DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2086#0205
INDEX.
Atjiosfhehe, the, 80.
Black, ivory, description of, 38.
Blue, French, description of, 38.
------cobalt, description of, 3S.
------ pure, not always agreeable, 152.
Boats, mode of drawing, 132.
Breadth, essential, 166.
------------ great, how obtained, 75.
Brown, Vandyke, description of, 37.
Brush, handling of the, 42.
Brushes, what description of, best suited for general use,
40.
- kind suitable for foliage, &c, 107.
Buildings, a kno"wledge of perspective essential to draw
-well, 115.
---------------the colour of, 117.
---------------mode of handling to represent, 118.
---------------tones of, 119.
Cadmium, description of, 35.
Cattle, the colours of, 156.
Chalk drawings, to fix, 55.
Chinese white, when of use, 172.
Chrome, orange, description of, 35.
Clothing, the colour of, of the peasants to be selected, 151.
Clouds, 80.
---------how to give the effect of air and space to, 80.
--------- description of the different kinds of, 81.
--------- reflections of, in water, 133.
Colour, on the nature of, 3.
--------- examination of, by the prism, 4.
--------- not in the object, hut the light falling on it, 5.
—------ proportion of the different rays in the prismatic
spectrum, 5.
Colours, opaque and transparent, the action of, singly and
combined, 8.
------------tiie primitive and compound, 10.
-----------description of the primary, 11.
------------the artistic division of, 11.
-----------■ description of the secondary, 12.
------------description of the tertiary, 13.
—--------the harmony and natural contrasts of, 16.
—---------the complementary or harmonic, 17.
~---------the effect of sunlight on, 19,
——-— different powers of discriminating, 23.
Colour-blindness, instance of, 23.
Colour, subordinate to form, &c, 44.
--------- how to obtain great depth of, 72.
--------- opaque, to be used with caution in foliage, 107.
---------not to be represented pure, 150.
Colours, harsh or crude, to be rejected, 167.
-----------affected by a predominating light, 166.
------------no exact proportions can be given, 166.
Colour, the position of pure, 170.
------------balance of, 169.
Colours, the primitive, combined with light and shade, 170.
Colour, the advantage of, doubtful in sculpture, 171.
Composition, 44.
Contrasts, harmony caused by, in dresses, 152.
—------------the study of important, 157.
—-----------colours gain or lose by, 159.
--------------the complementary colours, 160.
--------——- the simultaneous, 161.
--------------the simultaneous, affect the flesh tones, 162,
—-----------examples of the effect of, 164.
-----—------notes on, 168.
Effect, mode of studying in small, 60.
---------should be seized at the time, 110.
Execution described, 174.
Eye, the education of the, in colour, 24.
Figures, action of, action and grouping of to be sketched
from nature, 110.
------------offer opportunities for pure colour, 151.
-----------rustic, opportunities of studying not to be
neglected, 153.
----------- the disposition of, 153.
-----------the size of, in landscape, 154.
-----------good drawing essential, 155.
------------in landscape, how to commence, 155.
-----------rustic, 156.
Fire, the light of, 144.
Flesh, the tones of, attractive, 151.
--------the tints of, 156.
Fogs, character of light of, 114.
Foreground, study of, in Salmon Trap described, 100.
Foregrounds, the nature of, 103,
-----------------notes on selecting, 109.
-----------------■ the handling of, 111.
■-----------------means to vary the texture of, 112.
-----------------vegetation in, important, 113.
Gamboge, description of, 31.
Glaciers, varied in colour, 147.
Granulation, if lost, to restore, 139.
Grass, mode of drawing, 113.
Gray, Fayne's, description of, 37.
Grays, aerial, description of, for mountains, &c, 140.
Gray, the neutral, used as a ground, 163.
--------the neutral, not to he used all over a drawing, 168.
Harmony, in landscape, dependant on the tertiary hues, 1-J.
Ice, to represent, 147.
Indigo, description of, 33.
Introduction, 1.
Atjiosfhehe, the, 80.
Black, ivory, description of, 38.
Blue, French, description of, 38.
------cobalt, description of, 3S.
------ pure, not always agreeable, 152.
Boats, mode of drawing, 132.
Breadth, essential, 166.
------------ great, how obtained, 75.
Brown, Vandyke, description of, 37.
Brush, handling of the, 42.
Brushes, what description of, best suited for general use,
40.
- kind suitable for foliage, &c, 107.
Buildings, a kno"wledge of perspective essential to draw
-well, 115.
---------------the colour of, 117.
---------------mode of handling to represent, 118.
---------------tones of, 119.
Cadmium, description of, 35.
Cattle, the colours of, 156.
Chalk drawings, to fix, 55.
Chinese white, when of use, 172.
Chrome, orange, description of, 35.
Clothing, the colour of, of the peasants to be selected, 151.
Clouds, 80.
---------how to give the effect of air and space to, 80.
--------- description of the different kinds of, 81.
--------- reflections of, in water, 133.
Colour, on the nature of, 3.
--------- examination of, by the prism, 4.
--------- not in the object, hut the light falling on it, 5.
—------ proportion of the different rays in the prismatic
spectrum, 5.
Colours, opaque and transparent, the action of, singly and
combined, 8.
------------tiie primitive and compound, 10.
-----------description of the primary, 11.
------------the artistic division of, 11.
-----------■ description of the secondary, 12.
------------description of the tertiary, 13.
—--------the harmony and natural contrasts of, 16.
—---------the complementary or harmonic, 17.
~---------the effect of sunlight on, 19,
——-— different powers of discriminating, 23.
Colour-blindness, instance of, 23.
Colour, subordinate to form, &c, 44.
--------- how to obtain great depth of, 72.
--------- opaque, to be used with caution in foliage, 107.
---------not to be represented pure, 150.
Colours, harsh or crude, to be rejected, 167.
-----------affected by a predominating light, 166.
------------no exact proportions can be given, 166.
Colour, the position of pure, 170.
------------balance of, 169.
Colours, the primitive, combined with light and shade, 170.
Colour, the advantage of, doubtful in sculpture, 171.
Composition, 44.
Contrasts, harmony caused by, in dresses, 152.
—------------the study of important, 157.
—-----------colours gain or lose by, 159.
--------------the complementary colours, 160.
--------——- the simultaneous, 161.
--------------the simultaneous, affect the flesh tones, 162,
—-----------examples of the effect of, 164.
-----—------notes on, 168.
Effect, mode of studying in small, 60.
---------should be seized at the time, 110.
Execution described, 174.
Eye, the education of the, in colour, 24.
Figures, action of, action and grouping of to be sketched
from nature, 110.
------------offer opportunities for pure colour, 151.
-----------rustic, opportunities of studying not to be
neglected, 153.
----------- the disposition of, 153.
-----------the size of, in landscape, 154.
-----------good drawing essential, 155.
------------in landscape, how to commence, 155.
-----------rustic, 156.
Fire, the light of, 144.
Flesh, the tones of, attractive, 151.
--------the tints of, 156.
Fogs, character of light of, 114.
Foreground, study of, in Salmon Trap described, 100.
Foregrounds, the nature of, 103,
-----------------notes on selecting, 109.
-----------------■ the handling of, 111.
■-----------------means to vary the texture of, 112.
-----------------vegetation in, important, 113.
Gamboge, description of, 31.
Glaciers, varied in colour, 147.
Granulation, if lost, to restore, 139.
Grass, mode of drawing, 113.
Gray, Fayne's, description of, 37.
Grays, aerial, description of, for mountains, &c, 140.
Gray, the neutral, used as a ground, 163.
--------the neutral, not to he used all over a drawing, 168.
Harmony, in landscape, dependant on the tertiary hues, 1-J.
Ice, to represent, 147.
Indigo, description of, 33.
Introduction, 1.