DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0060
A SPUR OF BEN LOMOND
No. I.
mHE effect of the present drawing’ is that of a summer’s evenings when the sun has just sunk below the
JL horizon, leaving’ the heavens illumined in softened, but still golden, light. At this particular time
such an amount of warm reflection is diffused over the landscape as finds its way to the feelings of most
people—at any rate, of all who are Nature-loving, and who delight in the study and practice of transmitting
her effects to paper. Wo all like warmth of colour—it is natural to do so; there is something cheering
and exciting in it; and for this reason, apart even from that mingling of harmonising and contrasting
hues, a sunset effect is always looked upon with pleasure.
To give a simple, yet agreeable illustration, I have avoided any complicated arrangement of clouds,
whereby the pupil would he confused, and have sought to produce a breadth of effect and singleness of
character which will tend to show the blending of the tones peculiar to the sunset. I have also selected for
study a description of scenery calculated to convey instruction and manipulative dexterity—the latter
being requisite, truly requisite, for the expression of intention. And this being the case, I cannot advocate
too much a neat and careful method of handling the brush, or a careful study, before applying it, of what
has to be done, and of the manner in which it is to be done. A little halting, with some thought upon
“ the why and the wherefore/’ will greatly help to success, whereas the want of it will always be accompanied
by failure. An esteemed friend of mine; who really is an excellent amateur artist, once told me that
immediately he began to put on the first wash of the sky, it was “ a case of sal volatile, he felt so nervous.'”
That this is a general feeling I can pretty well testify, having witnessed it so constantly in my numerous
pupils; therefore I the more earnestly recommend the exercise of thought, first upon the matter, and then
upon the manner, of treating it. In addition to all this, cleanliness is most desirable, and should be observed
in respect to the Colour-box, Brushes, and Paper. The first should (at least in my opinion) always be
sponged clean, and wiped with a palette cloth after finishing the day’s painting. It will then be ready
for further use, and the most delicate tints may be produced without danger of unnecessary mixture.
The brushes should also be washed and put into form by passing them through the palette cloth. As
for the paper, too great care cannot be taken in keeping its surface free from dirt or abrasion of any
kind; and, to preserve the equality of texture, bread will be found preferable to india-rubber in making
corrections. With these prefatory remarks, I begin to place before the amateur directions for copying the
present subject upon Loch Lomond. It is only in the first stages of progression, and yet sufficiently
coloured to give a somewhat true and pleasing impression.
I have said much—but not too much—upon the necessity of having a correct and well-drawn outline
before thinking of commencing to colour. I will now only say, let it not be neglected. After the paper
has been washed with clean water and a large brush, prepare some rose madder (or crimson lake) and
yellow ochre in two different tints—the one inclining to a roseate hue and the other to a light amber;
and, while the drawing is still clamp, commence at the top with the red tint and join the yellow midwajq
then add the red just above the mountains, and also over them as far as the water, where again change for
the yellow, passing over the middle distance and foreground to the right, and then again taking more red
over the immediate front. While in its wet condition, take a piece of blotting-paper, folded once or twice,
and touch with its sharp edge upon the white light on the stones by the water’s edge, which will remove
the colour very softly, and regain the white of the paper. This method of obtaining light is frequently
put into practice when fleecy clouds or a mackerel sky are to be represented. When this first blotting in
(or washing in) of colour is dry—quite dry—the drawing should be turned upside down, and the yellow
No. I.
mHE effect of the present drawing’ is that of a summer’s evenings when the sun has just sunk below the
JL horizon, leaving’ the heavens illumined in softened, but still golden, light. At this particular time
such an amount of warm reflection is diffused over the landscape as finds its way to the feelings of most
people—at any rate, of all who are Nature-loving, and who delight in the study and practice of transmitting
her effects to paper. Wo all like warmth of colour—it is natural to do so; there is something cheering
and exciting in it; and for this reason, apart even from that mingling of harmonising and contrasting
hues, a sunset effect is always looked upon with pleasure.
To give a simple, yet agreeable illustration, I have avoided any complicated arrangement of clouds,
whereby the pupil would he confused, and have sought to produce a breadth of effect and singleness of
character which will tend to show the blending of the tones peculiar to the sunset. I have also selected for
study a description of scenery calculated to convey instruction and manipulative dexterity—the latter
being requisite, truly requisite, for the expression of intention. And this being the case, I cannot advocate
too much a neat and careful method of handling the brush, or a careful study, before applying it, of what
has to be done, and of the manner in which it is to be done. A little halting, with some thought upon
“ the why and the wherefore/’ will greatly help to success, whereas the want of it will always be accompanied
by failure. An esteemed friend of mine; who really is an excellent amateur artist, once told me that
immediately he began to put on the first wash of the sky, it was “ a case of sal volatile, he felt so nervous.'”
That this is a general feeling I can pretty well testify, having witnessed it so constantly in my numerous
pupils; therefore I the more earnestly recommend the exercise of thought, first upon the matter, and then
upon the manner, of treating it. In addition to all this, cleanliness is most desirable, and should be observed
in respect to the Colour-box, Brushes, and Paper. The first should (at least in my opinion) always be
sponged clean, and wiped with a palette cloth after finishing the day’s painting. It will then be ready
for further use, and the most delicate tints may be produced without danger of unnecessary mixture.
The brushes should also be washed and put into form by passing them through the palette cloth. As
for the paper, too great care cannot be taken in keeping its surface free from dirt or abrasion of any
kind; and, to preserve the equality of texture, bread will be found preferable to india-rubber in making
corrections. With these prefatory remarks, I begin to place before the amateur directions for copying the
present subject upon Loch Lomond. It is only in the first stages of progression, and yet sufficiently
coloured to give a somewhat true and pleasing impression.
I have said much—but not too much—upon the necessity of having a correct and well-drawn outline
before thinking of commencing to colour. I will now only say, let it not be neglected. After the paper
has been washed with clean water and a large brush, prepare some rose madder (or crimson lake) and
yellow ochre in two different tints—the one inclining to a roseate hue and the other to a light amber;
and, while the drawing is still clamp, commence at the top with the red tint and join the yellow midwajq
then add the red just above the mountains, and also over them as far as the water, where again change for
the yellow, passing over the middle distance and foreground to the right, and then again taking more red
over the immediate front. While in its wet condition, take a piece of blotting-paper, folded once or twice,
and touch with its sharp edge upon the white light on the stones by the water’s edge, which will remove
the colour very softly, and regain the white of the paper. This method of obtaining light is frequently
put into practice when fleecy clouds or a mackerel sky are to be represented. When this first blotting in
(or washing in) of colour is dry—quite dry—the drawing should be turned upside down, and the yellow