r as do the lines we see in nature.

_b. Light and Shade._ It is the distribution of light and shadows in a
picture that gives it the appearance of reality. A mere outline drawing
is flat and has no semblance of life. The paintings of the ancient
Egyptians are good examples of pictures that have no light and shade,
and we all know how flat, stiff and unreal they appear. In pen and ink,
and charcoal drawings, light is indicated by white and shadow by black,
but between the two extremes are introduced various shades and tints of
gray that make the variety of tone in shadows. This varying of the
strength of shadows is everywhere in nature, though most of us are blind
to it. In looking at any object for the purpose of distinguishing the
lights and shades upon it we should half close our eyes and look
intently at all parts of it. Under an inspection of this sort the
building which we thought to be all of even light is seen to be dotted
with patches of shadow of different intensity, showing that there are
projections where the light from the sun strikes clearly or depressions
into which it cannot enter so freely. A picture should give the same
effect, and it is this effect, which includes also the distance from the
eye as well as the shades from the light source, that we call "values."
If we look at a tree in the way described we see that it is covered with
patches of green in light or dark tints and that these color values are
the lights and shades of which we are speaking. There will be one point
of highest light and an opposing point of deepest shadow, and upon the
proper arrangement of these as well as upon the patches of minor
importance depends the lifelike appearance of the objects in the
picture. Van Dyke says there are three things concerning light and shade
that should be looked for in every picture, viz.: that everything, no
matter how small it be, has its due proportion of light and shade; that
there be one point of compass from which the light comes; that there be
a center of light in the picture itself, from which all other lights
radiate and decrease until they are lost in the color or shadow.

_c. Tone and Color._ The first thing that seizes the eye in a painting
is color, and the brightest, gayest colors are the ones that are most
likely to attract. In fact they are the only colors that the
inexperienced may see, for many a person is blind to the subdued tints
and shades that are really the most attractive to