The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . iffer as much as possible from the grays ofthe air or distance. It is well to avoid in their formation the use of cobaltblue, as it produces thinness. French blue and indigo may be now andthen used without this undesirable quality. Wood in light may be imitated by mixtures of yellow ochre, with sepiaor indigo, or black. A little Chinese white added to this kind of graygives it opacity: light red or Indian red and indigo; Vandyke brown or
The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . iffer as much as possible from the grays ofthe air or distance. It is well to avoid in their formation the use of cobaltblue, as it produces thinness. French blue and indigo may be now andthen used without this undesirable quality. Wood in light may be imitated by mixtures of yellow ochre, with sepiaor indigo, or black. A little Chinese white added to this kind of graygives it opacity: light red or Indian red and indigo; Vandyke brown orsepia, with indigo or French blue; burnt sienna or brown madder, withFrench blue, are also useful mixtures. Sometimes in shadows these coloursmay be varied, and more warmth and transparency given by delicate glazingsof raw sienna, or brown pink; or a portion may be rubbed off, and a warmglazing added instead. Thatch partakes of the colour of straw, deepened by time ; it may begiven by yelloiv ochre and brown madder, raw sienna and purple madder,yellow ochre and sepia, or indigo and brown madder, or crimson lake. ROCKS. ISO SECTION V.—ROCKS AND often consti-tute, either in large masses or broken fragments, agreat proportion of the picture nearest the specta-tor ; the study of their forms and structure, therefore,is intimately connected with that of Force. Careful examination and copying from nature will he the best means for acquiring truth in their delineation; hut a few cursoryremarks on the general appearance and the nature of their formation willperhaps assist the student in giving fidelity to his sketches. Leaving, there-fore, the more minute details of their character to the geologist, to whoseprovince they more properly belong, we proceed to notice certain pointsaffecting the pictorial appearance of rocks requiring to be rendered withespecial care, seeing that no painting can be correct unless it presents themforcibly to view. As, in giving
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
