Smith, Thomas [Editor]: 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)

58

ON COLOURING LANDSCAPE.

water, (net pump water *,) and a common white plate,
on the margin of which he must rub a small quantity of
indigo, lake, raw umber, yellow ochre, burnt sienna,
and Italian pink ; Vandyke brown he will have no occa-
sion for till the drawing be nearly finished, when he can
rub it as he wants it, the colours working much better
when they are fresh rubbed than when they have dried
on the plate for some time.

In beginning to colour, it is the most usual and best

O O

method to commence with the sky and extreme dis-
tance, which ought to be finished before any of the
other parts be touched, as by the strength of these the
student will be enabled to judge what degree of force
and vigour will be requisite in the foreground and middle
distance. Proficients may indeed occasionally do the
sky the last, but this is very often attended with great
difficulties, and in many cases is utterly impossible ; as,
for instance, when trees come against the sky a tint laid
over them must necessarily work off the green, which,
mingling with the colour destined for the representation
of clouds or blue sky, would completely spoil it.

In laying on the broad flat tints of the annexed plate,
the pupil ought to make use of the largest brush but
one ; whilst for the trees, shading of the ground, fyc., the
next size smaller will be found the best.

The first tint to be mixed up is that of the blue sky,

* Colours, when mixed or rubhed with pump-water, frequently
curdle.