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https://doi.org/10.11588/diglit.19950#0008
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CONTEXTS.
CHAPTER IV.
CONTRAST.
( ontrait of colours to be seen in the lights and shadows of nature—The BegiDner
thwarted in practice by his previous habits in Black-and-white—Sunrise or sunset the
best time for sketching—The secret of colour lies in shading : the true colour to be
seen in half tint ; light "pales" the colour, and shade "dulls" it—Bold style of
colouring seen in Burford's panoramas useful to the Sketcher—How his effects are
obtained—Instances of positive contrast in light and shadow—What to avoid in colouring
— Harmony, and how far necessary to a sketch..... .43
CHAPTER V.
VARIETY.
\ ancty essentia] to a bright sketcli—Nature constantly varies her hues—The " coloured
print" style an example of monotony—Breadth—Means of variety afforded by different
objects, and by the pigments employed—An occasional discord effective—Unity not to
be sacrificed to variety—The anatomy of foliage—Crayons useful in sketching: an
illustration—A word on composition—Conclusion......52
CONTEXTS.
CHAPTER IV.
CONTRAST.
( ontrait of colours to be seen in the lights and shadows of nature—The BegiDner
thwarted in practice by his previous habits in Black-and-white—Sunrise or sunset the
best time for sketching—The secret of colour lies in shading : the true colour to be
seen in half tint ; light "pales" the colour, and shade "dulls" it—Bold style of
colouring seen in Burford's panoramas useful to the Sketcher—How his effects are
obtained—Instances of positive contrast in light and shadow—What to avoid in colouring
— Harmony, and how far necessary to a sketch..... .43
CHAPTER V.
VARIETY.
\ ancty essentia] to a bright sketcli—Nature constantly varies her hues—The " coloured
print" style an example of monotony—Breadth—Means of variety afforded by different
objects, and by the pigments employed—An occasional discord effective—Unity not to
be sacrificed to variety—The anatomy of foliage—Crayons useful in sketching: an
illustration—A word on composition—Conclusion......52