DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0267
WATER-COLOURS.
and it will produce that effect, whatever be the colour afterwards applied to the picture. By
shade it is perhaps unnecessary, in this advanced period of our work, to explain to the pupil,
that we mean the infinite gradations of the absence of light, Whether proceeding directly from
a luminous body or from the reflection of some other object. These gradations of light and
shade are wholly independent of the force or faintness of local colours. The pupil must
however be cautious in doing too much of the picture with this neutral tint; for when the effect
arising from a colourless object is represented, with all its force of light and shade, such as
might proceed from a finished statue of white marble, or from any other white object, the neutral
tint has done its duty. It may indeed frequently, as a local tint, suit the particular colour as well
as the form of an object; and then it ceases to be used merely to represent shade. This happens
in painting water, clouds, distant lands, when the atmosphere is cloudy, in which subjects the
neutral tint of blue and red, as a dead-colouring, if we may so call it, answers better than
Indian ink. It is however prepared and employed in the same manner of which a brief account
is here annexed.
The most common, and perhaps the most useful of all water-colours is what is generally called
Indian, but what should correctly be called China ink. It furnishes a fine deep black which
may be varied by water through every degree of shade: hence for the purpose of shading no
composition can equal it. The misfortune attending the use of Indian ink is that, being often
counterfeited, it is difficult to procure and even to distinguish the genuine until it be too late.
True China ink when broken presents a smooth surface in the fracture, as if polished, and it
has but a moderate scent of musk. In this last respect some counterfeits overdo the scent, and
others neglect it altogether, but both ought to be avoided. The true China ink is the blackest
when brought to a deep shade, but it inclines to a brown colour when brought to a fainter shade.
In the deep shades the counterfeits have more substance than the genuine sort: consequently
the genuine preserves a greater measure of transparency than the counterfeits. The most
convenient way of using China or Indian ink is with a slab of marble or earthen ware with
several dells or hollows for the various degrees of tint. The largest contains pure water ; the
long dell is that in which the cake of ink is rubbed down, and the small ones are for the
different shades. The portion rubbed down should be as deep a black as can be made; so that
the artist has then four different shades at his hand ; and with these by practice he will be able
to imitate every degree of light and dark. In softening and uniting gradations into one broad
natural appearance of shade, it is proper to compare the depth of the tint in the pencil with the
depth required in the drawing. Too full or too dark a pencil should be carefully avoided ;
for it is better to have to repeat the touch three times than to lay on the ink too dark at first;
that lighter colour may be deepened, but the dark can scarcely ever be sufficiently softened.
Variously sized camel or sable-hair pencils are used, according to the breadth or quantity of
colour to be applied : but the larger are preferred to the small for freedom of touch.
Drawings in Indian ink have a pleasing effect, as well as those done with sepia. They are
now much used, and to be recommended to beginners, to enable them with more facility to
comprehend light and shadow : for the local colouring is apt to confuse the learner, or lead him
astray. Flower-painters work their pieces up to the effect desired in Indian ink, and then lay
on the local colours in broad and pure washes. This however is not desirable in landscape ;
the neutral tint already described being preferable.
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and it will produce that effect, whatever be the colour afterwards applied to the picture. By
shade it is perhaps unnecessary, in this advanced period of our work, to explain to the pupil,
that we mean the infinite gradations of the absence of light, Whether proceeding directly from
a luminous body or from the reflection of some other object. These gradations of light and
shade are wholly independent of the force or faintness of local colours. The pupil must
however be cautious in doing too much of the picture with this neutral tint; for when the effect
arising from a colourless object is represented, with all its force of light and shade, such as
might proceed from a finished statue of white marble, or from any other white object, the neutral
tint has done its duty. It may indeed frequently, as a local tint, suit the particular colour as well
as the form of an object; and then it ceases to be used merely to represent shade. This happens
in painting water, clouds, distant lands, when the atmosphere is cloudy, in which subjects the
neutral tint of blue and red, as a dead-colouring, if we may so call it, answers better than
Indian ink. It is however prepared and employed in the same manner of which a brief account
is here annexed.
The most common, and perhaps the most useful of all water-colours is what is generally called
Indian, but what should correctly be called China ink. It furnishes a fine deep black which
may be varied by water through every degree of shade: hence for the purpose of shading no
composition can equal it. The misfortune attending the use of Indian ink is that, being often
counterfeited, it is difficult to procure and even to distinguish the genuine until it be too late.
True China ink when broken presents a smooth surface in the fracture, as if polished, and it
has but a moderate scent of musk. In this last respect some counterfeits overdo the scent, and
others neglect it altogether, but both ought to be avoided. The true China ink is the blackest
when brought to a deep shade, but it inclines to a brown colour when brought to a fainter shade.
In the deep shades the counterfeits have more substance than the genuine sort: consequently
the genuine preserves a greater measure of transparency than the counterfeits. The most
convenient way of using China or Indian ink is with a slab of marble or earthen ware with
several dells or hollows for the various degrees of tint. The largest contains pure water ; the
long dell is that in which the cake of ink is rubbed down, and the small ones are for the
different shades. The portion rubbed down should be as deep a black as can be made; so that
the artist has then four different shades at his hand ; and with these by practice he will be able
to imitate every degree of light and dark. In softening and uniting gradations into one broad
natural appearance of shade, it is proper to compare the depth of the tint in the pencil with the
depth required in the drawing. Too full or too dark a pencil should be carefully avoided ;
for it is better to have to repeat the touch three times than to lay on the ink too dark at first;
that lighter colour may be deepened, but the dark can scarcely ever be sufficiently softened.
Variously sized camel or sable-hair pencils are used, according to the breadth or quantity of
colour to be applied : but the larger are preferred to the small for freedom of touch.
Drawings in Indian ink have a pleasing effect, as well as those done with sepia. They are
now much used, and to be recommended to beginners, to enable them with more facility to
comprehend light and shadow : for the local colouring is apt to confuse the learner, or lead him
astray. Flower-painters work their pieces up to the effect desired in Indian ink, and then lay
on the local colours in broad and pure washes. This however is not desirable in landscape ;
the neutral tint already described being preferable.
$i . The