DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0052
CRUMMOCK WATER, CUMBERLAND.
No. I.
--
THE first washes only are given in the present subject, that the pupil may be more easily initiated in
the manner in which a water-colour drawing of this description is commenced.
The character of the finished work will always depend upon the under-tints, so that it is necessary
to have them of a kind most favourable for the after-tones. I am not without hope that the example given
may serve to show clearly what the appearance of the first stages of a drawing should he, and how it is
to be obtained. As in all the previous subjects in this work, the pencil outline has been dwelt upon as
the greatest help in producing a satisfactory result; so in the present illustration there must be the most
careful attention in placing each individual formation in its right position; and not only in this, but in
drawing it with freedom as well as accuracy.
One thing I invariably find the pupil not to pay sufficient regard to (although it may almost appear
to many too trifling to notice), is the manner in which the pencil is cut. But there is more in this than
most persons suppose. Without a true point, it is impossible to judge correctly of the line to be produced.
The wood should be much cut away in a slanting direction, to permit of the eye resting upon the point
without interference. Neglect of this is frequently a cause of failure, and it is not an uncommon occurrence
that a careless outline carries with it a corresponding manner throughout the colouring. It is to be hoped
this caution may not pass unheeded, it being borne in mind that a clear line directs and a blurred line
confuses, causing much hesitation in laying on the first (and generally large) washes of colour.
The Lake scene under treatment has been selected from its singleness of character, that is, from the
masses being large, and their detailed formations easily seen. These have been drawn in with the black-
lead pencil to secure the proper forms and position of the several shadows. All deviations from an even
surface of ground should invariably be marked, as they serve to denote a variety of flowing, and (at
times) continuous lines, and add greatly to the interest of the work. If the tree and foreground be equally
regarded, the places for the different tints will be found with ease.
The outline being correct, pass some water over the whole with a large flat brush, and, while still
damp, lay on a light wash of neutral orange or yellow ochre and brown madder, over the drawing, to
impart a warm tint. This will also fix the pencilling and prevent its rubbing. When dry, again wash
with water, and, as soon as the wet disappears, begin the upper portion of the sky with a tint of pure
cobalt, carefully leaving the light clouds. Continue the wash by adding a little light red to produce a
grey tone for the clouds, and deepen toward the lower edges with more cobalt. This operation should be
effected at once; nevertheless, if it be too light, the tones may be subsequently strengthened. A tint of
light red, yellow ochre, and cobalt, is to be mixed as nearly as possible to the colour of the warm portion
of the mountain, and also a mixture of cobalt with a little indigo for the blue portion.
Commence at the top, with the brush tolerably well filled, carefully preserving the outline, bringing
the colour from it into the body of the mountain; then, on nearing the bluer portion, add the mixture of
cobalt and indigo, until the whole of the mountains are covered; softening the colour down to the lower
edge, and over the warm tint for the low land and trees. This same blue tint is to be passed over the
water, leaving the broad lights. The foreground stones of grey tints are now to be put in with cobalt
and light red, varying the proportions to the character of tone required. After this, gamboge, light red,
and cobalt, more or less of one than of the others, are to be employed for the herbage.
No. I.
--
THE first washes only are given in the present subject, that the pupil may be more easily initiated in
the manner in which a water-colour drawing of this description is commenced.
The character of the finished work will always depend upon the under-tints, so that it is necessary
to have them of a kind most favourable for the after-tones. I am not without hope that the example given
may serve to show clearly what the appearance of the first stages of a drawing should he, and how it is
to be obtained. As in all the previous subjects in this work, the pencil outline has been dwelt upon as
the greatest help in producing a satisfactory result; so in the present illustration there must be the most
careful attention in placing each individual formation in its right position; and not only in this, but in
drawing it with freedom as well as accuracy.
One thing I invariably find the pupil not to pay sufficient regard to (although it may almost appear
to many too trifling to notice), is the manner in which the pencil is cut. But there is more in this than
most persons suppose. Without a true point, it is impossible to judge correctly of the line to be produced.
The wood should be much cut away in a slanting direction, to permit of the eye resting upon the point
without interference. Neglect of this is frequently a cause of failure, and it is not an uncommon occurrence
that a careless outline carries with it a corresponding manner throughout the colouring. It is to be hoped
this caution may not pass unheeded, it being borne in mind that a clear line directs and a blurred line
confuses, causing much hesitation in laying on the first (and generally large) washes of colour.
The Lake scene under treatment has been selected from its singleness of character, that is, from the
masses being large, and their detailed formations easily seen. These have been drawn in with the black-
lead pencil to secure the proper forms and position of the several shadows. All deviations from an even
surface of ground should invariably be marked, as they serve to denote a variety of flowing, and (at
times) continuous lines, and add greatly to the interest of the work. If the tree and foreground be equally
regarded, the places for the different tints will be found with ease.
The outline being correct, pass some water over the whole with a large flat brush, and, while still
damp, lay on a light wash of neutral orange or yellow ochre and brown madder, over the drawing, to
impart a warm tint. This will also fix the pencilling and prevent its rubbing. When dry, again wash
with water, and, as soon as the wet disappears, begin the upper portion of the sky with a tint of pure
cobalt, carefully leaving the light clouds. Continue the wash by adding a little light red to produce a
grey tone for the clouds, and deepen toward the lower edges with more cobalt. This operation should be
effected at once; nevertheless, if it be too light, the tones may be subsequently strengthened. A tint of
light red, yellow ochre, and cobalt, is to be mixed as nearly as possible to the colour of the warm portion
of the mountain, and also a mixture of cobalt with a little indigo for the blue portion.
Commence at the top, with the brush tolerably well filled, carefully preserving the outline, bringing
the colour from it into the body of the mountain; then, on nearing the bluer portion, add the mixture of
cobalt and indigo, until the whole of the mountains are covered; softening the colour down to the lower
edge, and over the warm tint for the low land and trees. This same blue tint is to be passed over the
water, leaving the broad lights. The foreground stones of grey tints are now to be put in with cobalt
and light red, varying the proportions to the character of tone required. After this, gamboge, light red,
and cobalt, more or less of one than of the others, are to be employed for the herbage.