DOI Page / Citation link:
https://doi.org/10.11588/diglit.2086#0040
THE COLOUK BOX.
31
being made, on a disorderly palette, for the colours requisite to give a faithful repre-
sentation of its fleeting beauties.
It is precisely in such transient effects that memory generally fails to supply the
want of memoranda made at the moment. Again, in the working out of a favourite
conception, every student must be aware of the value of facility of hand. While
he feels the whole power of his mind scarcely adequate to the realization of the
glowing images of his fancy, he should not voluntarily subject himself to the irri-
tations and loss of time proceeding from an absence of order in the disposition
of his materials. No one, so far advanced in artistic power as to permit himself a
flight into the regions of imagination, can ever designate such trials as petty. He
must feel that their influence may suffice to tarnish the splendour of the brightest
day-dream in which he may allow himself to indulge.
In the arrangement of the pigments the Author has adopted that order of
succession which, by experience, he has found most useful and convenient.
In the moist colour-box, represented at the head of this Section, twenty pigments
are given, consisting of those best adapted for Landscape Painting. Commencing
at the upper end they succeed each other in the following order.
GAMBOGE.
INDIAN YELLOW.
YELLOW OCHRE.
RAW SIENNA.
BURNT SIENNA.
LIGHT RED.
VERMILION.
ROSE MADDER.
CRIMSON LAKE.
INDIAN RED.
PURPLE MADDER.
BRIGHT MADDER.
VANDYKE BROWN.
SEPIA.
BROWN TINK.
PAYNE S GRAY.
IV. BLACK.
INDIGO.
FRENCH BLUE.
COBALT.
Although the portable moist colour-box rarely contains more than the above list
of pigments, there are many more which the experienced artist finds of use, either
in obtaining certain effects, or as substitutes for some of those already named. An
enlarged scale of twenty-five pigments has been placed before the student in plate 4,
having an order approximating to that which they occupy in the box, and at the
same time extended in such a manner as to present to the eye, at one view, an
harmonious arrangement of colours.
The above pigments have been selected as most generally useful and eligible for
water-colour painters. It would be easy to increase their number; but it is better
for the student to become thoroughly acquainted with these in the first instance,
and afterwards to add or substitute others if desirable.
In this general view of the pigments employed, we may as well note how far it is
possible so to dispose them as to imitate that breadth of tone frequently observed in
nature, where one hue passing into another, that differs from it only in a slight
degree yet harmonizes, is constantly creating agreeable changes and gradations of
colour. This almost imperceptible alteration of colour is distinct from those more
31
being made, on a disorderly palette, for the colours requisite to give a faithful repre-
sentation of its fleeting beauties.
It is precisely in such transient effects that memory generally fails to supply the
want of memoranda made at the moment. Again, in the working out of a favourite
conception, every student must be aware of the value of facility of hand. While
he feels the whole power of his mind scarcely adequate to the realization of the
glowing images of his fancy, he should not voluntarily subject himself to the irri-
tations and loss of time proceeding from an absence of order in the disposition
of his materials. No one, so far advanced in artistic power as to permit himself a
flight into the regions of imagination, can ever designate such trials as petty. He
must feel that their influence may suffice to tarnish the splendour of the brightest
day-dream in which he may allow himself to indulge.
In the arrangement of the pigments the Author has adopted that order of
succession which, by experience, he has found most useful and convenient.
In the moist colour-box, represented at the head of this Section, twenty pigments
are given, consisting of those best adapted for Landscape Painting. Commencing
at the upper end they succeed each other in the following order.
GAMBOGE.
INDIAN YELLOW.
YELLOW OCHRE.
RAW SIENNA.
BURNT SIENNA.
LIGHT RED.
VERMILION.
ROSE MADDER.
CRIMSON LAKE.
INDIAN RED.
PURPLE MADDER.
BRIGHT MADDER.
VANDYKE BROWN.
SEPIA.
BROWN TINK.
PAYNE S GRAY.
IV. BLACK.
INDIGO.
FRENCH BLUE.
COBALT.
Although the portable moist colour-box rarely contains more than the above list
of pigments, there are many more which the experienced artist finds of use, either
in obtaining certain effects, or as substitutes for some of those already named. An
enlarged scale of twenty-five pigments has been placed before the student in plate 4,
having an order approximating to that which they occupy in the box, and at the
same time extended in such a manner as to present to the eye, at one view, an
harmonious arrangement of colours.
The above pigments have been selected as most generally useful and eligible for
water-colour painters. It would be easy to increase their number; but it is better
for the student to become thoroughly acquainted with these in the first instance,
and afterwards to add or substitute others if desirable.
In this general view of the pigments employed, we may as well note how far it is
possible so to dispose them as to imitate that breadth of tone frequently observed in
nature, where one hue passing into another, that differs from it only in a slight
degree yet harmonizes, is constantly creating agreeable changes and gradations of
colour. This almost imperceptible alteration of colour is distinct from those more