PAINTING IN W AT KK COLOURS. 



m 



in, whilst the first wash of sienna in wet, with some madder 



brown, and a littlo aopia mixed with it for the darkest i>'irti<>nv 



1 lowinh drab tone below may be imitated with yellow orlm-, 



raw nmbor, and very littlo grey, the latter composed of sepia, 



blue, and a littlo lak. >\vrr part of some jars 



n a very slight tone approaching lnk. Thia may bo 



ft-Mi'il t'i tin 1 I'ulmir at tho time, or pi-rliajM it would bo better 



to leave it till tho umber, ochro, and grey tone in dry, then glaze 



it \\ith tin- lake; bnt as this colour will bo BO very faint as to 



t iihuoat imperceptible, a very weak tint must bo lined. II 



it respect to more decisive colours, to be found 

 in place* over an object but not altogether, M in the 

 any general delicate tone like the one mentioned above w 

 advise that particular notice should be taken where they are 



: or cooler . Them changes of colour are oni venal in 

 Nature, and demand all the care that wo can patiently bestow 

 upon them. It is necessary to observe the strength of the colour 

 either way which causes tho difference, and when the trader 

 ground is dry, wash the required tint over it. In the case of 

 the jar before us there in a warm tint over 6, 6 of raw umber and 



Fig. 11. EFFECT OF COMBINATION ON COLOUR FINISHED DliAWINO. 



is on instance of delicate tones so frequently found in Xatnrc. 

 and which give so much valuo to tho painting, and are so very 

 difficult for beginners to detect; it requires much experience 

 to recognise them, and in first attempts tho great danger is in 

 overdoing them. Wo caution our pupils, when glazing colours 

 over others that are dry, not to rub tho brush backwards and 

 forwards, because tho first time tho brush goes over the under- 

 tone the colour is softened, a repetition of this will rub it up, 

 and then the purity is lost ; tho brush must be carefully passed 

 over every part, and once only. We recommend the practice of 

 trying tho most prominent and positive colours, when prepared, 

 on^a piece of paper, and then hold it near to those parts of tho 

 object corresponding to tho colour; this practice will greatly 

 assist tho judgment in determining the exact tone required. 



burnt sienna, tho edges being broken off over the under colour 

 until they are lost on the side of tho light, and on tho shadow 

 side mingle with a cool grey near tho edge of the jar. The 

 next thing will be to put in the broad and cast shadows with 

 the usual shadow tint sepia, cobalt, and lake. The darkest 

 portion on tho object will bo throughout tho length, between 6,0y 

 and c, c, making it sharp and decisive at c, c. The edge must be 

 washed off on the light side, and continued on the shadow side 

 with a somewhat lighter and cooler tone to the side of the jar. 

 The cast shadow must be darker than tho broad shadow. The 

 shining bright spots, d, d, being the highest lights, may be wetted 

 and rubbed off with india-rubber, as we explained in a former 

 lesson upon sepia painting. The inside of the jar may require 

 a purer yellow than tho outside : if so, less umber most be used, 



