SOMETIMES EVEN I HE MOST FASCINATING LATTICE OF LIGHT AND SHADE CAST ACROSS OLD COBBLED STONES BY THE
FIRST LIGHT OF SPRING IS NOT ENOUGH TO MAKE A PAINTING INTERESTING., AND IT NEEDS PEOPLE
WALKING IN AND OUT OF IT.
Often, people become such an integral part of the built environment that it would be hard to imagine how it would look without them. However pleasant the view at the top of these steps. 1 could have found little to paint without the constant but ever-changing flow of people walking up and down them.
When considering how to paint figures and buildings together remember that figures r* r* v»
are bound by the same set of perspective rules as buildings. The further they are away from you. the smaller they will appear — the nearer they are to you. the larger they will appear. This is illustrated here. As you look along the line of the steps, the railings, lamp posts and steps appear to become smaller -equally, the figures have been made correspondingly smaller, giving the feeling of movement and scale.
Secondly, most people going about their daily business tend to wear muted colours -light and dark blues are by far the most usual colours chosen for clothing, followed by light vT1 v*
browns and soft beiges. Occasionally you will spot a red or yellow jacket or shirt in a crowd - these are important as they help to break up the dull uniformity - but generally, figures on a street will blend together well.
The final point to consider here is tone. |ust as a row of buildings w ill appear to become lighter as you look towards the far end (see pages 71-73). so figures in the furthest distance will appear to be a lighter tone. Remember, not only will you have to draw them a smaller size, but you will need to use a more diluted mix of paint than you might use for those in the foreground.
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