DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0268
WATER-COLOURS.
The principal colours used in the practice of painting in water-colours are the following-;
Blues.—Indigo, Prussian blue, Ultramarine, Imperial or Cobalt blue.
iellows.—Yellow ochre, Roman ochre, gamboge, Indian yellow, raw terra di Sienna.
Meds.— Light red, burnt terra di Sienna, Indian red, Venetian red, lake.
Browns. — Raw umbre, burnt ombre, brown madder, Cologne earth, Vandyck brown.
Of the blues indigo is the best for general purposes. Prussian blue may be of use in the sky
and distances ; but it is not proper for the composition of the greys or greens of other parts, on
account of its coldness, its predominating quality, and its injurious effect on some of the other
colours. Ultramarine may be used with advantage occasionally ; but it does not work well in
water, especially where it may be requisite to repeat a wash done with it. The purity of its
tint admitting of as little gum or other binder in the vehicle as it is possible to fix it with, it is
easily removed by going over it again. Smalt is used as a substitute for ultramarine; but it
has the same defect in working, with the additional defect of wanting permanency. Of the
yellows the ochres and terra di Sienna are alone to be depended on ; and of them only and
indigo the greens ought to be composed. In this case gamboge and Indian yellow become
unnecessary: if used at all it may be done sparingly in a few parts, to clear the greens. The
flying of a part of such colour, used for that purpose, is not of consequence ; the effect as to
strength of colour being already secured by the ochres. Of reds, although objections may be
made to the use of Indian red, it is the best for the composition of the grey or neutral tint.
The way to apply the various colours in this species of painting depends on particular
circumstances; all therefore that can be done in this place is to give a few general advices,
which the attentive student will be able to accommodate to each particular case. All colours
are in the language of painting divided into two, the warm and the cold. The reason, as was
formerly noticed, for adopting these terms is that, wherever we perceive or imagine fire the
cause of heat to exist, we see the red, orange, or yellow colours to prevail. On the other hand,,
objects apparently destitute of heat, and consequently cold or cool, such as water, the clouds,
grass, and other vegetables, are blue or green. Whenever therefore we behold the red, orangefc
or yellow colours, we connect with them the idea of fire and warmth; but when we see green
or blue we are reminded of the green fields and plants, and the blue expanse of the heavens.
On this theory we say that the warm colours are proper to bring objects forward, and the coicl
to remove and retire them in the picture. All of them may however suit an advanced position,
when properly supported ; but they will retire in various degrees towards the distant ground,
when used pale, on the primitive neutral tint, suited to the intended distance. On this topic the
following is a general rule. The greatest warmth or evidence of a local colour will always be
found on the illuminated side of the object. Thus in viewing natural scenery, when looking
towards the light, as at the setting sun, it will be found that the distance and the sky will claim
most of the warm and gay colours on the pallet, with all the light that can possibly be thrown
sspon them. The fore-ground of the picture will then be cool and sedate, advancing with
increasing shade, owing to the shaded side of all objects being turned to the spectator. In all
broad masses which lie entirely out of the immediate influence of the principal light this will.be
strictly the case; because those masses depend wholly on the cool secondary or reflected light-
from that part of the atmosphere which is opposite to the sun ; unless some particular, local
idketion produce a contrary effect. Blades of grass, and leaves-of certain trees, being in some
dep-ree
The principal colours used in the practice of painting in water-colours are the following-;
Blues.—Indigo, Prussian blue, Ultramarine, Imperial or Cobalt blue.
iellows.—Yellow ochre, Roman ochre, gamboge, Indian yellow, raw terra di Sienna.
Meds.— Light red, burnt terra di Sienna, Indian red, Venetian red, lake.
Browns. — Raw umbre, burnt ombre, brown madder, Cologne earth, Vandyck brown.
Of the blues indigo is the best for general purposes. Prussian blue may be of use in the sky
and distances ; but it is not proper for the composition of the greys or greens of other parts, on
account of its coldness, its predominating quality, and its injurious effect on some of the other
colours. Ultramarine may be used with advantage occasionally ; but it does not work well in
water, especially where it may be requisite to repeat a wash done with it. The purity of its
tint admitting of as little gum or other binder in the vehicle as it is possible to fix it with, it is
easily removed by going over it again. Smalt is used as a substitute for ultramarine; but it
has the same defect in working, with the additional defect of wanting permanency. Of the
yellows the ochres and terra di Sienna are alone to be depended on ; and of them only and
indigo the greens ought to be composed. In this case gamboge and Indian yellow become
unnecessary: if used at all it may be done sparingly in a few parts, to clear the greens. The
flying of a part of such colour, used for that purpose, is not of consequence ; the effect as to
strength of colour being already secured by the ochres. Of reds, although objections may be
made to the use of Indian red, it is the best for the composition of the grey or neutral tint.
The way to apply the various colours in this species of painting depends on particular
circumstances; all therefore that can be done in this place is to give a few general advices,
which the attentive student will be able to accommodate to each particular case. All colours
are in the language of painting divided into two, the warm and the cold. The reason, as was
formerly noticed, for adopting these terms is that, wherever we perceive or imagine fire the
cause of heat to exist, we see the red, orange, or yellow colours to prevail. On the other hand,,
objects apparently destitute of heat, and consequently cold or cool, such as water, the clouds,
grass, and other vegetables, are blue or green. Whenever therefore we behold the red, orangefc
or yellow colours, we connect with them the idea of fire and warmth; but when we see green
or blue we are reminded of the green fields and plants, and the blue expanse of the heavens.
On this theory we say that the warm colours are proper to bring objects forward, and the coicl
to remove and retire them in the picture. All of them may however suit an advanced position,
when properly supported ; but they will retire in various degrees towards the distant ground,
when used pale, on the primitive neutral tint, suited to the intended distance. On this topic the
following is a general rule. The greatest warmth or evidence of a local colour will always be
found on the illuminated side of the object. Thus in viewing natural scenery, when looking
towards the light, as at the setting sun, it will be found that the distance and the sky will claim
most of the warm and gay colours on the pallet, with all the light that can possibly be thrown
sspon them. The fore-ground of the picture will then be cool and sedate, advancing with
increasing shade, owing to the shaded side of all objects being turned to the spectator. In all
broad masses which lie entirely out of the immediate influence of the principal light this will.be
strictly the case; because those masses depend wholly on the cool secondary or reflected light-
from that part of the atmosphere which is opposite to the sun ; unless some particular, local
idketion produce a contrary effect. Blades of grass, and leaves-of certain trees, being in some
dep-ree