Keep a wary eye on the shape of the shadows cast by the various objects. Beginners find it difficult to realize that cast shadows bear a resemblance to the objects by which they are cast. Not only do objects project their shadows in a major or lesser degree according to the distance of the light (as we have already noted in perspective diagram, Fig. 60), but they reflect their chief characteristics. For example, the egg, you will observe, casts a smooth, even, oval-shaped shadow. Beneath the shaded objects the box and napkin are roughly sketched with white chalk, giving a slight indication of the position of the shadows.
When we have absorbed some of the lessons to be learned from drawing objects in a bright and artificial light, we should proceed to draw objects in the more subtle light of day.
A few ordinary models, such as a couple of books and an old silver candlestick, placed on the edge of a table will serve our purpose very well.
The books, one bound in light cloth, the other in dark red leather, the unlit candle, and the candlestick present three different tones.
Note first the brightest lights and the darkest darks.
Seen through half-closed eyes the silver is a shimmer of lights and soft reflections, and requires a few careful strokes of white and black chalk, following the shapes as closely as possible, making good use of the definite lights and shades on the rim, the barrel, and the twisted support. The light catches the edges of the dark book; also there are slight reflections on the polished table. You may now suggest the middle lights, leaving the paper itself to express the middle tones.
Other articles will, of course, serve the purpose. Choose
