He may utilize a wide range of gadgets to help him do this—viewpoint is one of them—yet in any case reality around a complete visual impression relies on upon one thing, truth of tone. Drawing may be rundown, hues dull, yet in the event that the relations of tone are genuine, the picture will hold.
Profundity and measurement are rendered by the utilization of straight point of view, by the covering of the layers of shapes, and specifically, through the utilization of tone. This compositional component works inside the picture in various ways. First and foremost, there is the presence of characteristic light inside the painted room and past it. The pictorial space in the midground and forefront is lit from two sources: by meager shafts of light from the open entryway, and by expansive streams getting through the window to one side. The light from the window enlightens both the studio closer view and the unrepresented territory before it, in which the ruler, the ruler, and the viewer are attempted to be situated. Light partitions the scene into three unmistakable parts, with frontal area and foundation planes firmly lit up, between which an obscured halfway space incorporates silhouetted figures.
Velázquez utilizes this light not just to add volume and definition to every structure additionally to characterize the central purposes of the sketch. As the light streams in from the right it splendidly glimmers on the plait and brilliant hair of the female diminutive person, who is closest the light source. But since her face is turned from the light, and in shadow, its tonality does not make it a state exceptionally compelling. Likewise, the light looks diagonally on the cheek of the woman in-holding up close to her, however not on her facial highlights. A lot of her delicately hued dress is diminished by shadow. The Infanta, be that as it may, remains in full enlightenment, and with her face turned towards the light source, despite the fact that