PAINTING IN WATER-COLOURS. 



J 1 



cdyet we do not mean entirely washing them off, bat onlj par- 

 tially BO, a Home portions of the edge* muni bo loft sharp and 

 :, whiUt others as they round off into shade may bo 

 aoftened a little, in proportion to the force of light cast upon 

 the parts respectively. Wo shall have bat few additional re- 

 marks to make upon the process of painting thin subject in 

 -I'M. as the ftubatance of much that has been already given in 

 us lessons applies equally to this case ; generally spunking, 

 1ft the trees bo somewhat advanced that is, to nse an artistic 

 phrase, "blocked in," then the principal masses of light and 

 xbade may be attended to in the middle distance. This diatri- 

 <>f labour will assist the judgment of tho pupil to do- 

 t.-rmino tho strength of tone to be applied to the several parts, 



nig to their positions in the landscape. 



We will now open the colour-box : Commence with the blue 

 (cobalt) of the sky at A (Fig. 8) and pass it over the paper 



they may be increased afterwards, when dry, if necessary.) 

 The foreground may receive the same colour in those part* 

 where the light is strongest. If we were painting from Nature, 

 [ we might probably see some warmer tints, on branches, or 

 where fallen leaves may lie in the foreground. la this case, a 

 little burnt sienna might be added. After this, the foreground 

 and trees may be carried on for the sake of other parts of fht 

 picture, as we explained in the sepia painting. When the lights of 

 the trees are dry, mix a little brown pink with indigo and lake in 

 the proportion oC&2< and 1, for the shadows and depths of the 

 trees (thi* tint we trill call No. 1) ; also have in another sanoet 

 the same tint witfi tho axldition of more indigo (this cooler tint 

 we will call No. 2) ; then with two brushes, one for each tint, 

 proceed as follows : Paint in with No. 2 the lower depths of 

 the trees that are more remote from the light, as at e, and with 

 No. 1 paint in tho outer branches nearer the light; these two 



Fig. 9. SKETCH OF WINDSOR CASTLE. EFFECT OF FINISHED DRAWING. 



where the trees are to bo painted to about B. As a rule, we may 

 generally go over a dark tint with a light one, or, which amounts 

 to tho same, where a dark tint is afterwards to be painted ; 

 therefore, as the trees are darker than the sky, and besides, as 

 there is blue in the green, no particular damage can be done to 

 the trees with the blue of the sky ; but should portions of tho 

 trees upon the sky be prominently exposed to the light, making 

 the branches of a warmer or lighter tone, the blue of the sky 

 may be spared, as this colour neutralises or subdues every light 

 or warm colour over which it passes. The lights of tho clouds 

 are all marked a these aro to bo left, and the blue passed over 

 tho portions marked 6; the edges of the blue over which the 

 shadows of the clouds are to be made out must be softened 

 down, and the rest must be treated as we have explained in the 

 sepia drawing. Add a little sepia and very little lake to the 

 cobalt that remains in tho saucer for the shadows of tho 

 i-louds marked c. As those shadows approach the light they 

 mnst be broken ; on the sides away from the light they may 

 bo left a little more decisive that is, they must be very little 

 softened. Whilst the sky is drying, cover the high lights of the 

 trees at tl with a light tint of yellow ochre. (Our pupils must 

 recollect a former caution of not using too powerful tints, as 



tints being laid side by side whilst wet, as described, win 

 harmonise well, and produce an atmospheric effect amongst 

 the branches. The bright lights on the ground and on the 

 most prominent branches may receive a little gamboge at t. 

 At the lower parts of the middle distance, where the town is 

 soon above the trees at o, the same atmospheric effect may be 

 preserved with a tint of cobalt and a little lake. The shadows 

 and darker parts of the houses may be made out with this last 

 tirt, when the foreground and trees are somewhat advanced, but 

 not finished ; the dark parts and details of the castle may be 

 made out with the grey of the clouds, the light sides with a 

 little yellow ochre, and we might add, but it must be done 

 judiciously, a very small portion of raw umber ; too much of 

 this hitter colour would probably dirty the tint*, bnt when 

 moderately used the yellow ochre will be a little subdued. Paint 

 the red bricks of the houses with a tint of Indian red, observing 

 the gradations of tone, some stronger than others. This colour 

 works well with the cobalt and lake of the shadows. The hills 

 and the distance must be carefully picked out with cobalt and 

 lake. Amongst the shadows of this part of the picture, a grey 

 composed of terre-verte and very little lake will be useful ; 

 even yellow ochre, sparingly employed as a glazing colour over 



