DOI Page / Citation link:
https://doi.org/10.11588/diglit.2086#0184
IM LANDSCAPE PAINTING.
up or down, according to the position of the head, are the first drawn ; and, aided by
the general direction these give, the features are blocked out. The hands and feet
are treated in the same way; the large masses first, and the subdivisions afterwards;
but care should be taken to go over the whole, marking all the delicate variations of
line, for it is highly important for the student to possess a good outline before he
begins colouring. ^If tbe study of the figures is large, the outline should be rubbed
faint, and put in with the brush and sepia or brown madder, marking in some
indications of the light and shade. The principal shadows of the face and figure
are now put in, and, wben dry, the flesh tint may be added in a wash of delicate
Indian yellow and Venetian red, with a little vermilion. Udark, Indian yellow and
Indian red or brown madder, or Vandyke brown and sepia, and blue for the shadows.
The edges of the shadows, where lightpasses into shadow, appear gray, for on rounded
forms the union of the lights and shades produces a neutral gray, and changes the
warmer local colour at these parts into gray, the reflected lights in shadows being
warm. Much of the beauty of the flesh tints will be obtained by hatching warm tones
over the first general washes; by this process transparency is given, and we appear
to penetrate the shadow. If this hatching should be too conspicuous, it may be
subdued by a brush and clear water.
A few words may be added on cattle, which contribute such a charm to landscape
scenery. With figures they form most pleasing groups, and give great interest to the
simplest subjects. In them we possess opportunities of showing colour in a purer
state than in the landscape, and thus use them to give point and contrast to the whole
picture. The colours of cattle are generally rich and dark, but we now and then
find a white or cream coloured cow or horse of great use in introducing light into the
foreground. Horses, when rustic and rather shaggy in their coats, are well suited to
some kinds of landscapes, such as forest or heath scenes; even dogs become of
importance in connexion with sheep or highland drovers. The rich colours on
cattle or animals can generally be best obtained by glazing one pigment over another.
If light, yellow ochre, or yellow ochre and light red, or burnt sienna, or Indian yellow
and brown madder; if dark, they may be made with burnt sienna and broitn madder,
or Indian yellow and purple madder, or brozvn madder and. sepia, or Vandyke brown
and purple madder, or Vandyke brown and crimson lake. Even when black, no
black pigment must be used, but colours should be united or glazed over each other
to produce a purply black, or blue, or brown black effect; thus Indigo and purple
madder, Payne's gray and Vandyke brown, or sepia, or purple madder glazed with
Indigo or French blue, or Payne's gray, these give all the depth that is necessary
with opacity, and produce a good effect.
up or down, according to the position of the head, are the first drawn ; and, aided by
the general direction these give, the features are blocked out. The hands and feet
are treated in the same way; the large masses first, and the subdivisions afterwards;
but care should be taken to go over the whole, marking all the delicate variations of
line, for it is highly important for the student to possess a good outline before he
begins colouring. ^If tbe study of the figures is large, the outline should be rubbed
faint, and put in with the brush and sepia or brown madder, marking in some
indications of the light and shade. The principal shadows of the face and figure
are now put in, and, wben dry, the flesh tint may be added in a wash of delicate
Indian yellow and Venetian red, with a little vermilion. Udark, Indian yellow and
Indian red or brown madder, or Vandyke brown and sepia, and blue for the shadows.
The edges of the shadows, where lightpasses into shadow, appear gray, for on rounded
forms the union of the lights and shades produces a neutral gray, and changes the
warmer local colour at these parts into gray, the reflected lights in shadows being
warm. Much of the beauty of the flesh tints will be obtained by hatching warm tones
over the first general washes; by this process transparency is given, and we appear
to penetrate the shadow. If this hatching should be too conspicuous, it may be
subdued by a brush and clear water.
A few words may be added on cattle, which contribute such a charm to landscape
scenery. With figures they form most pleasing groups, and give great interest to the
simplest subjects. In them we possess opportunities of showing colour in a purer
state than in the landscape, and thus use them to give point and contrast to the whole
picture. The colours of cattle are generally rich and dark, but we now and then
find a white or cream coloured cow or horse of great use in introducing light into the
foreground. Horses, when rustic and rather shaggy in their coats, are well suited to
some kinds of landscapes, such as forest or heath scenes; even dogs become of
importance in connexion with sheep or highland drovers. The rich colours on
cattle or animals can generally be best obtained by glazing one pigment over another.
If light, yellow ochre, or yellow ochre and light red, or burnt sienna, or Indian yellow
and brown madder; if dark, they may be made with burnt sienna and broitn madder,
or Indian yellow and purple madder, or brozvn madder and. sepia, or Vandyke brown
and purple madder, or Vandyke brown and crimson lake. Even when black, no
black pigment must be used, but colours should be united or glazed over each other
to produce a purply black, or blue, or brown black effect; thus Indigo and purple
madder, Payne's gray and Vandyke brown, or sepia, or purple madder glazed with
Indigo or French blue, or Payne's gray, these give all the depth that is necessary
with opacity, and produce a good effect.