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 . tints norby the after-working, it can be assisted by touching with water, and talcingout some of the dark portions, or by passing sometimes a wet brush over thetexture, and so rendering it indistinct; also by employing with great cautiona little Chinese white, delicately warmed with light red, yellow ochre, orcadmium, if the effect desired is warm ; or a gray made with crimson-lakeand cobalt may be used; and by scumbling with these opaqu
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 . tints norby the after-working, it can be assisted by touching with water, and talcingout some of the dark portions, or by passing sometimes a wet brush over thetexture, and so rendering it indistinct; also by employing with great cautiona little Chinese white, delicately warmed with light red, yellow ochre, orcadmium, if the effect desired is warm ; or a gray made with crimson-lakeand cobalt may be used; and by scumbling with these opaque tones, usinga dry brush, a semi-opaque tint is produced, giving great air and distance-In this manner a warm ray of sunlight, loaded with reddish or orange tones,may be passed across a portion of the distance or the branch of a tree,giving a dusky and warm effect which cannot be obtained in any other way. In like manner, smoke can be better represented by scumbling theseopaque tones over the dark colours of trees, &c, than by leaving any stronglyRefined shapes on the paper. ON MOUNTAINS, DISTANCES. 213 SECTION VII.—ON MOUNTAINS, DISTANCES,
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
