DOI Page / Citation link:
https://doi.org/10.11588/diglit.19950#0028
28
KEEPING.
thought should be devoted to them. Such mystery, such
softness, such grandeur, sucli simplicity are their charac-
teristics, that the best efforts of the mind must be directed
to the just representation of each class. The indications
of form are often so faint that we must look again and
again before their meaning is comprehended; and we must
yet always give such intention to our work that, however
indistinctly the form may have been rendered, the spectator
can only imagine the object to be that which it was
positively the intention he should imagine it to he."*
"When your general outline is finished, get a tint of
colour over everything. Shut out the white paper as soon
as you can, except in the sky and the high lights in the
foreground; this gives you confidence by getting solidity,
and unites the scene and realises it. Begin tinting with
the distance, and work towards the foreground, or you
may get the distance awkwardly strong. Always begin
with a tint of blue, however pale, as it imparts confidence
by securing at once some resemblance to the atmosphere,
which is generally more or less blue in the remote distance.
I recommend beginners always to lay in a first tint of grey
and brown throughout the subject: the Keeping is made
certain by this plan, and the colours may be added
afterwards with so much greater confidence when you have
thus prevented confusion in your distances, by using a
pale grey to express the distance, and gently graduating
this with yellowish brown up to the foreground, which may
be a tolerably strong tint of this neutral colour. "The
* Penley.
KEEPING.
thought should be devoted to them. Such mystery, such
softness, such grandeur, sucli simplicity are their charac-
teristics, that the best efforts of the mind must be directed
to the just representation of each class. The indications
of form are often so faint that we must look again and
again before their meaning is comprehended; and we must
yet always give such intention to our work that, however
indistinctly the form may have been rendered, the spectator
can only imagine the object to be that which it was
positively the intention he should imagine it to he."*
"When your general outline is finished, get a tint of
colour over everything. Shut out the white paper as soon
as you can, except in the sky and the high lights in the
foreground; this gives you confidence by getting solidity,
and unites the scene and realises it. Begin tinting with
the distance, and work towards the foreground, or you
may get the distance awkwardly strong. Always begin
with a tint of blue, however pale, as it imparts confidence
by securing at once some resemblance to the atmosphere,
which is generally more or less blue in the remote distance.
I recommend beginners always to lay in a first tint of grey
and brown throughout the subject: the Keeping is made
certain by this plan, and the colours may be added
afterwards with so much greater confidence when you have
thus prevented confusion in your distances, by using a
pale grey to express the distance, and gently graduating
this with yellowish brown up to the foreground, which may
be a tolerably strong tint of this neutral colour. "The
* Penley.