DOI Page / Citation link:
https://doi.org/10.11588/diglit.19951#0043
COLOURING OF A LANDSCAPE.
33
a passage which will afford a secondary light in the
picture.
If these instructions have been carefully observed, the
drawing ought now to present, in colour and effect, a
tolerable idea of what the finished work will be.
It will now be found that the strength of the ground
tints has reduced the tone of the sky; which, when first
washed in, appeared perhaps of a strength nearly suffi-
cient : hence, to a certain extent, a repetition of the
process is necessary. For this purpose, the student
must proceed as before. It will not, however, be re-
quired to strengthen or force the blue of the upper sky
—(a common error with beginners) ; but simply to
strengthen the warmer tints below. Light Red may, in
these subsequent washes, be substituted for Lake, and
Yellow Ochre for Indian Yellow; for these colours, being
less brilliant than the former, will assist in giving a
quieter tone, should it be required.
It may be here remarked, that it is a good practice to
begin generally with the purer and richer colours ; as a
vivid tint may be easily cooled or subdued by others,
while it is by no means so easy to give due brightness to
a dull one.
A few somewhat horizontal clouds at the lower por-
tion of the sky, near the hills, may now be touched in,
and their shadows indicated by pale Cobalt and Lake.
The distant hills should be strengthened with a tint of
French Blue and Lake; to which, as you approach the
middle distance, add a mixture of Indigo and Brown
Pink, which will form a greenish-gray, and which may
be washed into the Vandyke Brown first carried over the
foreground.
Let the foreground be much paler in tone than the
middle distance; and if any lines occur in the latter, keep
them as nearly horizontal as possible, for this will com-
municate to that part of the composition the necessary
appearance of retiring.
D
33
a passage which will afford a secondary light in the
picture.
If these instructions have been carefully observed, the
drawing ought now to present, in colour and effect, a
tolerable idea of what the finished work will be.
It will now be found that the strength of the ground
tints has reduced the tone of the sky; which, when first
washed in, appeared perhaps of a strength nearly suffi-
cient : hence, to a certain extent, a repetition of the
process is necessary. For this purpose, the student
must proceed as before. It will not, however, be re-
quired to strengthen or force the blue of the upper sky
—(a common error with beginners) ; but simply to
strengthen the warmer tints below. Light Red may, in
these subsequent washes, be substituted for Lake, and
Yellow Ochre for Indian Yellow; for these colours, being
less brilliant than the former, will assist in giving a
quieter tone, should it be required.
It may be here remarked, that it is a good practice to
begin generally with the purer and richer colours ; as a
vivid tint may be easily cooled or subdued by others,
while it is by no means so easy to give due brightness to
a dull one.
A few somewhat horizontal clouds at the lower por-
tion of the sky, near the hills, may now be touched in,
and their shadows indicated by pale Cobalt and Lake.
The distant hills should be strengthened with a tint of
French Blue and Lake; to which, as you approach the
middle distance, add a mixture of Indigo and Brown
Pink, which will form a greenish-gray, and which may
be washed into the Vandyke Brown first carried over the
foreground.
Let the foreground be much paler in tone than the
middle distance; and if any lines occur in the latter, keep
them as nearly horizontal as possible, for this will com-
municate to that part of the composition the necessary
appearance of retiring.
D