PAINTING IN WATER-COLOURS. 



with the various colours of the object and their several degree*, 

 we are led into a course of study and reflection that has no 

 limit, lint wo must observe, however numerous these changes 

 iiuty !', tin y ilo not interfere with the mattet of light and shade 

 in tli.-ir unity OH a whole. Let the pupil half oloM hi* eye* 

 \\ii.-ii looking on an object upon which there U no restriction 

 in th number of tones and tint* ; he will perceive that all the 

 perceptible clop-eon of light or shade, im-hiding all the change* 

 of colour found within their respective limits, blend together or 

 are absorbed into one definable mass of light on the one hand, 

 and Mhodow on the other ; therefore, the result of our observa- 

 t .'itches UH thin : that our difficulties will not be so much 

 with positive light and shade, or with positive colour, bat with 



graduated outwardly. Be particular in huring plitgr of colour 

 in the bnuh, and see thai every put Is covered as the brash 

 proceeds, so that it may not be mneimy to itooah it whilst 

 wet, for if ths tint is wtorf red with by trying to H op vaoant 

 spaces, cut shades will appear when UM picture to dry. For 

 the broad and cast shadow, add some man sepia to that which 

 remains in th-f saoeer to pf^'tff a wfrMf^ ton*. *t*"fcff thsn 

 that of the background, and equal to the lightest part- of tiw 

 shadows; with this paint in all the broad and east shadow* 

 upon the wall* in one uniform tone, as w*U M those parts which 

 are of a similar depth of colour. vU., the tites, windows, and th*. 

 grass and stones upon the ground ; then, wb*n dry. and with 

 the same colour, make out those portions of the shaded walk, 







Fig. 2 



the infinite variety and accidental changes that are to be found 

 in combination with them. 



To give the above remarks some practical meaning we propose 

 to make Figs. 1 and 2 the subject for a sepia drawing. After 

 the whole of the outline and details of form have been com- 

 pleted, prepare a light wash of sepia in a saucer, and commence 

 as in Fig. 1 to put in the background for the purpose of 

 relieving or throwing up the whole of the subject, after the 

 manner explained in the first lesson of washing in a flat tint 

 (we will not call this background sky skies will be the subject 

 of a future lesson), and proceed as follows. Let the paper be 

 inclined, and pass a brushful of water across the upper part of 

 the picture from a to a ; then fill the brush with the previously 

 prepared light tone of sepia, and continue from, and including 

 the lower edge of the water, and spread it across from side to 

 side and around the outline of the building. Before the edges 

 b, b become dry, wash them off with the water brush moderately 

 charged, so that the background, when finished, may bo 



: roof, and ground which are darker, according to Fig. 2. Many 

 of theso Fomi-tones may be partly passed over a second time, 

 and in some cases a third, especially the east shadows on the 

 roof that lies under the wall of the highest part of the building. 

 For the more delicate tones upon the light aide of the building 

 prepare a tint weaker than any yet used, with which, by careful 

 management, the stones and bricks which compose the wall can 

 be shown as well as those difference* of colour known as 

 weather stains, to be found on every wall, but especially old 

 ones, besides many degrees of tone that other accidental tircum- 

 stances, such as damp or decay, may produce. Last of u* 

 finishing touches may be added with some darker ti 

 making out the forms of the windows, stones, weeds, etc. 

 without painting dark linet about the edyft. All objects and 

 parts of objects should as far as possible be made out & toiw 

 carried strictly to their edges ; thus everything will be proper 

 relieved and understood, whether it appears light upon 

 ground, or dark upon a light one. Beginner* fwqnenl 



