Penley, Aaron: A System Of Water-Colour Painting: Being A Complete Exposition Of The Present Advanced State Of The Art, As Exhibited In The Works Of The Modern Water-Colour School (London, 1852)

INDEX. 61
PAGE
High Lights, tones for, in foregrounds, &c. . . .50
--in clouds, colours for . . . .21
Hills, treatment and colouring of remote . . . .28
Horses, colour of, and their pictorial effect . . .56
Human Figures, treatment of . . .54
Imitation defined ....... 7
Indian Yellow, recovers tones lost by the use of Indigo . . 48
Invention, definition of . . . . . .7
Knife, use of, in taking out lights . . . . 19, 37
Leaves, tones for decayed ...... 50
-tones for glossy . . . . ■ .50
Lights, to be left, to have form, in painting running streams . 33
-if smaller, given by Chinese White, in streams . . 33
•-to be inserted at the finishing of the picture . . 34
Light and Shade, principle of . . • - .8
Line in Perspective, importance of, in the drawing of boats,
shipping, &c. ... ... 39
Liquid Colour, use and management of, in painting foliage . 44
Littleness of Style, to be avoided in foregrounds . . .48
Marsh-foliage ....... 43
Megilp, water-colour, how used in the painting of trees . . 46
Middle Distance, treatment of . . . . .29
Mountain, example of the effects of light upon . . .10
Mountains, how to be treated . . . . .24
---— first wash for . . . . . .27
Mountain-tops, clouds upon . . . . .17
Mud Walls, colours for . . . . • .54
Nature, colouring from ...... 9
-- importance of the study of . . . .57
Neutral Orange of Yellow Ochre and Brown Madder, effects of . 14
Orange Vermilion, use of, in sunset and sunrise clouds . . 22
Picture, finished, how different from a finished sketch . . 29
Pyramidical forms in the grouping of shipping, &c. . . 39
Pure Greens ....... 50
Perspective, importance of, in buildings . . • .52
Plaster, colours for ...... 54
Pencil Sketch, how secured . . . • .13
Pumice-stone, powdered, of great use . . • .18