DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0057
26
CRUM MOCK WATER, CUMBERLAND.
Yellow ochre and rose madder supply the orange tones, and also serve for the stem of the tree where it
is of a light and warm hue. The markings or touches in the foreground mast be placed at the extremity
of the different tints, so as to impart clearness and brilliancy, and secure a crispness of effect.
The water should now have a warm wash of rose madder over the darkest side, and also at the front.
When dry, two more washes of cobalt and a very little Chinese white are to be touched on horizontally,
leaving the several lights. After this, go over the part from near to the boat with raw sienna and a little
cobalt, to give a transparent tone, and with a little more raw sienna put on the few lines of ripples when
the other is dry. The boat and figures are coloured with cobalt and light red, vermilion being added for
the red coat. Indigo is for the cap of the foreground figure, and vermilion and rose madder, shaded
with sepia, are mixed with reds for the coat.
The principal endeavour of the learner should be to keep the whole of the forms throughout, from
first to last, clearly defined. I have been careful to give a subject for illustration that bears this stamp of
manipulation, well knowing its importance, more especially in works intended for the portfolio. In this
drawing the effect has been produced without any washing off, and is simply the result of laying on the
colours with care and neatness.
A few words as to the design and construction of our drawing may be of much service in explaining
how light and shadow, as well as contrast of tones, are dispersed systematically, so as to produce a pleasing
balance of effect. The sky has in it but little actual blue, which will be found at the top to the left side;
this softens into warm grey to the right, and deepens into a bluer tone as it reaches the mountains,
while it weakens gradually into light broken clouds, interspersed with white on the lower part over the
dark mountains. The water is the reverse of the sky, the dark side being under the light of it, and the
light side under the dark clouds, so that the highest lights may be said to have exchanged places. This
is also the case with the mountains. The breadth of warm colour on Red Pike is taken across the drawing
on the foreground, and the blue tone of the mountains in contact with the light sky is, in a less degree,
repeated in the darks of the line of trees, and the separate spurs at the bases of the large mountains. The
breadth of warm colour is diffused over the distant foliage, and joins the foreground, which is brought to
a focus upon the white bit of rock near the tree’s foot, against which the figure is placed. As the
principal weight of the drawing is in the tree and stones of the foreground to the left, it was requisite
to give strength to the other side, only in a less degree, for which purpose the boat and depth of shadow
on the rock were introduced, and they will be found to have given the balance sought. The foreground
figure and the boat with figure serve to give a little animation to the scene as well as positive colour.
Believing this class of drawing to be more instructive than any other under the term of pure land-
scape, I purpose to continue it, and in my next subject to pursue again the plan of treating the preparatory
and the subsequent stages in separate papers.
CRUM MOCK WATER, CUMBERLAND.
Yellow ochre and rose madder supply the orange tones, and also serve for the stem of the tree where it
is of a light and warm hue. The markings or touches in the foreground mast be placed at the extremity
of the different tints, so as to impart clearness and brilliancy, and secure a crispness of effect.
The water should now have a warm wash of rose madder over the darkest side, and also at the front.
When dry, two more washes of cobalt and a very little Chinese white are to be touched on horizontally,
leaving the several lights. After this, go over the part from near to the boat with raw sienna and a little
cobalt, to give a transparent tone, and with a little more raw sienna put on the few lines of ripples when
the other is dry. The boat and figures are coloured with cobalt and light red, vermilion being added for
the red coat. Indigo is for the cap of the foreground figure, and vermilion and rose madder, shaded
with sepia, are mixed with reds for the coat.
The principal endeavour of the learner should be to keep the whole of the forms throughout, from
first to last, clearly defined. I have been careful to give a subject for illustration that bears this stamp of
manipulation, well knowing its importance, more especially in works intended for the portfolio. In this
drawing the effect has been produced without any washing off, and is simply the result of laying on the
colours with care and neatness.
A few words as to the design and construction of our drawing may be of much service in explaining
how light and shadow, as well as contrast of tones, are dispersed systematically, so as to produce a pleasing
balance of effect. The sky has in it but little actual blue, which will be found at the top to the left side;
this softens into warm grey to the right, and deepens into a bluer tone as it reaches the mountains,
while it weakens gradually into light broken clouds, interspersed with white on the lower part over the
dark mountains. The water is the reverse of the sky, the dark side being under the light of it, and the
light side under the dark clouds, so that the highest lights may be said to have exchanged places. This
is also the case with the mountains. The breadth of warm colour on Red Pike is taken across the drawing
on the foreground, and the blue tone of the mountains in contact with the light sky is, in a less degree,
repeated in the darks of the line of trees, and the separate spurs at the bases of the large mountains. The
breadth of warm colour is diffused over the distant foliage, and joins the foreground, which is brought to
a focus upon the white bit of rock near the tree’s foot, against which the figure is placed. As the
principal weight of the drawing is in the tree and stones of the foreground to the left, it was requisite
to give strength to the other side, only in a less degree, for which purpose the boat and depth of shadow
on the rock were introduced, and they will be found to have given the balance sought. The foreground
figure and the boat with figure serve to give a little animation to the scene as well as positive colour.
Believing this class of drawing to be more instructive than any other under the term of pure land-
scape, I purpose to continue it, and in my next subject to pursue again the plan of treating the preparatory
and the subsequent stages in separate papers.