DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0046
36
TREES AND FOREGROUNDS.
posed of Cobalt and Light Red, having a brush for each
tint so prepared.
The sky being supposed to be finished upwards, the
student, having his brush moderately filled with the green
tint, must endeavour, with a free touch, to give the effect
of a light tracery of leaves, beginning at the top of the
tree. The extremities of the masses,—or, in other words,
the general outline,—it will be remembered, must define
the character of the tree. Care must be taken to avoid
filling up the masses, but numerous small interstices
should be left to show the lights piercing them, as they
appear in nature. The second brush, containing the
gray tint, may now be exchanged quickly for the other.
It is supposed that the student has carried the green tint
as far down as the lower edge of the highest mass of that
part of the foliage which is in light. The colour being
still wet, let him apply the gray tint in continuation of
the first, until the form of the shadow or inner part of
the tree at that place is marked. lie must now resume
the green tint: and so on alternately to the lower part of
the tree, finishing with grays to express the dark shade
under the lowest foliage.
This method of running or blending the two tints of
the green and the gray together often affords accidental
circumstances, which, when skilfully and tastefully turned
to account, are highly suggestive of good effects.
It should be mentioned that, when the green is in-
tended to represent leaves in sunlight, it should incline
rather to a yellow hue, so as to give the effect of light
and warmth. A small portion, therefore, of Indian
Yellow may in this case be added with advantage.
The first process being completed, the trunks should
be put in with gray qualified by a little Vandyke Brown.
The stems and branches also may be drawn as seen at in-
tervals in those shaded or retiring passages of the foliage
where the gray has been used, but never across the light
or sunny parts.
4f
TREES AND FOREGROUNDS.
posed of Cobalt and Light Red, having a brush for each
tint so prepared.
The sky being supposed to be finished upwards, the
student, having his brush moderately filled with the green
tint, must endeavour, with a free touch, to give the effect
of a light tracery of leaves, beginning at the top of the
tree. The extremities of the masses,—or, in other words,
the general outline,—it will be remembered, must define
the character of the tree. Care must be taken to avoid
filling up the masses, but numerous small interstices
should be left to show the lights piercing them, as they
appear in nature. The second brush, containing the
gray tint, may now be exchanged quickly for the other.
It is supposed that the student has carried the green tint
as far down as the lower edge of the highest mass of that
part of the foliage which is in light. The colour being
still wet, let him apply the gray tint in continuation of
the first, until the form of the shadow or inner part of
the tree at that place is marked. lie must now resume
the green tint: and so on alternately to the lower part of
the tree, finishing with grays to express the dark shade
under the lowest foliage.
This method of running or blending the two tints of
the green and the gray together often affords accidental
circumstances, which, when skilfully and tastefully turned
to account, are highly suggestive of good effects.
It should be mentioned that, when the green is in-
tended to represent leaves in sunlight, it should incline
rather to a yellow hue, so as to give the effect of light
and warmth. A small portion, therefore, of Indian
Yellow may in this case be added with advantage.
The first process being completed, the trunks should
be put in with gray qualified by a little Vandyke Brown.
The stems and branches also may be drawn as seen at in-
tervals in those shaded or retiring passages of the foliage
where the gray has been used, but never across the light
or sunny parts.
4f