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The Elements of Drawing by John Ruskin On First Practice Sketching from Nature On Color and Composition THE LAW OF CONSISTENCY It is to be remembered, in the next place, that while contrast exhibits the characters of things, it very often neutralises or paralyses their power. A number of white things may be shown to be clearly white by opposition of a black thing, but if we want the full power of their gathered light, the black thing may be seriously in our way. Thus, while contrast displays things, it is unity and sympathy which employ them, concentrating the power of several into a mass. And, not in art merely, but in all the affairs of life, the wisdom of man is continually called upon to reconcile these opposite methods of exhibiting, or using, the materials in his power. By change he gives them pleasantness, and by consistency value; by change he is refreshed, and by perseverance strengthened. Hence many compositions address themselves to the spectator by aggregate force of color or line, more than by contrasts of either; many noble pictures are painted almost exclusively in various tones of red, or grey, or gold, so as to be instantly striking by their breadth of flush, or glow, or tender coldness, these qualities being exhibited only by slight and subtle use of contrast. Similarly as to form; some compositions associate massive and rugged forms, others slight and graceful ones, each with few interruptions by lines of contrary character. And, in general, such compositions possess higher sublimity than those which are more mingled in their elements. They tell a special tale, and summon a definite state of feeling, while the grand compositions merely please the eye. This unity or breadth of character generally attaches most to the works of the greatest men; their separate pictures have all separate aims. We have not, in each, grey color set against sombre, and sharp forms against soft, and loud passages against low: but we have the bright picture, with its delicate sadness; the sombre picture, with its single ray of relief; the stern picture, with only one tender group of lines; the soft and calm picture, with only one rock angle at its flank; and so on. Hence the variety of their work, as well as its impressiveness. The principal bearing of this law, however, is on the separate masses or divisions of a picture: the character of the whole composition may be broken or various, if we please, but there must certainly be a tendency to consistent assemblage in its divisions. As an army may act on several points at once, but can only act effectually by having somewhere formed and regular masses, and not wholly by skirmishers; so a picture may be various in its tendencies, but must be somewhere united and coherent in its masses. Good composers are always associating their colors in great groups; binding their forms together by encompassing lines, and securing, by various dexterities of expedient, what they themselves call "breadth": that is to say, a large gathering of each kind of thing into one place; light being gathered to light, darkness to darkness, and color to color. If, however, this be done by introducing false lights or false colors, it is absurd and monstrous; the skill of a painter consists in obtaining breadth by rational arrangement of his objects, not by forced or wanton treatment of them. It is an easy matter to paint one thing all white, and another all black or brown; but not an easy matter to assemble all the circumstances which will naturally produce white in one place, and brown in another. Generally speaking, however, breadth will result in sufficient degree from fidelity of study: Nature is always broad; and if you paint her colors in true relations, you will paint them in majestic masses. If you find your work look broken and scattered, it is, in all probability, not only ill composed, but untrue. * One of the most wonderful compositions of Tintoret in Venice is little more than a field of subdued crimson, spotted with flakes of scattered gold.1 The upper clouds in the most beautiful skies owe great part of their power to infinitude of division; order being marked through this division. The opposite quality to breadth, that of division or scattering of light and color, has a certain contrasting charm, and is occasionally introduced with exquisite effect by good composers.* Still it is never the mere scattering, but the order discernible through this scattering, which is the real source of pleasure; not the mere multitude, but the constellation of multitude. The broken lights in the work of a good painter wander like flocks upon the hills, not unshepherded, speaking of life and peace: the broken lights of a bad painter fall like hailstones, and are capable only of mischief, leaving it to be wished they were also of dissolution. Continue to The Law of Harmony

Get all the animals listed on this site in an easily printable format. Also learn how to draw mice, monkeys, butterflies and a phoenix. Instant download. $7. Learn to draw a new animal every week. Enter your email address below and we'll send you a free drawing lesson every week. Email: The Elements of Drawing by John Ruskin On First Practice Exercise One: Shading Exercise Two: Outlines Exercise Three: Gradation Exercise Four: Pencil Drawing Exercise Five: Drawing Letters Exercise Six: Drawing Trees Exercise Seven: Watercolor Practice Exercise Eight: Drawing Stones Exercise Nine: More Watercolor Practice Exercise Ten: Sketching from Nature Sketching Trees Sketching Trees 2 First Sketches Painting Practice Drawing from Photographs How to Draw Quickly Drawing Shadows What To Draw How to Draw Plants How to Draw Plants 2 Three Laws of Drawing Light and Shade Drawing Water Drawing Clouds Color Materials Using the Right Color 24 Essential Colors Mixing Colors Using Colors Color Techniques Color Gradation Watercolor Tints Using Black and White Compound Colors Warm and Cool Colors Draw with Care Composition The Law of Principality Law of Repetition Law of Continuity The Law of Curvature Law of Radiation The Law of Contrast The Law of Interchange The Law of Consistency The Law of Harmony