DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0077
36
SCENE BETWEEN CAPEL CURIG AND LLYN OGWEN.
may be the object to be treated, be well assured that it is dependent upon details peculiarly its own, and
should be regarded with attention and study. Perhaps there is greater difficulty in the present subject
than in any previous one, owing to quantity of half-shadow being so pronounced upon by varieties of
form as well as colour. It is scarcely possible to deal with these changes without washing the tint laid
on two or three times with clean water, to remove the upper surface, and then glazing upon them with
their tints of appropriate colours. The hanging cloud is done while the paper is wet, on account of the
softness of the edges, and the straighter portion of it when dry, or nearly so.
I shall not enter into the manipulation of every part, having spoken at some length of the conception,
working, and arrangement of the scene, with the earnest hope of leading all who copy it to throw their mind
into reflections of a similar nature.
Sky—French Blue.
Distant and near Mountains—French Blue, Lake,
and Yellow Ochre.
Tint of Road—Yellow Ochre, Lake, and French
Blue.
Clouds—Indigo and Blue Black,
Stones in Foreground—French Blue, Lake, and
Yellow Ochre.
Deepest Touches in the Foreground—Burnt
Sienna, Lake, and French Blue.
The whole of the above will require several different washes of colour; but it is useless to begin with
the detail until a certain amount of depth is obtained in the grey tints. When attained, the whole of the
upper tints may be given; and to do this well will require considerable skill, otherwise the effect is likely
to become spotty and crude. Every wash must be decided and clear throughout.
Yellow ochre, with gamboge and lake, may be employed for the finishing warm tones. The same,
with cobalt, omitting the yellow ochre, for the greener and brighter tints; and brown pink must be
added for the brightest colouring in the foreground. As there is much diversity of colouring, so must
the respective tints be given in their proper places, noting where they partake of cool green, where of
brown green, and where of the yellow and orange hues. Transparency must be the aim of the pupil,
which will depend upon first obtaining a good ground of grey tones upon which to work, and then
introducing every gradation of colour as required.
CASSELL & COMPANY, LIMITED, BELLE SAUVAGE WORKS, LONDON, E.C.
15,185
SCENE BETWEEN CAPEL CURIG AND LLYN OGWEN.
may be the object to be treated, be well assured that it is dependent upon details peculiarly its own, and
should be regarded with attention and study. Perhaps there is greater difficulty in the present subject
than in any previous one, owing to quantity of half-shadow being so pronounced upon by varieties of
form as well as colour. It is scarcely possible to deal with these changes without washing the tint laid
on two or three times with clean water, to remove the upper surface, and then glazing upon them with
their tints of appropriate colours. The hanging cloud is done while the paper is wet, on account of the
softness of the edges, and the straighter portion of it when dry, or nearly so.
I shall not enter into the manipulation of every part, having spoken at some length of the conception,
working, and arrangement of the scene, with the earnest hope of leading all who copy it to throw their mind
into reflections of a similar nature.
Sky—French Blue.
Distant and near Mountains—French Blue, Lake,
and Yellow Ochre.
Tint of Road—Yellow Ochre, Lake, and French
Blue.
Clouds—Indigo and Blue Black,
Stones in Foreground—French Blue, Lake, and
Yellow Ochre.
Deepest Touches in the Foreground—Burnt
Sienna, Lake, and French Blue.
The whole of the above will require several different washes of colour; but it is useless to begin with
the detail until a certain amount of depth is obtained in the grey tints. When attained, the whole of the
upper tints may be given; and to do this well will require considerable skill, otherwise the effect is likely
to become spotty and crude. Every wash must be decided and clear throughout.
Yellow ochre, with gamboge and lake, may be employed for the finishing warm tones. The same,
with cobalt, omitting the yellow ochre, for the greener and brighter tints; and brown pink must be
added for the brightest colouring in the foreground. As there is much diversity of colouring, so must
the respective tints be given in their proper places, noting where they partake of cool green, where of
brown green, and where of the yellow and orange hues. Transparency must be the aim of the pupil,
which will depend upon first obtaining a good ground of grey tones upon which to work, and then
introducing every gradation of colour as required.
CASSELL & COMPANY, LIMITED, BELLE SAUVAGE WORKS, LONDON, E.C.
15,185