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 . uce great simplicity and breadth of effect. The direction ofthe lines will not, how-ever, assist the perspec-tive ; its force and truthwill depend entirely onthe management of tonesand hues called aerialperspective. Another way, almostas simple, is to the picture into two parts diagonally, but broken in a slight degree by carrying a small portionof the shadow into the light, and the reverse. Again, if the subject be suitabl
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 . uce great simplicity and breadth of effect. The direction ofthe lines will not, how-ever, assist the perspec-tive ; its force and truthwill depend entirely onthe management of tonesand hues called aerialperspective. Another way, almostas simple, is to the picture into two parts diagonally, but broken in a slight degree by carrying a small portionof the shadow into the light, and the reverse. Again, if the subject be suitable in composition, such as a coast-scene,it may be divided into a large mass of light, having a wedge-like form ofshadow projecting into it from either side. Such effect is indicated inFigs. 14 and 18. It may be remarked, that the converging lines of thewedge will greatly assist in directing attention to the point of interest; andit would be well to remember, that when the eye is directed to that spot itshould be supplied with some object of interest. This form can, of course, begiven in light; and on the sea-shore the clouds often float over the sea in.
Size: 1997px × 1251px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
