DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0017
ON COLOURS, PAPER, AND BRUSHES.
EOR general use, when sketching from Nature, the fewer the colours to he employed the better, not only
for the sake of simplicity, but also to give as light a weight and bulk as possible. I do not, however,
recommend too small a box, nor half-sized colours, believing them to be a hindrance in affording that full
supply of colour which, at times, is absolutely necessary to cover large spaces. And besides this, the box
is so soon covered with divers tints, that it requires to be constantly cleansed and wiped that a succession of
pure tones may be applied without being sullied or altered. It should be the sketcher's chief aim to copy
very exactly the colour of every object presented, and to take cognizance of every deviation from that
colour, it being of rare occurrence that it continues unchanged or unbroken; and to do this correctly, or,
indeed, with any degree of pleasure, it is imperative that there shall be room enough upon the palette to
mix the colours satisfactorily.
A box, therefore, containing 12 colours is such as to afford every opportunity for colouring out of
doors, and with it a japanned water-bottle to hang on one end of the box. This must not be very small,
and it is as well to work with a fair quantity of water, that it may not get dirty too soon.
To work with any degree of success and comfort, a good and convenient sketching-stool is essential.
The hands should be at liberty, one to hold the colour-box and the other to wield the pencil; for if they
are employed to support the paper also, they become trammelled and cramped, rendering it impossible to
impart that freedom of execution which is the characteristic of an out-door drawing. I always use a
folding stool, which, when opened, forms an easel and support for the drawing board or block. Nothing
can be more complete than this, and they can be obtained at any of our artists' colourmen. The only-
drawback is the size and weight; but to most persons this will scarcely be deemed an objection, and more
especially when on a sketching tour.
Another requisite is an umbrella, to keep the sun from the drawing, and so enable the artist to form
a correct idea of what he is doing. It is almost impossible to judge of colour with the sun shining in
all its whiteness upon the paper, and not only so, but it is absolutely injurious to the sight, frequently
making the head ache severely. These umbrellas are mostly of holland, and have a long stick, with an
iron point at one end and a screw at the other. They can be firmly stuck into the ground, and form an
independent covering, and will protect from rain as well as sun.
Where the sketch is not large, a solid block of paper, made with Whatman's thick imperial, will, for
most amateurs, be found the best. It should either be quarto or octavo: a larger size enhances the
difficulty of the sketch, and a smaller size cramps the scene and the hand. Another convenient method
of holding the paper is a mahogany board, having a number of little points all round, and with a slight
frame, attached by hinges. The paper should be damped before being placed in it, when it becomes
tightly strained and easy for working upon. Rough paper is by no means so favourable for the amateur
as that of a medium texture. It resists the action of the brush, and will not receive the washes with that
freedom or certainty that is desirable. The difficulty is quite great enough, without adding to it. Tor this
reason, I prefer the thick imperial to the thin; there being more texture and a greater substance, the
washes of colour do not dry up so quickly in warm or windy weather. This quick drying is a great evil,
and at times it is almost impossible to succeed in giving clear, large tones for the sky and clouds. I know
of no better plan to remedy this than by damping the paper, and taking the water off again with clean
blotting-paper, of which there should always be a supply.
The rough paper (ninety pounds to the ream) is excellent, and very suitable for taking capital washes,
and also for obtaining a certain quality, from the fact of the surface being granular and receiving the
colours kindly. It is not so coarse as the thick paper, while it holds the tints in a damp state quite as
B
EOR general use, when sketching from Nature, the fewer the colours to he employed the better, not only
for the sake of simplicity, but also to give as light a weight and bulk as possible. I do not, however,
recommend too small a box, nor half-sized colours, believing them to be a hindrance in affording that full
supply of colour which, at times, is absolutely necessary to cover large spaces. And besides this, the box
is so soon covered with divers tints, that it requires to be constantly cleansed and wiped that a succession of
pure tones may be applied without being sullied or altered. It should be the sketcher's chief aim to copy
very exactly the colour of every object presented, and to take cognizance of every deviation from that
colour, it being of rare occurrence that it continues unchanged or unbroken; and to do this correctly, or,
indeed, with any degree of pleasure, it is imperative that there shall be room enough upon the palette to
mix the colours satisfactorily.
A box, therefore, containing 12 colours is such as to afford every opportunity for colouring out of
doors, and with it a japanned water-bottle to hang on one end of the box. This must not be very small,
and it is as well to work with a fair quantity of water, that it may not get dirty too soon.
To work with any degree of success and comfort, a good and convenient sketching-stool is essential.
The hands should be at liberty, one to hold the colour-box and the other to wield the pencil; for if they
are employed to support the paper also, they become trammelled and cramped, rendering it impossible to
impart that freedom of execution which is the characteristic of an out-door drawing. I always use a
folding stool, which, when opened, forms an easel and support for the drawing board or block. Nothing
can be more complete than this, and they can be obtained at any of our artists' colourmen. The only-
drawback is the size and weight; but to most persons this will scarcely be deemed an objection, and more
especially when on a sketching tour.
Another requisite is an umbrella, to keep the sun from the drawing, and so enable the artist to form
a correct idea of what he is doing. It is almost impossible to judge of colour with the sun shining in
all its whiteness upon the paper, and not only so, but it is absolutely injurious to the sight, frequently
making the head ache severely. These umbrellas are mostly of holland, and have a long stick, with an
iron point at one end and a screw at the other. They can be firmly stuck into the ground, and form an
independent covering, and will protect from rain as well as sun.
Where the sketch is not large, a solid block of paper, made with Whatman's thick imperial, will, for
most amateurs, be found the best. It should either be quarto or octavo: a larger size enhances the
difficulty of the sketch, and a smaller size cramps the scene and the hand. Another convenient method
of holding the paper is a mahogany board, having a number of little points all round, and with a slight
frame, attached by hinges. The paper should be damped before being placed in it, when it becomes
tightly strained and easy for working upon. Rough paper is by no means so favourable for the amateur
as that of a medium texture. It resists the action of the brush, and will not receive the washes with that
freedom or certainty that is desirable. The difficulty is quite great enough, without adding to it. Tor this
reason, I prefer the thick imperial to the thin; there being more texture and a greater substance, the
washes of colour do not dry up so quickly in warm or windy weather. This quick drying is a great evil,
and at times it is almost impossible to succeed in giving clear, large tones for the sky and clouds. I know
of no better plan to remedy this than by damping the paper, and taking the water off again with clean
blotting-paper, of which there should always be a supply.
The rough paper (ninety pounds to the ream) is excellent, and very suitable for taking capital washes,
and also for obtaining a certain quality, from the fact of the surface being granular and receiving the
colours kindly. It is not so coarse as the thick paper, while it holds the tints in a damp state quite as
B