DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2086#0066
ON THE USE OF TINTED PAPERS. 5j
lines delineating such objects, as this would give them the unnatural appearance
of being cut out. The general effect being gained, the sky surrounding the objects
crossing it should be left undefined, unless it be desirable to make one more con-
spicuous than the others, when the strongest light may be brought into contrast,
with this object. A very agreeable effect is sometimes given by showing light clouds
behind the stems or branches of trees; but this must not be often repeated; as if so,
it becomes unnatural and tricky. Chinese white in a pure state is rarely used even
on the brightest object; to give it a sunlight appearance a little warm colour should
be added. Eaw Sienna having a rich sunny character, is very suitable for this
purpose. The mode of adding the lights in the foreground can be slightly varied
by using the pigment rather drier and more opaque, and by dragging the brush,
charged with it, over the surface so as to leave it unequal; thus increasing the
effect of roughness and variety in the texture. Lights on those parts of old stone
buildings, rocks, &c, having the sunlight strong upon them or coming against
the edge or shadow, may be painted with fullness and decision, and afterwards
softened by the process of dragging the brush sideways, or partly removed with a
sharp knife. The more delicate forms of clouds or tones in the sky may, in like
manner, be softened or subdued with bread. When only a slight modification of the
tint of the paper is required, and a little increase of tone not objectionable, a wash
of some warm colour without the white may be passed over the part to be altered;
but this should be done with caution, so that its influence may scarcely be perceived.
Used in the way above indicated, tinted papers are of great service to the artist,
who, however, while having recource to them, must be careful to guard against the
abuse of colours in this form of practice. As a general rule, white (however well
tempered or modified) should be applied with moderation, and never on any part of
an object in shadow; even though that object may be white and subject to strong
reflection, it must be strictly reserved for objects light in colour when illuminated
by the sun. It may be well to mention, that if the student uses the brush and
colours, he should select tinted paper that is well sized, the grain or surface not
being in this case so important; but if he uses chalk he should choose paper which
is not only sized, but smooth, thick, and equal in texture;—such are to be found
without being hot-pressed. If harsh, rough-grained paper is chosen, it will be
found, when used in the sun, much too coarse, although, by the side of falling
water, or in the damp of the evening, it becomes softer. Some tints have a ten-
dency to change their colour by time or exposure to gases, and these may be
detected by referring to one of the small book of patterns which has been exposed
to these influences. Chalk drawings made with these materials can be readily fixed
by passing them through a weak solution of gum arabic and hot water in the pro-
lines delineating such objects, as this would give them the unnatural appearance
of being cut out. The general effect being gained, the sky surrounding the objects
crossing it should be left undefined, unless it be desirable to make one more con-
spicuous than the others, when the strongest light may be brought into contrast,
with this object. A very agreeable effect is sometimes given by showing light clouds
behind the stems or branches of trees; but this must not be often repeated; as if so,
it becomes unnatural and tricky. Chinese white in a pure state is rarely used even
on the brightest object; to give it a sunlight appearance a little warm colour should
be added. Eaw Sienna having a rich sunny character, is very suitable for this
purpose. The mode of adding the lights in the foreground can be slightly varied
by using the pigment rather drier and more opaque, and by dragging the brush,
charged with it, over the surface so as to leave it unequal; thus increasing the
effect of roughness and variety in the texture. Lights on those parts of old stone
buildings, rocks, &c, having the sunlight strong upon them or coming against
the edge or shadow, may be painted with fullness and decision, and afterwards
softened by the process of dragging the brush sideways, or partly removed with a
sharp knife. The more delicate forms of clouds or tones in the sky may, in like
manner, be softened or subdued with bread. When only a slight modification of the
tint of the paper is required, and a little increase of tone not objectionable, a wash
of some warm colour without the white may be passed over the part to be altered;
but this should be done with caution, so that its influence may scarcely be perceived.
Used in the way above indicated, tinted papers are of great service to the artist,
who, however, while having recource to them, must be careful to guard against the
abuse of colours in this form of practice. As a general rule, white (however well
tempered or modified) should be applied with moderation, and never on any part of
an object in shadow; even though that object may be white and subject to strong
reflection, it must be strictly reserved for objects light in colour when illuminated
by the sun. It may be well to mention, that if the student uses the brush and
colours, he should select tinted paper that is well sized, the grain or surface not
being in this case so important; but if he uses chalk he should choose paper which
is not only sized, but smooth, thick, and equal in texture;—such are to be found
without being hot-pressed. If harsh, rough-grained paper is chosen, it will be
found, when used in the sun, much too coarse, although, by the side of falling
water, or in the damp of the evening, it becomes softer. Some tints have a ten-
dency to change their colour by time or exposure to gases, and these may be
detected by referring to one of the small book of patterns which has been exposed
to these influences. Chalk drawings made with these materials can be readily fixed
by passing them through a weak solution of gum arabic and hot water in the pro-