DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0054
44
SUNSET.
be lightly used over that part of the sky which is about
the sun ; this process will give a very natural effect. The
sun is represented by scraping the paper and leaving it
white; and, if desired, a few touches with the instrument
will give the rays which appear to extend upwards or
downwards through a partial mist. The water, with the
boats and objects in the foreground, next claims the
student's attention. Raw Sienna and Cobalt will be
found to give a pleasing tone to the sea, little, however, of
the blue being used; and, towards the immediate fore-
ground, a small portion of Vandyke Brown or Brown Pink
being added. The boats may be put in with various
warm tones of Vandyke Brown, Brown Madder with
Indigo, Burnt Sienna, and colours of a similar character.
Roman Ochre gives a rich colour for old sails. Lastly, a
due regard must be paid, in the finishing, to each portion
of the work, in order to attain that quietness and harmony
upon which much of the charm of such a subject will
depend. More or less gray must pervade even the darkest
parts of the drawings; and, where rich colour is required
to be toned down or sobered, a wash of Cobalt and Lake,
with a minute portion of Opaque White, quickly brushed
or scumbled over the object, without disturbing the under
work, will, in most cases, prove effective for that purpose.
The lights in the water, such as the reflections of the
sunbeams catching the ripples, may be wiped out in the
manner already described, and the knife may be used
occasionally for the production of any sharp and brilliant
touches that may be required.
SUNSET.
The treatment of evening effect differs from that just
described, principally in the greater power and depth of
colouring requii-ed to imitate the splendour of the setting
SUNSET.
be lightly used over that part of the sky which is about
the sun ; this process will give a very natural effect. The
sun is represented by scraping the paper and leaving it
white; and, if desired, a few touches with the instrument
will give the rays which appear to extend upwards or
downwards through a partial mist. The water, with the
boats and objects in the foreground, next claims the
student's attention. Raw Sienna and Cobalt will be
found to give a pleasing tone to the sea, little, however, of
the blue being used; and, towards the immediate fore-
ground, a small portion of Vandyke Brown or Brown Pink
being added. The boats may be put in with various
warm tones of Vandyke Brown, Brown Madder with
Indigo, Burnt Sienna, and colours of a similar character.
Roman Ochre gives a rich colour for old sails. Lastly, a
due regard must be paid, in the finishing, to each portion
of the work, in order to attain that quietness and harmony
upon which much of the charm of such a subject will
depend. More or less gray must pervade even the darkest
parts of the drawings; and, where rich colour is required
to be toned down or sobered, a wash of Cobalt and Lake,
with a minute portion of Opaque White, quickly brushed
or scumbled over the object, without disturbing the under
work, will, in most cases, prove effective for that purpose.
The lights in the water, such as the reflections of the
sunbeams catching the ripples, may be wiped out in the
manner already described, and the knife may be used
occasionally for the production of any sharp and brilliant
touches that may be required.
SUNSET.
The treatment of evening effect differs from that just
described, principally in the greater power and depth of
colouring requii-ed to imitate the splendour of the setting