DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18957#0018
7
small piece of the crumb of stale bread, will take out all the incorrect
lines, when the drawing is sinished, or nearly so; and the bread, so
far from injuring the colours, will in many cases have the effect of
softening them : if the darkest shade is found to be at all injured, the
slightest touch of colour will restore it.
The student will observe that the colour of the back of the leaves of
the fuschia differs from the front: he will, therefore, in making the
green tints for the front, use gamboge and prussian blue, letting the
gamboge be used strongly, so that the colour may be warm and full.
This must be tried by comparing a touch on waste paper with the copy;
if it is too blue, a little more gamboge must be added. By saying that
the gamboge or blue must be full, it is not intended that the colour is
to be used thick or opaque, but that less water is to be used than if it
were to be laid on faintly. The colours must always ssow smooth and
transparent, so that when dry it forms a ssat even tint. The backs of
the leaves are tinted with indigo and yellow ochre, blended together
till the proper strength is acquired. It is usual to shew the various
tints on a separate sheet of paper, but the gradations are so numerous
that it will always be better for the student to sorm them himself,
which a little practice will render easy, particularly when the colours
they are formed with are pointed out.
The second shade of the leaves may be formed by going over both
the back and front, with touches of the same tint in the dark part;
the stalk is alight tint of lake and indigo ; and the shade is formed by
going over the dark part with the same tint. The student must take
one of the long-haired fine pencils, and draw the stalk ot the ssower
with the cold tint of green, that is, with the tint formed with indigo
small piece of the crumb of stale bread, will take out all the incorrect
lines, when the drawing is sinished, or nearly so; and the bread, so
far from injuring the colours, will in many cases have the effect of
softening them : if the darkest shade is found to be at all injured, the
slightest touch of colour will restore it.
The student will observe that the colour of the back of the leaves of
the fuschia differs from the front: he will, therefore, in making the
green tints for the front, use gamboge and prussian blue, letting the
gamboge be used strongly, so that the colour may be warm and full.
This must be tried by comparing a touch on waste paper with the copy;
if it is too blue, a little more gamboge must be added. By saying that
the gamboge or blue must be full, it is not intended that the colour is
to be used thick or opaque, but that less water is to be used than if it
were to be laid on faintly. The colours must always ssow smooth and
transparent, so that when dry it forms a ssat even tint. The backs of
the leaves are tinted with indigo and yellow ochre, blended together
till the proper strength is acquired. It is usual to shew the various
tints on a separate sheet of paper, but the gradations are so numerous
that it will always be better for the student to sorm them himself,
which a little practice will render easy, particularly when the colours
they are formed with are pointed out.
The second shade of the leaves may be formed by going over both
the back and front, with touches of the same tint in the dark part;
the stalk is alight tint of lake and indigo ; and the shade is formed by
going over the dark part with the same tint. The student must take
one of the long-haired fine pencils, and draw the stalk ot the ssower
with the cold tint of green, that is, with the tint formed with indigo