Nature and Art, February 1, 18(>7.] 
ON SKETCHING FROM NATURE. 
43 
ON SKETCHING FROM NATURE. 
By Aaron Penley, Professor of Landscape Painting at the Royal Military Academy, Woolwich. 
No. VII. CRUM MOCK WATER, CUMBERLAND. 
T HE first washes only are given in the present 
subject, that the pupil may be more easily 
initiated in the manner in which a water-colour 
drawing of this description is commenced. 
The character of the finished work will always 
depend upon the under- tints, so that it is necessary 
to have them of a kind most favourable for the 
after-tones. I am not without hope that the 
example given, may serve to show clearly what the 
appearance of the first stages of a drawing should 
be, and how it is to be obtained. As in all the 
previous subjects in this Magazine, the pencil out- 
line has been dwelt upon as the greatest help in 
producing a satisfactory result ; so in the present 
illustration there must be the most careful attention 
in placing each individual formation in its right 
position ; and not only in this, but in drawing it 
with freedom as well as accuracy. 
One thing I invariably find the pupil not to pay 
sufficient regard to (although it may almost ap- 
pear to many too trifling to notice), is the manner 
in which the pencil is cut. But there is more in 
this than most persons suppose. Without a true 
point, it is impossible to judge correctly of the line 
to be produced. The wood should be much cut 
away in a slanting direction, to permit of the eye 
resting upon the point without interference. Neglect 
of this is frequently a cause of failure, and it is not 
an uncommon occurrence that a careless oiitline 
carries with it a corresponding manner throughout 
the colouring. It is to be hoped this caution may 
not pass unheeded, it being borne in mind that a 
clear line directs and a blurred line confuses, causing 
much hesitation in laying on the first (and generally 
large) washes of colour. 
The Lake scene under treatment has been 
selected from its singleness of character, that is, 
from the masses being large, and their detailed 
formations easily seen. These have been drawn in 
with the black-lead pencil to secure the proper 
forms and position of the several shadows. All 
deviations from an even surface of ground should 
invariably be marked, as they serve to denote a 
variety of flowing, and (at times), continuous lines, 
and add greatly to the interest of the work. If the 
tree and foreground be equally regarded, the places 
for the different tints will be found with ease. 
The outline being correct, pass some water over 
the whole with a large flat brush, and while still 
damp, lay on a light wash of neutral orange (A. 
Penley’ s), or yellow ochre and brown madder, over 
the drawing, to impart a warm tint. This will also 
fix the pencilling and prevent its rubbing. When 
dry, again wash with water, and as soon as the wet 
disappears, begin the upper portion of the sky with 
a tint of pure cobalt, carefully leaving the light 
clouds. Continue the wash by adding a little light 
red to produce a grey tone for the clouds, and deepen 
toward the lower edges with more cobalt. This 
operation should be effected at once ; nevertheless, 
if it be too light, the tones may be subsequently 
strengthened. A tint of light red, yellow ochre, 
and cobalt, is to be mixed as nearly as possible to 
the colour of the warm portion of the mountain, 
and also a mixture of cobalt with a little indigo 
for the blue portion. 
Commence at the top, with the brush tolerably 
well filled, carefully preserving the outline, bringing 
the colour from it into the body of the mountain ■ 
then, on nearing the bluer portion, add the mixture of 
cobalt and indigo, until the whole of the mountains 
are covered ; softening the colour down to the lower 
edge and over the warm tint for the low land and 
trees. This same blue tint is to be passed over the 
water, leaving the broad lights. The foreground 
stones of grey tints are now to be put in with 
cobalt and light red, varying the proportions to the 
character of tone required. After this, gamboge, 
light red and cobalt, more or less of one than of the 
others, are to be employed for the herbage. 
A very light tint of the first mixture with more 
cobalt added is now to be passed over the greyer 
parts of the ' warm colour, and the blue must be 
deepened with the cobalt and indigo. It will be seen 
that there is a warm tone on the dark mountains. 
This should have resulted from the blending of the 
fh’st tints, by one running into the other while wet ; 
but if the warmth is not sufficient, the first tint 
may be slightly passed over it again. The line of 
trees on the low land must now be washed in with 
yellow ochre, light red, and a little cobalt ; also the 
rocky projection at the right. The shadows of the 
stem of the tree are of cobalt and 'light red, and 
when dry are to be deepened, use the same, only with 
more of light red : this tint is also to be employed 
for the dark stones. Gamboge and a little brown 
pink will give the colour for the foliage ; after this, 
wash a tint of yellow ochre and light red for the 
colour of the stem, and when dry, introduce the 
shadows and markings on the dark mountains with 
the cobalt and indigo, and then another wash of 
the same (more cobalt) on the second tints of the 
water. 
It is recommended to do this drawing twice over, 
with a view of gaining manipulative dexterity ; and 
having done so, to lay aside the copy and endeavour 
to reproduce it from memory. This is by far the 
best way to obtain a practical knowledge of colour, 
as it will enable the amateur to apply it to his own 
sketches. 
I take advantage of this opportunity to write 
a few words respecting artists’ colourmen of the 
