52
variety.
CHAPTER V.
variety.
VAEIETT ESSENTIAL TO A BRIGHT SKETCH—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.
Another source of pleasure to the eye in works of colour
is Variety. This principle must be constantly kept in
view if you wish to see your work look bright and
sparkling. You may take it as a rule, that to continue the
same tint over a space of any size, without varying the
strength or hue, or breaking the monotony of an even
wash, is sure to produce tameness and insipidity. We are
too apt to fall into this error from being taken with what
may be thought a lucky hit in colouring—a tint perhaps
particularly appropriate to the part first touched on, and
therefore supposed to be generally applicable—a par-
variety.
CHAPTER V.
variety.
VAEIETT ESSENTIAL TO A BRIGHT SKETCH—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.
Another source of pleasure to the eye in works of colour
is Variety. This principle must be constantly kept in
view if you wish to see your work look bright and
sparkling. You may take it as a rule, that to continue the
same tint over a space of any size, without varying the
strength or hue, or breaking the monotony of an even
wash, is sure to produce tameness and insipidity. We are
too apt to fall into this error from being taken with what
may be thought a lucky hit in colouring—a tint perhaps
particularly appropriate to the part first touched on, and
therefore supposed to be generally applicable—a par-