Dark Cottage Interior

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Dark Cottage Interior

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Above the kitchen there is a loft, a dark and cramped place beneath the slanting eaves. Much of the cottage interior is dark, dominated by shadows which come to flickering life in candle or firelight. The only room not darkened by constant murk is the kitchen. It is there, above a narrow wooden counter, that the single window in the building looks out. We often leave the shutters wide open during the morning and afternoon. There is no place else 76 for the meager light of our gray days “See you later.” I quickstepped up the walk with the key in my hand. Hitchcock went through the big door with me. The second we were safely inside Islammed and locked the door. After the bright sun outside, the cottage interior seemed dark. I

noticed.the living room curtains were drawn. I usually opened them when I got up in the morning, but I was admittedly distracted today. My vision adjusted slowly, and I noticed Hitchcock had jumped up on my writing table to sit beside my laptop.Light clouds, distant snow landscape 1 Ordinary clouds, distant sea IK Dark clouds and sea, distant mountains 2 Middistance shipping, open beach, snow landscape 2lA Open valley, no foreground, panorama 3 Figure boats on open shore, etc., in shaded situations 15^ Aisle, stainedglass windows 16 Dark rooms, cottage interiors 16}4 Choir of cathedral 17 Details, carving, tombs in choir 17^ Crypt, light 18 Crypt, medium 19 Crypt, dark 20 An attempt has been made to include as  Andi on the porch.

Derik.watched the screen door close. Did they even have screen doors in the twelfth century? he asked himself as the image ofJake sharing future technology with Pradicus emerged. Shrugging it off, his eyes scanned the cottage interior. Its warm décor made him feel considerably welcomed with various wildflowers positioned on and along the walls and 150.Even the clothes Ninanna had worn as Esme were missing from the cottage. Those in Ninanna's wardrobe were uniformly dark—shades of black, grey and navy—nothing that might be termed colourful, however far the imagination attempted to stretch. Holly had now run out of cottage to explore, at least in terms of the traditionally sized and normally dimensioned one. Somewhere, though, was a

much.larger cottage interior with many additional rooms Holly had never seen inside.The cottage's interior was dark, very little of the afternoon sunshine penetrating the small windows, and all he could see was a patch of earth floor. “There's another way in, sir, Moore said. It was at the side of the cottage and as he approached he saw that the grass was flattened in a wide path from the road, no sign of tyre tracks or clear footprints but that wasn't what they were there for. The door was closed but not locked and it opened with a quick shove, cool, stalesmelling air rushing His style varied from a close, tight rendering of meticulous detail, to a loose, more dynamic flow which verges on the abstract. His Cottage

Interior,.Kerry (fig. 69) is one of these more fluid compositions, but seems entirely appropriate for an interior dominated by vivid horizontal bands of contrasting colour, which became typical of such homes with the introduction of gloss paint bv the earlv twentieth century. Small windows and dark, open rafters were opened up by this contrasting use of The interior surfaces of Tybee cottages were generally left unpainted, and clear shellac was applied to protect the wood. Originally the roofs were covered with wood shingles, a practice prohibited by a town ordinance following the great fire of 1931. Traditionally, the exterior clapboards of Tybee cottages were painted white, while the wood shutters, window and door frames, porch

railings,.and other trim were painted a dark “cottage green.” In addition to the beauty of its natural finish, This openair effect would usually make an interior Scene look artificial. 2. Typical shading for a lofty interior lit by daylight. 3. So dark clothing against dark tones in walls, furniture, or foliage or lighttoned clothing against pale scenic tones are best avoided wherever possible. A good contrast between faces and their backgrounds is Clearly, a lofty palace scene would have walls shaded higher than a claustrophobic cottage interior. Graded background tones also have very practical In painting woodlands, the deep shadows should be first laid on ; then the broad halftints, until the whole appears covered with a

smeared.series of dark greens and warm yellow tints. The markings of the foliage are then added in strong contrast, light against dark and dark against light. The stems and bark A cottage interior, a rocky scene with a wood, a palace and a dungeon, cave or street, make a nice set of three scenes, for they are painted on the back and turned when wanted.

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