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This is lesson 3, drawing on toned paper.

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Now, this actually is much simpler than lesson 2 because you're just

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dealing with two tones that are in your hand and the third tone is on the paper.

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That is your starting point, a paper that isn't white but

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is able to receive a dark and a light line and to be visible.

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So here you can see in this drawing that's mounted into

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a white album that the paper is not gray, but

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it's a blueish color, but it is importantly a mid-tone.

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Ruskin has drawn onto that paper with white chalk and graphite.

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The graphite producing a dark line and the white chalk the highlights.

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Now, what Ruskin is doing here is

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trying to copy the way light falls onto an object.

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The object in this case is a piece of carving,

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a detail from an architectural piece of ornament.

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And what he's looking at is where light falls onto this leaf-like form,

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producing shadows on one side and light on the other.

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So it's a very very simple process.

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It's a way of making images that has been around

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since the very early Roman decoration.

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You see it in Renaissance drawing, and the idea of drawing onto tonal paper

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is very strong throughout the history of representational drawing.

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So what we're gonna do is make a very simple drawing onto toned

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paper using a light and a dark pencil.

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The light pencil to record the light side of the object,

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the dark to record the darker, more shadowed side of the object, and

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leaving the gray paper to look after the middle tones between.

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So it's very simple, very straightforward, and shouldn't take you very long.

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Now, having chosen to use the gray and

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the white sheet of paper for the demonstration.

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Just remind you how these lines work on here is that here,

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all three are visible and here, two are very visible,

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look very similar, and one is rather invisible.

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Now, if we just make a very simple drawing of a leaf.

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Assuming the light is coming from this direction,

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I'm going to give one edge like that, and then the other edge in darkness.

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Now, if we do the same exercise on a white paper,

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I think what you can see is that the black lines [INAUDIBLE] perfectly well on both.

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The white line sort of suffers on this side, in fact it reads as a dark against

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that white paper, and this one we're reading as a light.

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Now, to make that white line more visible we could shade all that in,

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Shade all that in and try and

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very carefully leave a white edge here.

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As you can see, this would take an enormous amount of work,

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And become a substantially different kind of drawing from the elegant and

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quite simple way of realizing images onto a midtone.

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Now, if one wanted to make this look even more three dimensional,

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we could put a light shadow behind it here.

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And so it stands up even further.

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And this is the basis of tonal drawing on a grey ground.