DOI Page / Citation link:
https://doi.org/10.11588/diglit.42850#0030
14
ON LOCII LOMOND.
The best class of subjects for beginners is, without doubt, to be found in the lake or mountain districts
•—at any rate, as far as outline is concerned,—because the principal objects there are few in number, and
of large proportions; and in lake scenery, the straight line of water at the mountain’s base is of the greatest
value to the young sketcher as a guide to the position of objects whose lines rise from it. But, in order
to give a clearer insight into the process of sketching, I give a skeleton sketch, with the coloured drawing,
and claim the student’s attention to the numbers by which each line is indicated on the latter, and would
recommend the adoption of the plan in all sketches of a similar kind.
I have selected my subject for its simplicity. It is composed of only four separate masses, and these
are so arranged as to afford a variety of angles, as well as of quantities—no two being alike. Repetition
of forms, or rather direction of lines and sameness of quantity or size, should always be avoided; and with
this view the artist frequently alters his position. The same scene, from different points of view, will
assume quite a different composition; therefore, the manner in which the several lines constituting the
forms come together should be most carefully studied; and a point should be selected by the sketcher
whence they appear to have the most graceful bearing, and to intersect each other, without violent
contrasts, at the angles.
In the outline sketch, the line No. 1 is the water-line, and is continued across the paper; 2, a water-
line above it, giving the base of the mountain on the right hand; 3, the angles of the promontory; 4, the
angle of the direction of the side of the near mountain; 5 and 6, the angles of the summit; 7, the angle
of the central mountain from the point over the promontory; 8, change of angle to the top; 9, also a
change of direction to the right, notice being taken of its exact incidence upon the line 4; 10 and 11 give
the angles of the next mountain; 12 and 13 show the most distant hill. O is an imaginary line drawn
horizontally across the top of the central mountain as a guide for the relative heights of the others; and
it is important this should be strictly observed. After these lines of direction and position are correctly
placed, the undulating and broken outlines (also numbered) are to be given with precision ; seeing that each
line represents the character of the rock, and the slope of the different surfaces : as, for example, in the
broken ground of the promontory, the trees at its top edge, and the rising ground at the base of the near
mountain to the right.
If attention be paid to the method by wdiich these several lines follow in succession, much less difficulty
will be experienced in any after sketches. The boat was put in to fill the vacant space in the water, and
as a balance to the drawing.
The pencil outline being complete, it will be better to fix it by washing the drawing with plain water,
or a slight wash of yellow ochre and lake, or neutral orange. Cobalt alone is employed for the sky,
and is taken over the distant mountains and top of the near one. A tint of cobalt and lake, with a little
yellow ochre, is then passed over the distant mountains, and changed for the nearer hill and crags to
yellow ochre and lake, with a small portion of cobalt to check the brightness of the orange tone. Yellow
ochre alone is used for the base and upper portion of the water, and changed again to cobalt about midway
to the bottom of the drawing.
The whole of the paper being covered, the various shadows are to be introduced in the distance, and
also on the large portions of crag on the right. Cobalt, lake, and yellow ochre are used in different
degrees; and the warm light tones washed in over the shadows. Raw umber, gamboge, cobalt, and lake
are the colours for the herbage on the promontory, and are put on with a tint of much power, changing
the character of tone where required. The different colours of the broken and rocky surface are glazed
over the groundwork of grey previously laid on. The white bits of stone at the water’s edge are most
useful in causing the eye to fall on that part of the drawing, thereby giving a breadth to the whole of
the half-tones above, and preventing the gleam of light on the near mountain from being a spot. For this
purpose also, the spots of light at the edge and top of the lower range of crag on the right are serviceable
in drawing the attention and giving value to the bright tones of the slopes covered with sunburnt grass
and heather. The water is simply cobalt in a straight wash, and for the darker lines a little yellow ochre
and lake are to be added. If the fing’ers be placed over the boat, the sketch will be seen to want interest, and
the weight of colour to the left and in the deep shadows of the rocks to the right will be excessive. It
was therefore necessary to overpower these by some object of greater strength and by a little bright
colour. The white, again, gives tone to the surface of thi water by its colourless contrast. For the bright
yellow tints, gamboge is employed; and for the red tones, gamboge with lake or rose madder.
ON LOCII LOMOND.
The best class of subjects for beginners is, without doubt, to be found in the lake or mountain districts
•—at any rate, as far as outline is concerned,—because the principal objects there are few in number, and
of large proportions; and in lake scenery, the straight line of water at the mountain’s base is of the greatest
value to the young sketcher as a guide to the position of objects whose lines rise from it. But, in order
to give a clearer insight into the process of sketching, I give a skeleton sketch, with the coloured drawing,
and claim the student’s attention to the numbers by which each line is indicated on the latter, and would
recommend the adoption of the plan in all sketches of a similar kind.
I have selected my subject for its simplicity. It is composed of only four separate masses, and these
are so arranged as to afford a variety of angles, as well as of quantities—no two being alike. Repetition
of forms, or rather direction of lines and sameness of quantity or size, should always be avoided; and with
this view the artist frequently alters his position. The same scene, from different points of view, will
assume quite a different composition; therefore, the manner in which the several lines constituting the
forms come together should be most carefully studied; and a point should be selected by the sketcher
whence they appear to have the most graceful bearing, and to intersect each other, without violent
contrasts, at the angles.
In the outline sketch, the line No. 1 is the water-line, and is continued across the paper; 2, a water-
line above it, giving the base of the mountain on the right hand; 3, the angles of the promontory; 4, the
angle of the direction of the side of the near mountain; 5 and 6, the angles of the summit; 7, the angle
of the central mountain from the point over the promontory; 8, change of angle to the top; 9, also a
change of direction to the right, notice being taken of its exact incidence upon the line 4; 10 and 11 give
the angles of the next mountain; 12 and 13 show the most distant hill. O is an imaginary line drawn
horizontally across the top of the central mountain as a guide for the relative heights of the others; and
it is important this should be strictly observed. After these lines of direction and position are correctly
placed, the undulating and broken outlines (also numbered) are to be given with precision ; seeing that each
line represents the character of the rock, and the slope of the different surfaces : as, for example, in the
broken ground of the promontory, the trees at its top edge, and the rising ground at the base of the near
mountain to the right.
If attention be paid to the method by wdiich these several lines follow in succession, much less difficulty
will be experienced in any after sketches. The boat was put in to fill the vacant space in the water, and
as a balance to the drawing.
The pencil outline being complete, it will be better to fix it by washing the drawing with plain water,
or a slight wash of yellow ochre and lake, or neutral orange. Cobalt alone is employed for the sky,
and is taken over the distant mountains and top of the near one. A tint of cobalt and lake, with a little
yellow ochre, is then passed over the distant mountains, and changed for the nearer hill and crags to
yellow ochre and lake, with a small portion of cobalt to check the brightness of the orange tone. Yellow
ochre alone is used for the base and upper portion of the water, and changed again to cobalt about midway
to the bottom of the drawing.
The whole of the paper being covered, the various shadows are to be introduced in the distance, and
also on the large portions of crag on the right. Cobalt, lake, and yellow ochre are used in different
degrees; and the warm light tones washed in over the shadows. Raw umber, gamboge, cobalt, and lake
are the colours for the herbage on the promontory, and are put on with a tint of much power, changing
the character of tone where required. The different colours of the broken and rocky surface are glazed
over the groundwork of grey previously laid on. The white bits of stone at the water’s edge are most
useful in causing the eye to fall on that part of the drawing, thereby giving a breadth to the whole of
the half-tones above, and preventing the gleam of light on the near mountain from being a spot. For this
purpose also, the spots of light at the edge and top of the lower range of crag on the right are serviceable
in drawing the attention and giving value to the bright tones of the slopes covered with sunburnt grass
and heather. The water is simply cobalt in a straight wash, and for the darker lines a little yellow ochre
and lake are to be added. If the fing’ers be placed over the boat, the sketch will be seen to want interest, and
the weight of colour to the left and in the deep shadows of the rocks to the right will be excessive. It
was therefore necessary to overpower these by some object of greater strength and by a little bright
colour. The white, again, gives tone to the surface of thi water by its colourless contrast. For the bright
yellow tints, gamboge is employed; and for the red tones, gamboge with lake or rose madder.