DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19751#0117
ON MARINE DRAWING.
71
times before sufficient strength can be obtained, and
care must be taken that the left-hand side be made
darker than the right. The nearer waves must be
O
tinted with a mixture of raw umber and indigo, chang-
ing occasionally into a cooler and warmer colour, whilst
the foam may be imitated by dragging the brush nearly
dry lightly over the white paper, in such a manner that
only the little eminences shall take the colour: for this
purpose a rough-grained paper is much better than hot-
pressed paper, which ought never to be used for land-
scape painting. The first tint of the boat and masts is
made of burnt sienna; the first tint of the sail is made
of yellow ochre, with which also the stripes on one of
the sailor’s jackets are done, the stripes on the other
man being made with Prussian blue; the shade side of
the sail must be made with No. 21. The distant ves-
sels may now be laid in with neutral tint No. 5, and
shaded with the same, after which the waves must be
finished with repeated tints of raw umber and indigo,
varying the tints according to circumstances, keeping
them warm (by increasing the quantity of raw umber,)
in the lighter part, and more cool for the dark shades.
The face and hands of the figures may be done with
Venetian red. The dark side of the sail must be co-
loured with No. 21, and the dark shade on the boat
with No. 24; the men are shaded v?ith 23, and together
with the boat, sail, and mast, are touched up with Van-
dyke brown alone, whilst a mixture of Vandyke brown
and indigo is used for touching up the waves : the
71
times before sufficient strength can be obtained, and
care must be taken that the left-hand side be made
darker than the right. The nearer waves must be
O
tinted with a mixture of raw umber and indigo, chang-
ing occasionally into a cooler and warmer colour, whilst
the foam may be imitated by dragging the brush nearly
dry lightly over the white paper, in such a manner that
only the little eminences shall take the colour: for this
purpose a rough-grained paper is much better than hot-
pressed paper, which ought never to be used for land-
scape painting. The first tint of the boat and masts is
made of burnt sienna; the first tint of the sail is made
of yellow ochre, with which also the stripes on one of
the sailor’s jackets are done, the stripes on the other
man being made with Prussian blue; the shade side of
the sail must be made with No. 21. The distant ves-
sels may now be laid in with neutral tint No. 5, and
shaded with the same, after which the waves must be
finished with repeated tints of raw umber and indigo,
varying the tints according to circumstances, keeping
them warm (by increasing the quantity of raw umber,)
in the lighter part, and more cool for the dark shades.
The face and hands of the figures may be done with
Venetian red. The dark side of the sail must be co-
loured with No. 21, and the dark shade on the boat
with No. 24; the men are shaded v?ith 23, and together
with the boat, sail, and mast, are touched up with Van-
dyke brown alone, whilst a mixture of Vandyke brown
and indigo is used for touching up the waves : the