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THE POPULAR EDUCATOR. 



PAINTING IN WATER-COLOURS. Y. 



TREATMENT OF HIGH LIGHTS, ETC. 



WE promised in the first lesson to take up again the method 

 of producing or picking out high lights ; we resume the sub- 

 ject in order to show how in sepia drawings brilliant and 

 harmonious effects may be obtained by tinting the whole paper 

 first with a moderate tone of sepia, then painting the subject 

 upon it, and afterwards rubbing out the high lights with india- 

 rubber. Many artists use Chinese white for the same purpose ; 

 this pigment is very durable, but must be used with judgment ; 

 it frequently requires the addition of a light tone, either cool 

 or warm as the case may be, to make it harmonise with the 

 ground upon which it is laid ; otherwise it will have a chalky 

 effect. Being an opaque medium, it is of great advantage 

 when employed with colours ; sometimes the colouring tint is 

 mixed with the white before it is used, or else the white is laid 

 on the picture in its pure state, and then, when dry, a very light 

 glaze or wash is passed over it, composed of Indian yellow 



remarks will sufficiently explain all that is necessary for the nse 

 of it. 



First, the sepia drawing (Fig. 6). Draw the outline fl*st 

 upon white paper, and determine the extent of the picture 

 by ruling lines for a boundary. Then with a middle tint of 

 sepia cover the whole within the boundary lines, commencing at 

 the top, the picture being placed in an inclined position : tha 

 outline must not be heavily drawn, it should be faintly but 

 sufficiently seen through the sepia ; the drawing must be very 

 correct, as the wash of sepia will set the pencil marks so that it 

 will be difficult to erase them for alterations. Commence the 

 arrangement of the foreground with the same colour with which 

 the paper was covered, that is, make out the grassy slope of 

 the embankment, with all its broken details, above A A : the 

 execution must be in short, sharp, careful touches to give 

 character to the herbage, the brush being held in an upright 

 position, so as to have a thorough command of the point, and 

 power of moving it in any direction ; draw the brush across the 

 darker parts of the water, to represent the reflections of the 



Fig. 6. TREATMENT OF HIGH LIGHTS, ETC. OUTLINE SKETCH FOR SEPIA AND COLOURS. 



and yellow ochre, or either of these alone, according to the 

 tone of the surrounding parts near which it is laid. If a 

 pepia drawing is made upon a grey paper, the white may be used 

 alone. These remarks refer more especially to the brightest and 

 most prominent lights ; therefore we wish it to be understood 

 that we do not intend here to include the broad lights, those 

 parts which receive the general rays of the sun or any other 

 luminary, but only those brilliant or sparkling effects which 

 emanate with greater force from the projecting parts of polished 

 surfaces, such as metal and glass ; we may also include the 

 reflection of light upon water and the masses of light clouds. 

 To use Chinese white properly, and to prevent a flat and heavy 

 appearance, it must be judiciously disposed, for if too liberally 

 spread about the picture, the result will be a series of spots 

 which destroy breadth and repose. Again, when any portion of 

 the broad lights have become dirty through frequent washing, 

 Chinese white is useful for preparing a fresh ground to receive 

 a second painting with purer colour. Sometimes figures and 

 eattle are painted with white after the picture is finished, the 

 colours being mixed with the white, or the whole made out with 

 white, and the colours glazed or washed over it. 



We recommend our pupils to try the method of rubbing out 

 the lights first upon a sepia drawing ; there will be no difficulty 

 afterwards in applying the same process to a coloured one. 

 When, with regard to colours, the other method that is, the 

 use of white as a body .colour is employed, the previous 



trees ; paint in the masses of the trees, especially the lights, 

 being very particular that their forms are carefully preserved ; 

 observe the same with regard to the wall, that is, go round 

 it close to its edges, and introduce some of the principal tones 

 upon its surface ; all this is to be done with the colour left 

 after the paper was tinted. Our object in using the same tint 

 is to give a little more time and attention to the arrangement 

 of particulars ; as it is light, no very great injury can be done, 

 and the forms and drawing generally may be greatly improved ; 

 it also provides a semi-tone for many of the details, which may 

 afterwards be left as the work progresses 1 , by introducing the 

 darker parts about them. Now make the colour a little darker, 

 and put in the broad masses of shadow, viz., those about the 

 semi-lights which were left with the last tint, to give them 

 relief. Make the first tint a little lighter, and paint in the 

 distance; at the same time break it about on the road and 

 on some of the lightest parts of the water, leaving the light 

 side of the post and its reflection. Increase the strength of 

 the colour, and make out the darker particulars of the trees 

 at c, also the broad masses of the large tree, and give a few 

 additional touches to the bank and surface of the water. Care 

 must be observed that all the lighter forms, not necessary to be 

 rubbed, are left, and the pupil must be particularly careful to 

 preserve the character of the drawing, by which we mean a 

 close and studied attention to form throughout, such as the pro- 

 jecting branches of the tree at d, portions of the foreground, and 



