DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0024
10
ON COLOURS, PAPER, AND BRUSHES.
BURNT UMBER.
A soft, warm Brown. With Cohalt, it yields soft Greys, of a Greenish hue, and with Brown Madder,
or Lake and Cobalt, will produce many admirable tones for buildings, banks, rocks, &c., and also for other
foreground purposes. Is much esteemed by many water-colour painters.
SEPIA.
A fine, deep, and soft Brown, working most kindly, and mixing perfectly with other colours. With
Rose Madder and Cobalt, it affords Greys of fine tone, suited for clouds, light or dark, and also distances,
rocks, water, and other objects. Payne's Grey is a compound of Sepia, Lake, and Indigo. With Gamboge,
it is most useful for trees, and, with Brown Madder and Indigo, is cajutal in its variety of tints for
buildings, boats, rocks, roads, wood, and almost all foreground objects. Permanent.
VIRIDIAN.
A colour of great purity, brilliancy, and transparency, and may be used with advantage whenever any
Greens of lustrous quality are required. It modifies the Cobalt by imparting a peculiar tone to it, and will
often be found extremely advantageous to many of the purer Green portions of a drawing. Very well
adapted for drapery and painted objects. Is permanent.
OXIDE OF CHROMINE.
A powerful and opaque Green. Serviceable to the landscape-painter for foliage and herbage, and more
particularly when any of the shadows are put on too heavily. This, with a little Indian Yellow, or Naples
Yellow, will clear up the parts, which may afterwards be glazed upon with transparent Yellow and Blue
to regain the required freshness. Permanent.
TERRE YERTE.
A soft Green, of thin quality. Useful as a glazer, by imparting a sweetness of tone that is so often
to be found in Nature. It is rather cool in tone, and by many artists is in great request for distances and
foliage.
CERULEAN BLUE.
A Blue somewhat of a Greener hue than Cobalt. It certainly has peculiar charms of its own, and for
distances is sometimes exquisite in effect. Being a very powerful colour, it should only be used to finish
with, as Cobalt is preferable for the first washes.
We can speak very favourably of the colours that are supplied by the Artists’ Colourmen. There is,
as a rule, little or no imperfection in the material offered, so that there is nothing to prevent the artist
from giving every effect of which colour is capable, whether in its extreme softness and delicacy, its
richness of colour, both pure and broken, or its transparent brilliancy and depth of intensity. For per-
manency, for firmness of texture, evenness of flowing in flat washes, freedom from deposit or any
gelatinous and slimy nature, readiness for use, perfection in numberless combinations, and freshness of
tone, it is impossible to wish for any improvement in the colours : they have reached the highest degree
of excellence to which they can be brought.
ON COLOURS, PAPER, AND BRUSHES.
BURNT UMBER.
A soft, warm Brown. With Cohalt, it yields soft Greys, of a Greenish hue, and with Brown Madder,
or Lake and Cobalt, will produce many admirable tones for buildings, banks, rocks, &c., and also for other
foreground purposes. Is much esteemed by many water-colour painters.
SEPIA.
A fine, deep, and soft Brown, working most kindly, and mixing perfectly with other colours. With
Rose Madder and Cobalt, it affords Greys of fine tone, suited for clouds, light or dark, and also distances,
rocks, water, and other objects. Payne's Grey is a compound of Sepia, Lake, and Indigo. With Gamboge,
it is most useful for trees, and, with Brown Madder and Indigo, is cajutal in its variety of tints for
buildings, boats, rocks, roads, wood, and almost all foreground objects. Permanent.
VIRIDIAN.
A colour of great purity, brilliancy, and transparency, and may be used with advantage whenever any
Greens of lustrous quality are required. It modifies the Cobalt by imparting a peculiar tone to it, and will
often be found extremely advantageous to many of the purer Green portions of a drawing. Very well
adapted for drapery and painted objects. Is permanent.
OXIDE OF CHROMINE.
A powerful and opaque Green. Serviceable to the landscape-painter for foliage and herbage, and more
particularly when any of the shadows are put on too heavily. This, with a little Indian Yellow, or Naples
Yellow, will clear up the parts, which may afterwards be glazed upon with transparent Yellow and Blue
to regain the required freshness. Permanent.
TERRE YERTE.
A soft Green, of thin quality. Useful as a glazer, by imparting a sweetness of tone that is so often
to be found in Nature. It is rather cool in tone, and by many artists is in great request for distances and
foliage.
CERULEAN BLUE.
A Blue somewhat of a Greener hue than Cobalt. It certainly has peculiar charms of its own, and for
distances is sometimes exquisite in effect. Being a very powerful colour, it should only be used to finish
with, as Cobalt is preferable for the first washes.
We can speak very favourably of the colours that are supplied by the Artists’ Colourmen. There is,
as a rule, little or no imperfection in the material offered, so that there is nothing to prevent the artist
from giving every effect of which colour is capable, whether in its extreme softness and delicacy, its
richness of colour, both pure and broken, or its transparent brilliancy and depth of intensity. For per-
manency, for firmness of texture, evenness of flowing in flat washes, freedom from deposit or any
gelatinous and slimy nature, readiness for use, perfection in numberless combinations, and freshness of
tone, it is impossible to wish for any improvement in the colours : they have reached the highest degree
of excellence to which they can be brought.