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Rowbotham, Thomas Leeson; Rowbotham, Thomas Charles Leeson
The Art Of Landscape Painting In Water Colours — London, 1852

DOI Page / Citation link:
https://doi.org/10.11588/diglit.19951#0041
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COLOURING OF A LANDSCAPE.

31

In that portion where buildings of any kind are intro-
duced^ the greatest accuracy is indispensable in drawing
the form of the windows, doors, chimneys, and other
such details, as well as any ornamental parts.

To efface the pencil lines, when any alteration may be
necessary, the crumb of stale bread will be found to be
a better material than Indian-rubber, as it is less likely
than the latter would be to smear or injure the surface
of the paper.

We have particularly recommended a neat and slight
outline for many reasons, and especially for this; that, if
any force or depth of pencilling were employed in this
preparatory process, the lead would sully and vitiate the
colour.

THE COLOURING OF A LANDSCAPE.

Sky.—It has been generally recommended to the
student to complete this portion of his work first; and
in some cases where strongly-marked trees or buildings
occur, and appearing in direct opposition against the sky,
it may be advisable to lay the intended amount of colour
in the sky before attempting to work up the remainder
of the landscape; yet this is frequently not the best
method of proceeding.

The tones of the sky, if carried over distant mountains,
assist greatly in blending and harmonizing them with it.
It is even best, sometimes, to proceed so far as to get a
certain amount of broad light and shade into the picture
(according to the character of the composition), in order
afterwards to arrange the clouds in a manner most suit-
able to the effect; or at least so as that they may not
appear out of character with it.

The drawing board should be inclined at a sufficient
angle to allow the tint to flow freely over the surface,
 
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