DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0047
TREES AND FOREGROUNDS.
37
The tree ought now already to possess some resem-
blance to nature ; but much more of coarse remains to
be done. With the gray and green mixed, you may now
mark the shadow touches in between the masses, taking
advantage of those parts where the former tints may have
run accidentally and irregularly together, and being care-
ful to make those near the edges of the tree somewhat
fainter than those in the centre.
Olive Green or Brown Pink mixed with a little Indigo
will now be useful to strengthen and modifv the creen
portions; and the same, when mixed with Sepia or Van-
dyke Brown, may be employed to give the shadowings
and markings on the stem and branches. To lay down,.
however, absolute rules for painting an object, so various
in character and so difficult of representation as a tree,
would be impossible. You must, therefore, look either to
nature or to the examples of a master to be enabled to
attain even tolerable success in its delineation.
In a winter scene, when the trees are denuded of
foliage, the network of the small branches at the tops of
them may be prettily given with Cobalt and Vandyke
Brown, used rather dry, and applied with a brush
having its hairs spread out either by the fingers or by
drawing them through a fine-tooth comb before working.
Grass is also represented readily by similar means, as
well as small trees on the summit of a cliff and in similar
positions.
Some of the most beautifully composed foregrounds
are those in which clear water flows or ripples over small
stones or pebbles. In this case, the different stones
should be defined simply by the shadows between them.
A wash of Indigo and Brown Pink or Vandyke Brown
may be carried over the portions of the stones supposed
to be covered with wrater : and while this latter wash is
damp, a few touches of strong dark colour may be made
to blend in some deeper and richer tones amongst the
rocks and masses at the bottom.
37
The tree ought now already to possess some resem-
blance to nature ; but much more of coarse remains to
be done. With the gray and green mixed, you may now
mark the shadow touches in between the masses, taking
advantage of those parts where the former tints may have
run accidentally and irregularly together, and being care-
ful to make those near the edges of the tree somewhat
fainter than those in the centre.
Olive Green or Brown Pink mixed with a little Indigo
will now be useful to strengthen and modifv the creen
portions; and the same, when mixed with Sepia or Van-
dyke Brown, may be employed to give the shadowings
and markings on the stem and branches. To lay down,.
however, absolute rules for painting an object, so various
in character and so difficult of representation as a tree,
would be impossible. You must, therefore, look either to
nature or to the examples of a master to be enabled to
attain even tolerable success in its delineation.
In a winter scene, when the trees are denuded of
foliage, the network of the small branches at the tops of
them may be prettily given with Cobalt and Vandyke
Brown, used rather dry, and applied with a brush
having its hairs spread out either by the fingers or by
drawing them through a fine-tooth comb before working.
Grass is also represented readily by similar means, as
well as small trees on the summit of a cliff and in similar
positions.
Some of the most beautifully composed foregrounds
are those in which clear water flows or ripples over small
stones or pebbles. In this case, the different stones
should be defined simply by the shadows between them.
A wash of Indigo and Brown Pink or Vandyke Brown
may be carried over the portions of the stones supposed
to be covered with wrater : and while this latter wash is
damp, a few touches of strong dark colour may be made
to blend in some deeper and richer tones amongst the
rocks and masses at the bottom.