DOI Page / Citation link:
https://doi.org/10.11588/diglit.42850#0065
30
A SPUR OF BEN LOMOND.
shadowed portions of the trees, and in a less cold degree upon the rocks. I have said less cold degree,
which means that there should he a little reel added (crimson lake). The presence of the white stone in
the foreground is very necessary to give depth of tone to the other light portions of the drawing; indeed,
all high lights are of the greatest importance, as well as all the deepest touches, because they form so
many points of attraction, upon which the eye will he sure to rest.
In carrying the colouring of this subject to completion, the sky should receive the line of cloud with
a soft yet decided edge, as this will give considerable space beyond the mountains. There are two tones
of clouds at the top edge, being of yellow ochre and rose madder, and that about the mountains partaking
of more rose madder and a very small portion of cohalt. These tints may be passed over the mountains.
After they are dry, the broad shadows upon the mountains are to be washed on with a thin colour, made
of cohalt and rose madder, carrying it under the blue tones; and, while it is drying, it will he advisable
to put on the horizontal tints upon the water with the same colour. The next thing to be done should
be the more detailed shadows on the mountain, and afterwards the blue tones of the low line of hills,
which should be of cobalt, a very little gamboge, and Chinese white, the gamboge being to impart a
slight green tone to the blue, and the Chinese white to give a little opacity, in order that it may show
more readily over the under tints. The warm citrine tints of the grass are of raw sienna, mixed with rose
madder in the redder parts, and a little cobalt where of a greener hue. All the trees in the middle
distance are a modification of gamboge, lake, and cobalt, and will require careful painting; their reflections
are put in with the same. The foreground trees are to have the markings of the clusters of foliage
distinctly put on with gamboge, burnt sienna, and indigo, the brush being held rather uprightly, and
the colour imparted by lifting the hand at each touch from off the paper, for the purpose of causing the
forms to show out with decision and crispness; for nothing ought to appear blurred or softened. When
the whole of these forms are given satisfactorily, the intermediate spaces are to receive their washes, being
careful to leave such lights as are requisite, otherwise there will not he any gradation. For the two
yellowish trees, gamboge, burnt sienna, and indigo are to be employed, varying the quantity of each
according to the proper tint. The centre tree is shaded with cobalt, and lake over the first tint. A little
cobalt and lake may also be put over the deepest shadows of the others, to impart a slight grey tone. In
like manner the darkest touches are given upon the grass, and a few lines upon the water, keeping them
horizontal. These are intended to represent the surface of the water.
It would be far more profitable to recommence this subject entirely, following out the directions given
in the last lesson, and only having the former chromo-lithograph as a guide rather than making it the
copy. In adopting this method the learner will, in time, better comprehend how all finished water-colour
drawings are begun and carried through to completion.
A SPUR OF BEN LOMOND.
shadowed portions of the trees, and in a less cold degree upon the rocks. I have said less cold degree,
which means that there should he a little reel added (crimson lake). The presence of the white stone in
the foreground is very necessary to give depth of tone to the other light portions of the drawing; indeed,
all high lights are of the greatest importance, as well as all the deepest touches, because they form so
many points of attraction, upon which the eye will he sure to rest.
In carrying the colouring of this subject to completion, the sky should receive the line of cloud with
a soft yet decided edge, as this will give considerable space beyond the mountains. There are two tones
of clouds at the top edge, being of yellow ochre and rose madder, and that about the mountains partaking
of more rose madder and a very small portion of cohalt. These tints may be passed over the mountains.
After they are dry, the broad shadows upon the mountains are to be washed on with a thin colour, made
of cohalt and rose madder, carrying it under the blue tones; and, while it is drying, it will he advisable
to put on the horizontal tints upon the water with the same colour. The next thing to be done should
be the more detailed shadows on the mountain, and afterwards the blue tones of the low line of hills,
which should be of cobalt, a very little gamboge, and Chinese white, the gamboge being to impart a
slight green tone to the blue, and the Chinese white to give a little opacity, in order that it may show
more readily over the under tints. The warm citrine tints of the grass are of raw sienna, mixed with rose
madder in the redder parts, and a little cobalt where of a greener hue. All the trees in the middle
distance are a modification of gamboge, lake, and cobalt, and will require careful painting; their reflections
are put in with the same. The foreground trees are to have the markings of the clusters of foliage
distinctly put on with gamboge, burnt sienna, and indigo, the brush being held rather uprightly, and
the colour imparted by lifting the hand at each touch from off the paper, for the purpose of causing the
forms to show out with decision and crispness; for nothing ought to appear blurred or softened. When
the whole of these forms are given satisfactorily, the intermediate spaces are to receive their washes, being
careful to leave such lights as are requisite, otherwise there will not he any gradation. For the two
yellowish trees, gamboge, burnt sienna, and indigo are to be employed, varying the quantity of each
according to the proper tint. The centre tree is shaded with cobalt, and lake over the first tint. A little
cobalt and lake may also be put over the deepest shadows of the others, to impart a slight grey tone. In
like manner the darkest touches are given upon the grass, and a few lines upon the water, keeping them
horizontal. These are intended to represent the surface of the water.
It would be far more profitable to recommence this subject entirely, following out the directions given
in the last lesson, and only having the former chromo-lithograph as a guide rather than making it the
copy. In adopting this method the learner will, in time, better comprehend how all finished water-colour
drawings are begun and carried through to completion.