DOI Page / Citation link:
https://doi.org/10.11588/diglit.19951#0044
31
COLOURING OF A. LANDSCAPE.
The sky being supposed complete, the distribution of
light and shade in the picture is the next object of atten-
tion. In a scene of the kind proposed, the principal
shade will reside in the middle distance, just as the sky-
may be said to be the principal light of the subject.
But in order to counteract the heaviness inseparable
from a large mass of shade, it is necessary that some
object or objects, much darker in tone than the genera
shade of the middle distance, should be introduced; an
in the effective placing of these darker objects lies th
skill of the artist. A small hut, and some turf or peat
stacks on the distant moor, form valuable materials for
introducing these darker masses; while some light smoke
curling from the cottage wdl assist in giving life and
spirit to the whole.
Irregular patches of furze may be put in, in the
middle distance, with the same colour as that used for
these dark parts; that is with a tint either of Sepia and
Cobalt, or a mixture of Vandyke Brown and Indigo;
Olive Green or Brown Pink being added as the fore-
ground is approached. Sepia and Indian Yellow, and
Brown Pink or Vandyke Brown with Lake, will be found
admirable for the rich colour of the foreground; but
if they be too violent, they may all be reduced by the
use of a little Indigo or Cobalt. A few rushes and
large weeds, with their reflections in the near water, will
aid the effect; but they should not be too much elabo-
rated, nor made so dark as to interfere with the principal
shadow.
Lights procured in the manner already described will
give a finish to the picture. On this principle, the light
smoke may be made out; as also, leading into the
middle distance, a straggling path, on which a small
figure on horseback, or a man driving cattle, will afford
an opportunity for a bit of bright colour; and this, if
well placed, will materially improve the drawing, by
lowering the surrounding tones.
COLOURING OF A. LANDSCAPE.
The sky being supposed complete, the distribution of
light and shade in the picture is the next object of atten-
tion. In a scene of the kind proposed, the principal
shade will reside in the middle distance, just as the sky-
may be said to be the principal light of the subject.
But in order to counteract the heaviness inseparable
from a large mass of shade, it is necessary that some
object or objects, much darker in tone than the genera
shade of the middle distance, should be introduced; an
in the effective placing of these darker objects lies th
skill of the artist. A small hut, and some turf or peat
stacks on the distant moor, form valuable materials for
introducing these darker masses; while some light smoke
curling from the cottage wdl assist in giving life and
spirit to the whole.
Irregular patches of furze may be put in, in the
middle distance, with the same colour as that used for
these dark parts; that is with a tint either of Sepia and
Cobalt, or a mixture of Vandyke Brown and Indigo;
Olive Green or Brown Pink being added as the fore-
ground is approached. Sepia and Indian Yellow, and
Brown Pink or Vandyke Brown with Lake, will be found
admirable for the rich colour of the foreground; but
if they be too violent, they may all be reduced by the
use of a little Indigo or Cobalt. A few rushes and
large weeds, with their reflections in the near water, will
aid the effect; but they should not be too much elabo-
rated, nor made so dark as to interfere with the principal
shadow.
Lights procured in the manner already described will
give a finish to the picture. On this principle, the light
smoke may be made out; as also, leading into the
middle distance, a straggling path, on which a small
figure on horseback, or a man driving cattle, will afford
an opportunity for a bit of bright colour; and this, if
well placed, will materially improve the drawing, by
lowering the surrounding tones.