DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0056
CRUMMOCK WATER, CUMBERLAND.
No. II.
FULL instruction was given in the preceding drawing for the first washes of the Lake Scene, of which
I now present the finished drawing. That it may be carried through without deviation from the
first intention, I have worked upon the actual chromo-lithograph itself, carefully attending (with another
impression before me) to every detail of pencilling, so that those persons who undertake to copy it may
be enabled to continue the colouring without confusion or difference.
There is much softness and simplicity of treatment in the drawing—breadth being its characteristic.
Therefore, when adding to it the warm grey shadows, all dark touches will have to be avoided, otherwise
it will not exhibit that serene atmosphere for which our English Lakes are so deservedly renowned.
Although repose constitutes the feeling of the scene, yet it is by no means wanting in variety either of form or
colour. There is, indeed, much diversity—much for the eye to dwell upon, as it scans the broken surfaces of
Red Pike on Crummock Water, and the High Style and Haycocks on Buttermere. It will now be seen
how valuable those pencilled outlines have been in establishing truthfulness of form and position, giving
to each spur of the mountains its true character and formation, so that the appropriate tints can be applied
unhesitatingly to the several shadows of its component parts.
The clouds are touched upon with rose madder and indigo ; the tint to be used very liquidly. After
this is done, proceed to put in the shadowed side of the rocks on the near mountain (Red Pike), carefully
following the pencilled outline. There are two degrees of shadow made with cobalt and rose madder, both
of which are to be introduced tenderly. The greenish and isolated spur has a little yellow ochre mixed
with the cobalt and rose madder; lake must be substituted for rose madder if the pupil has not the latter.
A glazing—that is, a thin wash of colour—of raw sienna and a little gamboge is next to be put on the
grassy surface, while, in the warmer parts, the tint is made with raw sienna and rose madder.
The distant mountains are principally shaded with indigo and cobalt, and the lighter spaces warmed
with light tones of rose madder. The red tint also of the right portion of the mountain in light is obtained
by one or two washes of rose madder over the first tints. Each of the divisional markings or forms will
require strict attention, for the reasons that distances are determined by them.
The line of trees in the middle distance must now claim attention; and cobalt, with a little yellow
ochre and Chinese white, be mixed for the grey shadows of their colours. The cobalt should be largely
the predominant, and the less there be of the white the better, or the effect might be chalky. The warm
tone and general character of the trees must be given by raw sienna, with a little cobalt and rose madder
for the shadowy parts. In doing this, the forms should be gracefully given, without regularity of either
shape or size. The treatment of such a passage as this is generally found by the learner to be difficult,
because much taste, and even skill, is required to prevent stiffness. The rocky projection to the right is
of cobalt, rose madder, and yellow ochre, with a little brown pink added for the darkest parts.
The foliage of the large fir-tree is done with a mixture of Indian yellow, burnt sienna, and indigo
used in some substance. The forms are to be attended to very accurately, so that the clusters may fall
into their several masses and take their proper shapes. The stem in its dark parts is deepened with brown
madder and indigo, the touches being put on with decision. It is necessary to observe the breadth of
light in this tree, or the general effect will be in danger. The deepest touches have burnt sienna added.
Raw sienna and gamboge are employed for the grass in the foreground, with an occasional addition of
indigo where the tone inclines to green rather than to citron. The several stones and rocks are cobalt,
brown madder, and brown pink; the last colour only being required for the very warm and deep touches.
G
No. II.
FULL instruction was given in the preceding drawing for the first washes of the Lake Scene, of which
I now present the finished drawing. That it may be carried through without deviation from the
first intention, I have worked upon the actual chromo-lithograph itself, carefully attending (with another
impression before me) to every detail of pencilling, so that those persons who undertake to copy it may
be enabled to continue the colouring without confusion or difference.
There is much softness and simplicity of treatment in the drawing—breadth being its characteristic.
Therefore, when adding to it the warm grey shadows, all dark touches will have to be avoided, otherwise
it will not exhibit that serene atmosphere for which our English Lakes are so deservedly renowned.
Although repose constitutes the feeling of the scene, yet it is by no means wanting in variety either of form or
colour. There is, indeed, much diversity—much for the eye to dwell upon, as it scans the broken surfaces of
Red Pike on Crummock Water, and the High Style and Haycocks on Buttermere. It will now be seen
how valuable those pencilled outlines have been in establishing truthfulness of form and position, giving
to each spur of the mountains its true character and formation, so that the appropriate tints can be applied
unhesitatingly to the several shadows of its component parts.
The clouds are touched upon with rose madder and indigo ; the tint to be used very liquidly. After
this is done, proceed to put in the shadowed side of the rocks on the near mountain (Red Pike), carefully
following the pencilled outline. There are two degrees of shadow made with cobalt and rose madder, both
of which are to be introduced tenderly. The greenish and isolated spur has a little yellow ochre mixed
with the cobalt and rose madder; lake must be substituted for rose madder if the pupil has not the latter.
A glazing—that is, a thin wash of colour—of raw sienna and a little gamboge is next to be put on the
grassy surface, while, in the warmer parts, the tint is made with raw sienna and rose madder.
The distant mountains are principally shaded with indigo and cobalt, and the lighter spaces warmed
with light tones of rose madder. The red tint also of the right portion of the mountain in light is obtained
by one or two washes of rose madder over the first tints. Each of the divisional markings or forms will
require strict attention, for the reasons that distances are determined by them.
The line of trees in the middle distance must now claim attention; and cobalt, with a little yellow
ochre and Chinese white, be mixed for the grey shadows of their colours. The cobalt should be largely
the predominant, and the less there be of the white the better, or the effect might be chalky. The warm
tone and general character of the trees must be given by raw sienna, with a little cobalt and rose madder
for the shadowy parts. In doing this, the forms should be gracefully given, without regularity of either
shape or size. The treatment of such a passage as this is generally found by the learner to be difficult,
because much taste, and even skill, is required to prevent stiffness. The rocky projection to the right is
of cobalt, rose madder, and yellow ochre, with a little brown pink added for the darkest parts.
The foliage of the large fir-tree is done with a mixture of Indian yellow, burnt sienna, and indigo
used in some substance. The forms are to be attended to very accurately, so that the clusters may fall
into their several masses and take their proper shapes. The stem in its dark parts is deepened with brown
madder and indigo, the touches being put on with decision. It is necessary to observe the breadth of
light in this tree, or the general effect will be in danger. The deepest touches have burnt sienna added.
Raw sienna and gamboge are employed for the grass in the foreground, with an occasional addition of
indigo where the tone inclines to green rather than to citron. The several stones and rocks are cobalt,
brown madder, and brown pink; the last colour only being required for the very warm and deep touches.
G