DOI Page / Citation link:
https://doi.org/10.11588/diglit.19751#0113
ON MARINE DRAWING.
69
do wnwards till be readies the white clouds, the edges of
which he will carefully cut out with the darkest part of
his tint, whilst he softens it into the grey of the clouds
on the right-hand side of the drawing. The next thing
to be done is to mix up No. 4, and with it lay in the
clouds, beginning with water at the right-hand side of
the picture, and strengthening his tint as he gets down-
wards, passing all over the distant cliffs as low as the
town, making it considerably lighter as it approaches the
white edge of the clouds, and softening it into the sea.
O ’ O
Next, lay in the light flying clouds in the left-hand
corner with No. 24, rather faint, and the yellow on the
cloud edges, which must be made of pure yellow ochre,
and laid on so that it may not pass in the slightest
degree into the grey tint, and the sky will then be
finished. The distant hill and cliff must be done with
No. 5, and shaded with the same; the shadows of the
house-ends and under the eaves must be done with
No. 22, and the tops with a pale tint of Venetian red.
Next do the sea, beginning with indigo and lake for the
extreme distance, which must be changed into indigo
7 CD O
and raw umber as it is brought lower down, till at
length the first tint of the waves which are near the
shore will be almost entirely composed of raw umber,
leaving the white paper for the bright lights. The stu-
dent must now lay on the first tint of the rocks and
shore, the lightest part of which must be made of
No. 17, changing as it gets darker into the tints 18, 19,
20, and 21 : the outside of the boat must be tinted
with No. 25, with which also the man’s trovvsers must
69
do wnwards till be readies the white clouds, the edges of
which he will carefully cut out with the darkest part of
his tint, whilst he softens it into the grey of the clouds
on the right-hand side of the drawing. The next thing
to be done is to mix up No. 4, and with it lay in the
clouds, beginning with water at the right-hand side of
the picture, and strengthening his tint as he gets down-
wards, passing all over the distant cliffs as low as the
town, making it considerably lighter as it approaches the
white edge of the clouds, and softening it into the sea.
O ’ O
Next, lay in the light flying clouds in the left-hand
corner with No. 24, rather faint, and the yellow on the
cloud edges, which must be made of pure yellow ochre,
and laid on so that it may not pass in the slightest
degree into the grey tint, and the sky will then be
finished. The distant hill and cliff must be done with
No. 5, and shaded with the same; the shadows of the
house-ends and under the eaves must be done with
No. 22, and the tops with a pale tint of Venetian red.
Next do the sea, beginning with indigo and lake for the
extreme distance, which must be changed into indigo
7 CD O
and raw umber as it is brought lower down, till at
length the first tint of the waves which are near the
shore will be almost entirely composed of raw umber,
leaving the white paper for the bright lights. The stu-
dent must now lay on the first tint of the rocks and
shore, the lightest part of which must be made of
No. 17, changing as it gets darker into the tints 18, 19,
20, and 21 : the outside of the boat must be tinted
with No. 25, with which also the man’s trovvsers must