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 . s going out skying, showing how much importance heattached to that portion of an artists studies. By such earnest study,atmospheric effects may be represented not only with the brush and colours,but also with chalk, tinted paper, stump and white; in fact, for rapidsketching, and when form is of the most importance, these latter materialsfrequently answer the purpose better than washes of colour, which take solong to dry that the characte
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 . s going out skying, showing how much importance heattached to that portion of an artists studies. By such earnest study,atmospheric effects may be represented not only with the brush and colours,but also with chalk, tinted paper, stump and white; in fact, for rapidsketching, and when form is of the most importance, these latter materialsfrequently answer the purpose better than washes of colour, which take solong to dry that the character of the effect is changed, and its evanescentbeauties lost during the process of the study. As the mode of working the flat washes constituting the commencementof skies, clouds, &c, has been described in the previous section, it will onlybe necessary to add, that the aerial tones will be more easily producedwhen the student, having returned to his study, has time to allow thewashes of colour to dry on, and then to be treated with water, as explained 3? .fits VI j£3L2Ll> (B-S1LT3, COBALT, LIGHT. COBALT, DARK. FRENCH BLUE. INDIGO AND LKIOtnoS, IIUOTIiKIll. PLATE 10. SKY, ATMOSPHERE, CLOUDS. 153 at pp. 116 and 135. This should not, however, preventhis attempting toimitate the tones of nature at the time his sketch is taken; he can supplydeficiencies in the execution hy the addition of written notes on the backof his sketch. The student may derive some assistance hy turning to the table of aerialgreys (Plate 10), and to the views of Brientz (Plate 9) and Start Point(Plate 8), where such tones have been attempted; although the mechanicalresult there shown can but feebly indicate the effect of the pure washcomposed of a mixture of two colours applied by hand. In Plate 10, fourbands of blues, of different qualities and degrees of intensity, are passedthrough, or mixed with, various warm tones, principally reds; thus pro-ducing greys or purples of different degrees of
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
