Smith, Thomas [Hrsg.]: The Art Of Drawing In Its Various Branches: Exemplified In A Course Of Twenty-Eight progressive Lessons, Calculated To Afford Those Who Are Unacquainted With The Art, The Means Of Acquiring A Competent Knowledge Without The Aid Of A Master ; Being The Only Work Of The Kind In Which The Principles Of Effect Are Explained In A Clear, Methodical, And At The Same Time Familiar Style. Illustrated With Coloured Designs And Numerous Wood Engravings (London, 1827)

52

COLOURS.

indigo. This tint, as well as No. 9, together with the
two following, are extremely useful to lay in the shadows
and shapes of such grass and foliage as are done with
any of the four tints 13, 14, 15, 15, making use of the
darkest shading tint for No. 13, proceeding to the
lightest for No. 16;

11. For representing foliage in shade, is

_ made of burnt sienna and indigo, the former

colour predominating more than in the foregoing tint.

12. For the same purpose, and made

"_ with the same colours as the last, the pro-

portion of burnt sienna being rather increased.

~ 13. Is made of equal quantities* of

_ burnt sienna and Italian pink, with a small

proportion of indigo : its use is for sun-burnt foliage, the
warm edges of trees, fyc. fyc.

14. Is made of the same colours as No.

_ 13, the burnt sienna being rather diminished,

and is also used for foliage, which is not in shade.

* When I say, equal quantities of any colours, I do not mean
with regard either to weight or size, but only as far as regards the
strength of each, so that neither shall predominate. Thus, five
cakes of Italian pink would not be more, if as much as one cake
of indigo ; for if they were all ground up together, a green would
be produced, in which the Italian ink would be far from predomi-
nating, although it five times exceeded the indigo, as far as regards
weight and bulk.