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The Complete Book of Hand Shadows

Instructions for Shadowgraphy

Dover Publications, Inc.

THE LIGHT.

The requirements of the performer of hand shadows are of the simplest — his hands, a light, and a white surface upon which to project the images of his skill. We will deal first with the light.

Many forms of illuminant are available, but the choice, if the best results are desired, is not a matter so easily settled as might be supposed.

Of course, any kind of light will do. Only a few forms of light, however, do well. It is not merely sufficient to cast a shadow. Any source of light will do so much. But the efforts of the expert shadowgraphist carry with them a precision and delicacy of outline which must be preserved. To maintain this condition, the great essential is that the light shall proceed from the smallest possible point. The smaller the point of light, the clearer will be the resulting shadow. A large area of flame causes a blurring of the edges of the shadows it casts, and to get anything approaching clearness it is necessary to hold the hands very near or close to the surface upon which the shadows are received. With the perfect light, proceeding from the nearest approach to the mathematical point practically obtainable, it becomes possible to hold the hands at some distance from the projecting surface, and so produce a magnified shadow. This, especially in a hall or theatre, is a great advantage, and adds much to the effectiveness of a hand shadow performance.

The ideal form of light, best fulfilling these requirements, is the electric arc, and the second best is the limelight if used with a high-class jet. These illuminants, however, are not generally available or convenient, and are only used in theatres, where great intensity is a first necessity.

For all ordinary uses a much less powerful and more portable form of light is sufficient and desirable.

The great obstacle in the way of the drawing room demonstrator has always been the question of light. The difficulties in the way of meeting the several requirements, viz. brilliancy of illumination, clearness of shadow, and portability of apparatus, can be appreciated only by those who have given practical attention to the matter by personal experiment ; and in the past the secrets of construction have been jealously kept by the few who have been able to overcome the difficulties. Acetylene gas, by reason of many advantages, has generally been the favoured illuminant. The apparatus for the production of acetylene gas on a small scale is quite portable, while the intensity of its light admits of the reduction of the flame to a practical minimum. One other virtue it has, and that is that it casts an intensely black shadow.

It may here be noted that both lenses and bright reflectors are quite useless in conjunction with the light to be used for projecting shadows, as both cause a fuzziness of outline that is fatal. Only a bare light may be used, and as the reflector must be blackened there is a great waste of light, and this and the necessity for a minimum flame area confront the would-be shadow producer with a problem that has always been more or less a stumbling block.

Few of the available projection lamps have been really satisfactory, and the man who has wanted the best has had to make it, and, what is more to the point, to find out first how it should be made.

The introduction of the "Sunburst" acetylene shadow lamp has removed this initial difficulty, and provided for the shadowgraphist a both satisfactory and convenient means of displaying his skill.

Fig. 1 fairly illustrates the form of the lamp. The generator and the burner are attached, and to the latter is affixed a projecting cowl. A novel feature of this cowl is the grooved front, permitting of the introduction of various sized and shaped masks for altering the illuminated field to suit the subject of the shadow or the taste of the operator. A hinged flap enables the light to be instantly cut off at will without turning off the gas, and a projecting arm furnished with a clip conveniently carries an occasional scene-piece.

To specify more particularly the use of this same scene-holder, it may here be parenthetically explained that to suggest appropriate surroundings for certain subjects and thereby heighten their effect, shadowgraphists sometimes make use of a profile scene, an outline in card or other opaque material to represent the desired environment. For instance, a slip of card having a straight edge is used to suggest a water surface, and a primitive block profile is frequently called into play to represent a house in certain pantomimic sketches. These will be alluded to in their own proper places.

The whole thing neatly packs into a small box 7 in. × 7 in. × 33/4 in. The generator is charged with ordinary calcium carbide, and comprehensive in structions for charging and use are supplied with the apparatus.

The lamp is supported on a table or pedestal of convenient height, or a folding tripod on the principle of the familiar folding music stand can be adapted to the purpose. (See Fig. 2.) In this case the vertical pillar being telescopic allows easy adjustment or alteration of the height of the lamp.

The proper height for the light depends upon the stature of the performer and his method of working, i.e. whether standing or sitting. The respective claims of both systems will be discussed in another paragraph. As a general rule it may be stated that the height of the light from the ground should be equal to the height at which the performer holds his hands ; and the hands, the light, and the centre of the illuminated field should be all in a straight line.

THE PROJECTION SCREEN.

In addition to the lamp, of course, a white surface is necessary for the reception of the projected images. This, for home use, may be quite a temporary affair, such as a linen sheet or a large sheet of white paper; indeed, a bare wall will serve, but for other than purely domestic displays a portable elevator and proper sheet are desirable.

Fig. 3 illustrates one such device, a characteristic example of the style of thing in general use ; being a dissecting wooden or bamboo framework and stand, carrying a white sheet laced or tied with tape to the frame.

The simplest form of shadow screen is one devised by Mr. David Devant. For portability and lightness it is impossible to beat.

No stand or frame is used, and the whole thing consists of a square of white nainsook, say 6 feet square, a broad, hem along one side, which in use is to be the bottom, and with a curtain ring sewn to the two upper corners. To these rings are attached cords of some yards length. Another ring is threaded on to each of the cords, and to the ends of the cords are tied weights.

In conjunction with the sheet is used a telescopic rod, or a jointed stick like a fishing rod, with a hook at the upper end. With this hook, one of the loose curtain rings is lifted on to a convenient picture hook, nail, or whatever other convenient projection may offer itself. The other ring is hooked over another suitable point on the opposite side of the room, and by pulling on the ends of the cord the sheet is raised from the ground and suspended between the two walls. The weights should be heavy enough to counterbalance the sheet and hold it properly elevated. The rod used to lift the cords fulfils a secondary use by insertion into the hem of the material, wherein it acts as a batten, and helps to keep the surface flat.

I have found it a useful auxiliary to this form of screen to carry a couple of picture hooks, to which I have fastened a wire loop at the top bend. By means of the wire loop these may be placed in position by the lifting rod on to the picture moulding in any apartment where a picture hook is not already near a required point.

In other circumstances when neither hooks, projections or picture-hanging moulding are available, it may be found possible to hang the sheet upon the ends of a cornice pole. In this case the performer is compelled to work from the front of the screen.

Although having much to recommend it, there are circumstances in which this device cannot be employed, and the performer who would feel the confidence of readiness for all emergencies must provide himself with a rather more elaborate structure, and for general use a screen in conjunction with some form of standing frame-work is a necessity.

The screen designed and used by the writer differs somewhat to any of the usual patterns, and reduces the labour and time of fitting up and taking downand the bulk and weight to a minimum. A folding music stand is used as the base, and it is one of the advantages of this construction that a single support only is needed.

This desideratum is arrived at by making the screen and frame of a diamond shape, as illustrated in Fig. 4. The frame is about 3 ft. 6 in. square and is of thin wooden rods (for the sake of lightness) with angle pieces to connect three of the corners and a Y piece for the bottom corner and junction with the stand. The sheet is laced to the frame, but has not to be removed for packing. It is sufficient to loosen the lace slightly, then, by removing the end of one rod from each of the angles the sheet can be folded on its diagonals and rolled around the rods, making a compact bundle of the whole thing. Four struts, (A, B, C, D, Fig. 4.) placed as a final addition to the structure give rigidity and stability to the framework and properly strain the sheet.

Another graceful form of stand is illustrated in Fig. 5. In this case again a single stand is used for support, and the screen and its frame are circular. The frame is made like a folding landing-net used by anglers, being pivot-hinged at several points of its arc to fold into sections. The screen itself, a round piece of linen or calico, has tapes attached at intervals along its periphery and is simply tied into place.

GENERAL ARRANGEMENTS.

The preparations for a show — the general arrangement of screen and light — are fairly indicated by Fig. 6. For a quite impromptu display, or for the purpose of practice, a candle is a fairly satisfactory light. In point of brilliancy and in other ways it leaves a lot to be desired, but it is as well to remember that in case of emergency it is far superior to an oil lamp or an ordinary gas burner or incandescent electric lamp, for though much lower in power, on account of the small area of flame it gives a sharper shadow.

However, whatever be the form of light adopted, the performer stands or sits between the screen and the source of light. It is a matter of personal idiosyncrasy whether he stands or sits. Some performers sit and some stand. Probably the best plan is to adopt both positions as occasion requires. A standing position gives greater freedom of action in most cases, but in the formation of a certain type of figures, such as the pantomimic representations given in later pages, a sitting posture is a necessity. At the same time all styles of shadow-picture can be rendered in the sitting position, and it is probably for this reason that many performers — Continental artists more particularly — invariably sit. It is better for the beginner to try both plans, and decide for himself which is preferable.

It is equally a matter of personal preference whether to work with the light upon the left hand or upon the right, but the former seems to be generally favoured.

Another point upon which difference of opinion arises is the position of the performer in relation to the screen. He has the choice of working either behind or in front of the screen. Each has advantages and disadvantages. Working in front of the screen gives a certain additional interest to the performance, inasmuch as many people rightly follow as interestedly the operation of the hands as the appearance of the projected images. On the other hand, the performer becomes from certain points of view an obstruction to his pictures.

For this reason the behind-screen is usually adopted when quite a small sheet is used. For the other method a large area of projecting surface and a generous depth of stage — i.e. distance between light and sheet, are desirable.

It is sometimes recommended, when working in front of the screen, to place the light at one side, instead of pointing directly towards the centre, as in Fig. 6. This plan has the advantage that no part of the pictured surface is obscured by the operator. The writer has had no personal experience of this method of working, and would imagine that one accustomed to performing directly in front of the sheet would find it somewhat awkward, as all the angles would be different, and angles are a very important factor in shadowgraphy ; but by accustoming oneself to performing in this way from an early period of study, it would probably come as easily as any other method.

A plan often adopted on the stage, when it is desired to work in front of the screen, is to throw the light high up, so that the shadows are seen above the performer.

The distance between the screen and the source of light is controlled by the focus of the light and the size of the picture required. For convenience, it is desirable to use a projecting light of short focus, when working behind the sheet, so that the distance between light and sheet need not be great. Such distance should come within the limits of four to eight feet. Working from the front of the screen a greater focal length is desirable — say ten to twenty feet.

As the performer operates, his attention should be upon the screen. The position of the hands should be taken independently of sight, and the niceties of their adjustment controlled solely by watching their effects upon the screen.

Practice. — Before beginning upon the formation of screen pictures a little preliminary exercising of the fingers is desirable. This need not be very lengthy or systematic. The necessary practice can be done in odd moments. The fingers should be alternately opened as far apart as possible and closed again, and the movement repeated a great number of times. This exercise should be continued until the fingers can be moved laterally with great rapidity and for some considerable time without fatigue. When that facility has been attained, a moderate amount of occasional repetition will be sufficient to maintain their condition. Practice also to bend each finger individually and without the movement of its fellows. Each exercise of course is to be performed equally with both hands.

Turning the hands upon the wrists and bending them backwards and forwards in quick repetition will strengthen the wrists and fortify them against what may in early stages be found somewhat of a strain in maintaining the position required during a course of practice.

These movements are all that is really necessary at the outset. When, in course of study, any particular figure presents any special difficulty, the finger positions or movements then brought into play should be specially exercised until accustomed to their new duties. Practice and exercises may be continued, with advantage, until the fingers are tired. Continued exertion beyond that point is likely to be harmful rather than useful.

As a preliminary to performance it is well always to turn up the sleeves, to give the utmost freedom to hands and arms.

ADVANCED PRACTICE.

Those who desire to pursue a thorough and systematic course of finger training can adopt the following : —

Exercise I., Lateral Finger Movements. — Hold the hand as in Fig. 7, with the fingers outstretched to their limit of movement : close firmly together as in Fig. 8, and continue to open and close until tired.

Exercise II., Lateral Finger Movements. — Separate the second and third finger only, keeping the first and second, and second and fourth closed in relation to each other (Fig. 9) ; close and open alternately.

Follow the same plan of opening and closing with the first finger alone (Fig. 10) and with the fourth only (Fig. 11).

Exercise III., Lateral Finger Movements. — Bring all the finger tips to a point as in Fig. 12. Separate and bring back to position until tired.

Exercise IV., Bending the Fingers. — Hold the hand as in Fig. 13. Close the fingers as in making a fist (Fig. 14) and open and close continuously many times in succession.

Exercise V., Bending the Fingers. — Hold the hand as in Fig. 13, and bend at the knuckle joints as in Fig. 15 till the fingers are at right angles to the palm. Extend and bend alternately, slowly at first and more quickly as sinuousness is acquired.

Exercise VI., Bending the Fingers. — Maintain the position of Fig. 13 and by an effort bend each finger in turn alone to the angle indicated in the previous exercise. Endeavour to work each separate finger without sympathetic movement of its fellows.

Exercise VII., Bending the Fingers. — Bend the second and third fingers as in Fig. 16, maintaining rigidity of the first and fourth. Similarly bend the first and fourth while the second and third are kept extended. Also similarly bend each finger individually.

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Excerpted from The Complete Book of Hand Shadows by Louis Nikola. Copyright © 2016 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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