DOI Page / Citation link:
https://doi.org/10.11588/diglit.19950#0060
60
VARIETY.
sky. A light falls on the mast and sail-yard in the fore-
ground, which stand boldly out against the neutral mass
of the mountain; and the colour of the tan sail, forms
a contrast to the background, slightly supported by the
reddish-yellow light falling on the nearer mountain on
its left, by the colour of the dress of one of the figures,
which is in light while the rest fall into deep shadow
(black chalk), and by the reflection of the sail in the
water.
All this is readily given with dry colour, and of course
with greater rapidity than if the colours had to be prepared
with water before using ; and with this additional advantage,
that the tint does not alter after it is put on, as is the
case with water-colour in the process of drying. The
rubbing in with the finger, too, if judiciously done, gives
the effect of atmosphere, which we cannot expect or hope
for in a water-colour sketch; and the softness of outline
consequent on the nature of the material is also very favour-
able to the same object. The sharpness of touch in the
lights too, and the facility of putting them on over the
middle tint, are a necessary consequence of using a dry
substance and not a fluid; while variety follows as a matter
of course from the method of working the under tints,
because they are here and there left more or less unmixed.
The advantage of mass is as rapidly produced as by a brush,
though with the firm and mellow touch of a pencil; so that I
cannot but think that for sketching out of doors crayons are
to be preferred, for advanced students. Crayons require
perhaps a greater knowledge of effect for rapid use than
VARIETY.
sky. A light falls on the mast and sail-yard in the fore-
ground, which stand boldly out against the neutral mass
of the mountain; and the colour of the tan sail, forms
a contrast to the background, slightly supported by the
reddish-yellow light falling on the nearer mountain on
its left, by the colour of the dress of one of the figures,
which is in light while the rest fall into deep shadow
(black chalk), and by the reflection of the sail in the
water.
All this is readily given with dry colour, and of course
with greater rapidity than if the colours had to be prepared
with water before using ; and with this additional advantage,
that the tint does not alter after it is put on, as is the
case with water-colour in the process of drying. The
rubbing in with the finger, too, if judiciously done, gives
the effect of atmosphere, which we cannot expect or hope
for in a water-colour sketch; and the softness of outline
consequent on the nature of the material is also very favour-
able to the same object. The sharpness of touch in the
lights too, and the facility of putting them on over the
middle tint, are a necessary consequence of using a dry
substance and not a fluid; while variety follows as a matter
of course from the method of working the under tints,
because they are here and there left more or less unmixed.
The advantage of mass is as rapidly produced as by a brush,
though with the firm and mellow touch of a pencil; so that I
cannot but think that for sketching out of doors crayons are
to be preferred, for advanced students. Crayons require
perhaps a greater knowledge of effect for rapid use than