DOI Page / Citation link:
https://doi.org/10.11588/diglit.19952#0029
COLOURS FOR DISTANCES.
27
required for distance; and when they are dry, and after-
wards slightly washed over, nothing can exceed their
truthfulness as to air. A little Indigo may be added to
the Cobalt to alter its tendency to chalkiness, especially
where the blue tone is required to be sombre and dark.
Indeed, in some cases, it is most desirable to do so, but
then it should only be as an assisting colour, since Indigo,
if used in some depth, tends to blackness.
Objects of minute forms are not to be regarded until
the picture is approaching to its completion, and then
they are either to be “ taken out” or to be added with a
darker colour. Lights on projecting rocks, trees, and
herbage in general, are to be touched on to their exact
shape with clear water, and then wiped out sharply with
a soft silk handkerchief or a clean piece of wash-leather.
Should either of these fail, place the water on again, and
then apply the blotting paper and rub with bread. This
last mode is a very certain one, and brings off the colour
without injury to the paper, leaving it in a desirable state
for toning upon.
The “ taking off” of colour has an effect that can never
be attained by simple washes. Texture and qualities are
gained by which a papery appearance is completely done
away. Water-Colour Painting owes many of its beau-
ties and peculiarities to the fact of its admitting of the
colour being thus cither partially or entirely removed.
TABLES OF COLOURS AND THEIR COMBINATIONS FOR
MOUNTAINS AND DISTANCES.
Neutral Orange, composed of Yellow Ochre and Brown
Madder; using more Yellow Ochre for the Lights,
and more Brown Madder for the Shadows.
Cobalt with a very slight additicn of Naples Yellcw
and Rose Madder.
Cobalt, with a little Rose Madder.
Cobalt, Indigo, and Rose Madder; if more subdued,
French Blue, softened with a little Lamo Black.
Ultramarine Ash.
First Washed
for Mountains. |
Mountains
or Hills,
if very remote.
27
required for distance; and when they are dry, and after-
wards slightly washed over, nothing can exceed their
truthfulness as to air. A little Indigo may be added to
the Cobalt to alter its tendency to chalkiness, especially
where the blue tone is required to be sombre and dark.
Indeed, in some cases, it is most desirable to do so, but
then it should only be as an assisting colour, since Indigo,
if used in some depth, tends to blackness.
Objects of minute forms are not to be regarded until
the picture is approaching to its completion, and then
they are either to be “ taken out” or to be added with a
darker colour. Lights on projecting rocks, trees, and
herbage in general, are to be touched on to their exact
shape with clear water, and then wiped out sharply with
a soft silk handkerchief or a clean piece of wash-leather.
Should either of these fail, place the water on again, and
then apply the blotting paper and rub with bread. This
last mode is a very certain one, and brings off the colour
without injury to the paper, leaving it in a desirable state
for toning upon.
The “ taking off” of colour has an effect that can never
be attained by simple washes. Texture and qualities are
gained by which a papery appearance is completely done
away. Water-Colour Painting owes many of its beau-
ties and peculiarities to the fact of its admitting of the
colour being thus cither partially or entirely removed.
TABLES OF COLOURS AND THEIR COMBINATIONS FOR
MOUNTAINS AND DISTANCES.
Neutral Orange, composed of Yellow Ochre and Brown
Madder; using more Yellow Ochre for the Lights,
and more Brown Madder for the Shadows.
Cobalt with a very slight additicn of Naples Yellcw
and Rose Madder.
Cobalt, with a little Rose Madder.
Cobalt, Indigo, and Rose Madder; if more subdued,
French Blue, softened with a little Lamo Black.
Ultramarine Ash.
First Washed
for Mountains. |
Mountains
or Hills,
if very remote.