DOI Page / Citation link:
https://doi.org/10.11588/diglit.19952#0057
FIGURES AND CATTLE.
55
How or where these figures are to be placed, must be
left to the judgment of the Artist, and the determination
of this should occupy much thought and observation.
We say observation, because much information as to posi-
tion and effect may, and certainly can, be obtained from
looking at and examining the works of great men. We
should, while studying these works, endeavour to ascer-
tain why the figures and groups occupy such and such
positions; for this purpose it will be useful to place the
finger or hand across certain of the figures to see what
the effect would be without them, and how it is enhanced
by them. Figures should be drawn from Nature, and
every advantage taken of their position and form while in
action. If time will not permit for colouring, note down
the particular colours, and whether they contrasted or
harmonized well with the scene of action. A small
Sketch-book should be kept entirely for this purpose, so
that we can easily refer to it, and make extracts whenever
they may be required. In the drawing of the human
form, we must guard against false proportions and dis-
torted limbs.
The full force of colour should be given to figures, as,
from their purity of tone and brilliancy by contrast, the
whole of the tints in the landscape are subdued and
broken. All crudeness that before existed will thus be
taken away, and the distance will receive additional
atmosphere. To enumerate any colours for them would
be useless, as all may, more or less, be used with ad-
vantage. They should be painted in carefully, though
boldly, and never with too small a brush. Chinese
White is of immense value in the high lights, as well as
in mixture with some of the colours. By it many tints
are obtained that have body and force, and which by
their opacity will lie over any of the others.
Cattle will next and last require a few words. Their
55
How or where these figures are to be placed, must be
left to the judgment of the Artist, and the determination
of this should occupy much thought and observation.
We say observation, because much information as to posi-
tion and effect may, and certainly can, be obtained from
looking at and examining the works of great men. We
should, while studying these works, endeavour to ascer-
tain why the figures and groups occupy such and such
positions; for this purpose it will be useful to place the
finger or hand across certain of the figures to see what
the effect would be without them, and how it is enhanced
by them. Figures should be drawn from Nature, and
every advantage taken of their position and form while in
action. If time will not permit for colouring, note down
the particular colours, and whether they contrasted or
harmonized well with the scene of action. A small
Sketch-book should be kept entirely for this purpose, so
that we can easily refer to it, and make extracts whenever
they may be required. In the drawing of the human
form, we must guard against false proportions and dis-
torted limbs.
The full force of colour should be given to figures, as,
from their purity of tone and brilliancy by contrast, the
whole of the tints in the landscape are subdued and
broken. All crudeness that before existed will thus be
taken away, and the distance will receive additional
atmosphere. To enumerate any colours for them would
be useless, as all may, more or less, be used with ad-
vantage. They should be painted in carefully, though
boldly, and never with too small a brush. Chinese
White is of immense value in the high lights, as well as
in mixture with some of the colours. By it many tints
are obtained that have body and force, and which by
their opacity will lie over any of the others.
Cattle will next and last require a few words. Their