DOI Page / Citation link:
https://doi.org/10.11588/diglit.42850#0045
20
AT LUSS, ON LOCH LOMOND.
grey, so giving- a second mass, although but a small one; and produces a circular form in the composition
by its connection with the stony portion of the ground to the right. The highest light, which is to be
found on the left cottage wall; between the window and the door; is caught up by the upper part of the
post supporting the wall; and repeated on the figure of the woman over the boat; and again by the chimneys;
and then passes off; in the light of the sky. Indeed; every light—as every colour—has its purpose; and it
would always be well that; when copying a drawing; the pupil should study it carefully in all its parts;
and endeavour to discover the intention of the artist. The two bright abits'” of orange colour in the instance
I have given serve to illumine the scene and carry force by contrast; although they are so small. The dark
blue coat is also valuable to bring depth into the right portion of the picture; as well as to throw the
background into distance. In the trees there is much variety of colour; light; shade; and form. I preferred
massing the foliage; thinking it better to do SO; and have only introduced a few slight branches at the
right extremity to give lightness and to indicate the effect of wind upon them. The grass on either side
is so marked in its several contours as to show the character of the ground upon which it grows. I have
omitted any detailed account of the progressive “ washings-in ” of colour; having a desire to exercise the
ability of the pupil in this respect; nevertheless; I subjoin a list of the combinations of the various tints
to be employed—
Clouds—Cobalt; yellow ochre; and a little lake.
Mountain—Cobalt; lake; yellow ochre.
Distant Trees—Yellow ochre; cobalt; and a little lake; glazed with gamboge in the light parts.
Near Trees and Grass—Gamboge; burnt sienna; and indigO; varied.
Tiiatcii—Hirst Tint—Yellow ochre; lake; and cobalt; varied.
Shadows and Deep Markings—Burnt sienna; lake; and indigo, with a little brown pink.
Glazings of Yellow Tones—Haw sienna.
Shadows of Wall and Road—Burnt sienna; lake; and indigo; with glazings of burnt sienna; lake; and
brown pink where required.
All the dark markings are touched in with the same colour; used thickly or in a pulpy condition. These
touchings are of several depths; and can only be effected by a repetition ; each being smaller in succession.
I would strongly recommend all who really wish to succeed in water-colours to copy this drawing
more than once; it being calculated to afford improvement.
AT LUSS, ON LOCH LOMOND.
grey, so giving- a second mass, although but a small one; and produces a circular form in the composition
by its connection with the stony portion of the ground to the right. The highest light, which is to be
found on the left cottage wall; between the window and the door; is caught up by the upper part of the
post supporting the wall; and repeated on the figure of the woman over the boat; and again by the chimneys;
and then passes off; in the light of the sky. Indeed; every light—as every colour—has its purpose; and it
would always be well that; when copying a drawing; the pupil should study it carefully in all its parts;
and endeavour to discover the intention of the artist. The two bright abits'” of orange colour in the instance
I have given serve to illumine the scene and carry force by contrast; although they are so small. The dark
blue coat is also valuable to bring depth into the right portion of the picture; as well as to throw the
background into distance. In the trees there is much variety of colour; light; shade; and form. I preferred
massing the foliage; thinking it better to do SO; and have only introduced a few slight branches at the
right extremity to give lightness and to indicate the effect of wind upon them. The grass on either side
is so marked in its several contours as to show the character of the ground upon which it grows. I have
omitted any detailed account of the progressive “ washings-in ” of colour; having a desire to exercise the
ability of the pupil in this respect; nevertheless; I subjoin a list of the combinations of the various tints
to be employed—
Clouds—Cobalt; yellow ochre; and a little lake.
Mountain—Cobalt; lake; yellow ochre.
Distant Trees—Yellow ochre; cobalt; and a little lake; glazed with gamboge in the light parts.
Near Trees and Grass—Gamboge; burnt sienna; and indigO; varied.
Tiiatcii—Hirst Tint—Yellow ochre; lake; and cobalt; varied.
Shadows and Deep Markings—Burnt sienna; lake; and indigo, with a little brown pink.
Glazings of Yellow Tones—Haw sienna.
Shadows of Wall and Road—Burnt sienna; lake; and indigo; with glazings of burnt sienna; lake; and
brown pink where required.
All the dark markings are touched in with the same colour; used thickly or in a pulpy condition. These
touchings are of several depths; and can only be effected by a repetition ; each being smaller in succession.
I would strongly recommend all who really wish to succeed in water-colours to copy this drawing
more than once; it being calculated to afford improvement.