AAiAi 6fcLi 
 
 PRACTICAL ESSAY 
 
 
 ON THE 
 
 AND 
 
 II Mi 
 
 m I 
 
 PAINTING LANDSCAPES 
 
 IN 
 
 WATER COLOURS. 
 
 WITH TEN ILLUSTRATIVE ENGRAVINGS. 
 
 BY JOHN HEAVISOE CLARK. 
 
 PRICE TEN SHILLINGS. 
 
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A PRACTICAL 
 
 ESSAY 
 
 ON THE 
 
 iUBTP (DIP (D <D flb fl> W IE II 
 
 AND 
 
 JJ a tilting; ?- a it Do caycs 
 
 IN 
 
 WATER COLOURS, 
 
 WITH TEN ILLUSTRATIVE ENGRAVINGS, 
 
 BY 
 
 JOHN HEAVISIDE CLARK, 
 
 AUTHOR OF U A PRACTICAL ILLUSTRATION OF ' GILPIn's DAY,' REPRESENTING THE 
 
 VARIOUS EFFECTS ON LANDSCAPE SCENERY FROM MORNING TILL NIGHT. 
 
 ■>•> 
 
 THIRD EDITION. 
 
 LONDON : 
 
 PUBLISHED FOR THE PROPRIETORS, BY PRIESTLEY AND WEALE, 
 
 HIGH STREET, BLOOMSBURY; 
 AND C. KNIGHT, NEXT THE ROYAL COLLEGE OF PHYSICIANS, PALL MALL EAST ; 
 
 THOMAS RICHARDSON, DERBY; 
 AND TO BE HAD OF MOST BOOK AND PRINT SELLERS, AND DEALERS IN DRAWING MATERIALS, 
 
 IN THE UNITED KINGDOM. 
 
 1836. 
 
Plates. 
 
 Plate. 
 
 I. 
 
 2. 
 3. 
 
 4. 
 5. 
 6. 
 
 7. 
 8. 
 
 0. 
 10. 
 
 Pencils, Diagram, Tints, $& -*•*;*--**' jg, 
 
 Outline to Landscape - - - - - _ jo 
 
 .Fartf Twite in preparation ------18. 
 
 Preparation -------.___ i q 
 
 Coloured Subject --------.on 
 
 Sun-rise - - *#// Q ~ ~ ----- 21. 
 
 Sun-set - - cSf/o ------- 99. 
 
 Moonlight - _. c////o " ~ - - - - _ 23 
 
 Show - - - <#// - ~ ----- 24. 
 
 JRre - - _ £&/a ----- . - 25. 
 
INTRODUCTION. 
 
 X HE cultivation of the Arts unquestionably 
 holds a very distinguished place among our enjoyments ; and, as it 
 tends to enlarge and exalt the mind, is justly considered an essential 
 part of education* 
 
 Drawing, the head under which are comprehended the produc- 
 tions of the pencil, is not the least to furnish those pleasures, that leave 
 neither langour nor regret behind them, while it guides the cultivated 
 mind to contemplate nature in a manner, that eminently tends to refine 
 the taste and improve the heart, The advantages arising from it 
 therefore deserve highly to be prized, independently of its ranking 
 among the most fashionable accomplishments. 
 
 With a view to facilitate its study, and render it more easy of 
 acquisition, the following hints have been thrown together for the use 
 of those who make drawing an amusement. In the subjects illustrating 
 
2 
 
 INTRODUCTION. 
 
 this essay, the chief consideration has been the simplest method of 
 producing the particular effects : consequently they are slight, and to 
 be imitated only as a lesson, or illustration of the respective instructions 
 in regard to colouring. No particular manner is insisted on, the obser- 
 vations being common to alt Indeed it is absurd to attach the idea of 
 correctness to any particular style: for manner, or style, is good or bad, 
 in proportion to its approximation to nature; and the very appellation 
 of a mannerist always implies defect. Similar effects may be produced 
 by a variety of methods : but doubtless that is most to be approved, 
 which most resembles the grand original, nature itself This is the ordeal 
 which every production of the pencil should pass. Hence we may justly 
 establish it as a maxim, that to obtain the effect is the object to be 
 desired, while the manner in which it is obtained is of no importance. 
 
 
 Every artist indeed has a style peculiar to himself, which is 
 nothing more than a mode of finishing, inadvertently fallen into in the 
 commencement, and as practice renders the pencil familiar it becomes 
 habitual. But all who choose to exercise the judgment, may examine 
 nature with their own eyes ; and though they may retain a deference 
 for the taste of others, yet with perseverance the lovers of the art will 
 improve far more by observing nature, than by imitating the style of 
 any drawing. However bold the attempt may appear, however ar- 
 duous at the commencement, it should be encouraged, were it only, 
 that what is so gained is lasting ; and in fact, the difficulties the student 
 has to encounter are not greater in the one case, than in the other : 
 while the advantage that ultimately results from copying nature is 
 the possession of views or effects, as they are truly seen ; but by 
 copying drawings alone, they are, as seen through the spectacles of 
 
INTRODUCTION. 
 
 a 
 
 the artist, whose manner is imitated. By this observation, it is by no 
 means intended to insinuate, that the drawing master is unnecessary 
 to the student ; its object is to guard him against an attempt to acquire 
 or imitate any particular style, and point out to him the only mode 
 of rising to something more than a servile copyist. 
 
 The first thing to which the student should attend is Perspective. 
 The author of a recent publication observes, " Perspective is to 
 Drawing what grammar is to language;" and never was simile more 
 correctly applied,_it is the true basis of the art : for however taste- 
 fully the various objects may be disposed, nothing can atone for defi- 
 ciencies in Perspective. The study of this indispensable requisite is 
 too often neglected, from its being found unamusing, particularly if 
 studied by itself; but there is no greater necessity for being perfect 
 in all the rules which regulate linear Perspective, than that a landscape 
 should not be attempted from nature, without the student's being pre- 
 viously acquainted with all the pigments which have been recommended 
 for painting. A few simple rules, which may serve until an intimacy 
 with nature will teach the use of others more intricate, are,— that the 
 horizontal line is the height of the eye of the spectator,— that the point 
 of sight is immediately in the front,— that all vanishing points are on 
 the horizontal line. The lines diverging from vanishing points de- 
 termine the diminution of objects seen in that particular angle ; for 
 instance, on plate 2 the Cottage is thrown obliquely to the view. The 
 proper diminution is found by sketching the height of the nearest 
 perpendiculars, to which, lines are drawn from the vanishing point, by 
 which the height of the receding corresponding parts are determined. 
 
INTRODUCTION* 
 
 An ardent hope that the few observations here suggested, will 
 prove instrumental in promoting and improving the Art of Colouring, 
 induces the author to flatter himself, that they will not be found 
 unworthy the patronage of those, for whom they are more particularly 
 intended. 
 
 As it would be scarcely practicable to avoid using various 
 technical terms, the import of which may not be generally understood, 
 it has been thought advisable to subjoin an explanation of such as 
 occur, that the reader may be acquainted with their signification, before 
 proceeding to the essay itself 
 
 
 
An EXPLANATION of TECHNICAL TERMS, and 
 ELEMENTARY INSTRUCTIONS; 
 
 with brief elucidations that their import may be more fully and clearly 
 
 understood. 
 
 A Tint signifies a colour reduced to a fluid by mixing it with 
 
 water in the following manner. Dip the cake into a 
 little water, and rub it in a saucer till sufficient for 
 the tint required. Then with a pencil mix it well, 
 adding water as may be found necessary. Tint is 
 likewise used occasionally in its ordinary signification, 
 implying difference of colour or hue. 
 
 A Tint passed over, or washed, implies, that it is spread evenly with a 
 
 pencil thus. Dip the pencil into the tint, pass it gently 
 on the edge of the saucer, and then spread it over 
 the part by slow movements, keeping a regular supply 
 of colour in the pencil, till the space is covered. To 
 keep the pencil equally charged is highly essential, 
 and may be thus ascertained. If too much be taken, 
 it will flow loosely and prevent the describing of any 
 shape with correctness: if too little be taken, the pen- 
 cil will pass over the part without yielding its proper 
 force of tint. Washed, is applied to broad spaces, 
 
6 
 
 TECHNICAL TERMS AND 
 
 Softening off 
 
 
 
 Blending 
 
 where the flat pencils are to be used, and requires to 
 be done with expedition, thus. With the pencil 
 nearly full, commence at a part where the suddenness 
 of the application is of least consequence, and spread 
 the wash, observing to keep it full at the edge till the 
 space is covered. 
 
 is applied to the edge of a wash reduced gradually, 
 while in its floating state, till no appearance of it 
 remain. It is effected by continuing the floating edge 
 with a pencil just sufficiently wet with fair water to 
 make the hair retain its true shape, occasionally touch- 
 ing the water with the pencil, as the facility of using 
 it is impeded by its becoming too dry. 
 
 is where Tints gradually unite with each other. It is 
 produced by softening off one tint to the right, over 
 one previously softened off to the left. 
 
 Touching 
 
 is the application of heavier Tints, to produce force, 
 spirit, &c. 
 
 Cutting in is the filling a space with exactness. 
 
 Hatchti 
 
 is the passing of a number of touches or marks side by 
 side of each other. 
 
Marking 
 
 ELEMENTARY INSTRUCTIONS 
 
 is the giving of shape, &c. 
 
 Taking out 
 
 is the washing or touching with water, upon a part 
 too heavily coloured, the superfluous fluid dabbed up 
 and the colour rubbed off with crumb of bread. 
 
 Kept quiet> Repose, Stillness, these different terms are applied to a 
 
 part undisturbed by useless light or violent colouring. 
 
 The Principal is that object, or part of a Landscape by which the 
 
 eye is first attracted. 
 
 Warm Tints are those that approach to yellowness or to redness. 
 Cool Tints are those approaching to blueness* 
 
 Neutral Tints are those which do not from their force or colour, 
 
 destroy the effect or harmony of the adjoining Tints. 
 
 Lights 
 
 are those parts of objects which are so placed as to 
 receive the greatest degree of brilliancy. 
 
 Half Tint 
 
 denotes that part of an object which is situate ob- 
 liquely with respect to the light, or more generally 
 the intermediate between the light and the shade. 
 
8 
 
 Shade 
 
 Keeping. 
 
 
 
 TECHNICAL TERMS, $c. 
 
 is that part of an object which is directly opposite to 
 the part receiving the light. 
 
 is the so ordering of the Colours, with respect to 
 force, and tint, that every thing shall appear in its 
 proper place, and at its due distance, in the Land- 
 cape. Thus, if any colour be too glaring, the object 
 on which it is, will be brought too forward, and be 
 out of Keeping. 
 
 
 
ESS*AY 
 
 ON THE ART OF COLOURING. 
 
 Before entering upon the particular instructions for colouring 
 Landscapes, it will be necessary for the student to be made acquainted 
 with the materials to be employed, the manner in which they are to 
 be prepared and used, and the effects to be produced by them either, 
 simply or compounded. 
 
 The Preparation of Colours for drawing consists, first in their 
 being ground extremely fine, then carefully levigated, and lastly in- 
 corporated with a due proportion of gum arabic and white sugar candy. 
 The greatest degree of cleanliness is requisite in preparing them, in 
 order to preserve their purity. In London there are many who pre- 
 pare such colours for sale; and good and bad may occasionally be 
 found at any of the shops. It is necessary to remark, what is here 
 said relates to such as are made into cakes for drawing or painting in 
 water colours. 
 
 Gamboge is a gum resin, that yields its colour without requirin c 
 any preparation, a lump indiscriminately purchased at a druggist's 
 
 Or 
 

 
 ESS<4Y OJV THE 
 
 10 
 
 possessing all the qualities required. It should be chosen however as 
 clear and free of resinous or foul lumps as possible. 
 
 Burnt Ochre , or as it is called by the colourmen Light Red, is 
 an earth tinged with calx of iron. It is a chaste and permanent co- 
 lour. Its goodness may be ascertained by mixing a tint which after 
 standing a few minutes should be bright, without separating, neither 
 depositing a sediment, nor assuming a curdled appearance. 
 
 Lake was originally prepared from lac, but now commonly 
 from cochineal, and possesses all the tenderness of tint, that is so much 
 admired in good Indian ink. Its goodness may be known by the depth 
 of its tone, clearness of tint, and its not having the least affinity to a 
 purple when used. 
 
 Indigo is of a vegetable extraction, perfectly smooth, durable, 
 and susceptible of being softened with the greatest facility. It may be 
 known to be good, if, when mixed with water, the tint be smooth, 
 without sediment; and if the cake, where it was rubbed, assume a 
 purple hue. 
 
 The tints on the annexed Plate are all produced from the four 
 colours already described ; Gamboge, Burnt Ochre, Lake and Indigo. 
 It will be easily perceived, that by varying the degrees of force, they 
 could be multiplied to almost any extent ; yet as some may prefer a 
 single application to the mode of producing the effect by tint upon tint, 
 a comparative list of colours in regular gradation, all of which may 
 be had ready prepared in cakes, is subjoined. 
 
f 
 
 05 
 
 S^ 
 
 '-- 
 
 r 
 
 $ 
 q 
 
 
 
 
 
 
 i 
 
 
 
 
 mill 
 
 nin iln ilialllll 
 
 ■HH 
 
 Q 
 
 C 
 
viRT OF COLOURING, 8fC. 
 
 11 
 
 o 
 
 S 
 
 ®a!l^tone, 
 Ben leaD, 
 Carmine, 
 Oitramarine, 
 
 i 
 
 $am&op, 
 "Burnt HDc&re, 
 lake, 
 3ln&ig;o, 
 
 H 
 
 geilofo ©c&re, 
 (ftermillion, 
 3fnQian IRetr. 
 Puutoian IBiue, 
 
 The first column consists of those most brilliant, and more 
 particularly useful for flowers, &c. — The second, of those principally 
 used in this work, and such as will be found to answer all the pur- 
 poses of Landscape colouring* These are inferior in brilliancy to those 
 in the first column. — The third contains a series inferior in brilliancy 
 to the second, with the exception of Prussian blue, which is brighter 
 than Indigo, but inferior, from its liability to change* 
 
 Red lead, or Orange red^ is a mineral, extremely liable to 
 change, or rather return to its primitive state. The brightest is to be 
 preferred, and when there is occasion for it to be used, the pencil 
 should not be put to the lips, the salt of the saliva is supposed to 
 hasten the change ; perhaps the better way is to glaze with weak 
 gamboge over the parts where red lead has been used. 
 
 Burnt Sienna^ or Burnt terra de Sienna^ is an earth rich in 
 colour, and of a glutinous quality, therefore not well calculated to 
 produce evenness of tint. It should be without sediment or separation 
 when mixed. 
 
 Sap Green is a vegetable colour, producing a fine mellow tint; 
 but liable to change, and so glutinous, that no tint can be passed on 
 it without its rising. 
 
12 
 
 ESSAY OJV THE 
 
 
 Distilled Verdegris, as it is called, but more properly crystal- 
 lized Verdegris, is a chemical preparation of copper. It is very 
 brilliant and transparent, and requires to be reduced with white wine 
 
 vinegar for weak tints. 
 
 Of Browns^ there are a variety, viz : Umber, Burnt Umber, 
 Vandyck Brown, Cologne earth, and Bistre. The last is a prepara- 
 tion from wood soot, very mellow and smooth, and extremely useful 
 in touching, &c. as will be mentioned hereafter. 
 
 Indian Ink is valuable for its transparency, and for the facility 
 with which it works. The smell is no indication of its goodness ; the 
 better sort is free from grit, and the part which has been rubbed will 
 retain a warm hue and a gloss. 
 
 
 
 
 Difficulties sometimes arise from using pencils of improper 
 size, and more often from their being ill made ; to obviate the former 
 inconvenience, and direct the student in the choice, in plate, 1. sketches 
 are given of such as may be used for drawings about the size of those 
 accompanying this work: the latter must depend on the skill of the 
 purchaser, but the following method of proving them may be adopted 
 with advantage. A hair pencil, when well made, and of proper 
 materials, on being dipped into water, and passed gently on the edge 
 of the vessel, will assume the shape exhibited in the plate. It is by 
 no means advisable to pass it two or three times between the lips, 
 as is very generally practised to ascertain its goodness, for this is the 
 way to make a good point to a bad pencil; the point should be made 
 by the pencil maker, not by the purchaser. It is to be observed 
 
ART OF COLOtTRMYGf #C. 
 
 10 
 
 likewise, that the hair should possess a great degree of elasticity, so as 
 when in use continually to spring in a line with the quill. They should 
 at all times be used as large as the nature of the drawing will allow* 
 
 A pencil nearly worn out, is better adapted to express the 
 character of trees than a new one, for, from the loss of its point the 
 touching with it is rendered more free and decided. 
 
 Paper is of various qualities, and textures; for practice, the 
 hard wove paper with a smooth surface is recommended, being better 
 suited to the sponging, &c. attendant on early attempts ; but after a 
 little certainty is acquired, a paper with an uneven surface, of seeming 
 coarse texture like cartridge paper is to be prefered. 
 
 It frequently happens, that the paper refuses the tint, or re- 
 ceives it unequally on the surface. This is occasioned by a greasiness 
 in the paper, arising from various causes ; but may be obviated by 
 passing a sponge and water gently over the surface, or by dipping a 
 pencil into gall, and incorporating a small quantity with the tint. 
 Sheep's gall is preferable to any other; if it be boiled it will keep much 
 better, and its smell be less offensive. In lieu of gall common gin may 
 be used, but will not answer the purpose so effectually. 
 
 Having thus enumerated all the colours, &c. that can be required 
 for a Landscape, a few general remarks will be necessary before pro- 
 ceeding to their application. If the light and shade of a drawing be 
 happily disposed the general effect will be pleasing, the objects will have 
 

 14 
 
 ESSdY OJV THE 
 
 their due force as they approach the eye, or foreground, and gradually 
 Joose their distinctness as they retire into the distance. The simple tints, 
 particularly in the sky, should be first washed in; they are called 
 simple tints from their being used with water alone. The compound 
 tints should not be used till afterwards, lest the friction occasioned by 
 the passing of the pencil over them should cause them to rise and mix 
 with the wash. Unevenness in a broad tint, as a sky, &c. before any 
 part of the landscape is tinted, may be corrected by passing a wet 
 sponge over the whole in the direction of the warmth if there be any, 
 or as the nature of the part may point out, but it is recommended 
 to have the tints so washed in as not to require any assistance from 
 the sponge. 
 
 Upon the mass of light, or principal, the shapes and shadows 
 of objects should be marked considerably fainter than on the other 
 parts of the Landscape, in order to preserve the mass, and prevent the 
 effect from being broken or disturbed. 
 
 No marking, either to produce shape or shade, on a mass sub* 
 servient to the principal, should be stronger than the keeping will 
 allow; since it would disturb such mass, render the part too con- 
 spicuous, and thereby destroy the effect. 
 
 The touchings, &c. on a mass in shadow should be kept quiet, 
 i. e. they should be of a strength just sufficient to determine for what 
 they were introduced, and no more; otherwise they will appear de- 
 tached, and produce confusion. 
 
ART OF COLOURING. 
 
 15 
 
 In making compound tints for giving a greater degree of force 
 to masses, or for touching, care must be taken that they are not too 
 crude or glaring. Thus suppose one partaking of green were required, 
 a mixture of indigo and gamboge would be unnatural for any part of a 
 landscape, it is necessary therefore to render it mellow, which may 
 be done by the addition of either burnt ochre or lake; but if a still, 
 greater degree of force be wanted, bistre may be added, till the proper 
 depth of tone is acquired. 
 
 If it be required to introduce a variety of tint, a light, or half 
 tint, &c. on a mass thus laid in with a compound tint, it may be 
 effected by passing over the part, a pencil wetted sufficiently with water 
 to be used freely, and when nearly dry the colour may be rubbed off 
 with bread, or carefully dabbed up with a linen rag. This must be 
 repeated till the sufficient light is obtained. A small piece of wet 
 sponge properly applied, so as not to injure the surface of the paper, 
 will prove more expeditious ; but the shapes will not be so determinate 
 as by the other method. 
 
 If the colours in their utmost strength do not produce sufficient 
 force, to give the due effect to foregrounds, in the management of 
 moonlight, fire &c. a small proportion of size made from the cuttings 
 of white glove leather, mixed with the colour, will best answer the 
 purpose. The addition of gum arabic dissolved in water will give 
 increased force to the colours, but it is accompanied with aa un- 
 pleasant glare. 
 
16 
 
 ESSdY OJf THE 
 
 
 
 
 
 
 Reflections on water are invariably to be placed in a perpen- 
 dicular direction to the objects by which they are produced ; and their 
 degree of distinctness must be proportionate to the smoothness of the 
 water. 
 
 It is usual to place the light by which the subject is illuminated, 
 either on the right or left; because if its situation were in the piece, 
 the shawdows would produce an unpleasant effect by their projection 
 outwards ; and if it were conceived to be behind the spectator, their 
 projection inwards would be equally unpleasant. The morning, or 
 the evening, affords the time for studying landscape : the noon has 
 too general a glare of light. The length of shadow must necessarily 
 be regulated by the time of day, season of the year, and situation of 
 the country, which the subject is intended to represent; that most 
 pleasing, where there is a necessity for its being distinctly shown, is 
 about one third the height of the object. Light falls in parallel lines 
 and not as if issuing from a point, for instance, if objects of equal 
 height were raised perpendicularly at two given points, say at London 
 and at Richmond, the length of shadow these objects would project 
 on a plain at the same period of time, would be equal ; at least there 
 would be no perceptible difference between them. Here the light of 
 the sun is obviously intended, when it proceeds from a fire it is otherwise. 
 
 In every drawing there ought to be one particular part, which 
 should attract the eye immediately, as being the principal object. This 
 perhaps cannot be so well effected in any other way, as by placing on 
 it the strongest light, to which consequently all the other parts must 
 be subservient. 
 
«iRT OF COLOURING, $c. 
 
 17 
 
 All the parts of a landscape that receive the light should have 
 warmer tints, than parts that are situated obliquely ; the cooler tints 
 find their situation in the shade. 
 
 In a work of great taste by Mr. Repton, from which much 
 extremely useful matter might be selected, there is a quotation from 
 the Rev. Dr. Milner's Theory of Colours, &c. a portion of which the 
 author will take the liberty of transcribing. Dr. Milner says, "A 
 " gentleman who consulted me on the subject of shadows, has been 
 accustomed to assist his memory while painting by the use of a 
 simple diagram, viz. let R, Y, B, (plate I) represent three uncom- 
 pounded colours, red, yellow, and blue; and let O, G, P represent 
 the compounds orange, green and purple. It is evident, that, to 
 make a deeper orange, we must add more red ; to make a deeper 
 ' green, more blue j to make a redder purple, more red ; and vice 
 ' versa. But besides this it reminds us, that G is the contrast to R, 
 ' and that therefore these two colours cannot be mixed without ap- 
 ' approaching grayness or dullness. The same may be said of Y and 
 ' P, and of B and O ; these colours are also contrasts to each other, 
 1 according as they are more or less perfect. But when kept dis- 
 ' tinct, they are found to make each other look more brilliant, by 
 ' being brought close together." 
 
 For this purpose the opposite sides of the diagram may be 
 covered with two pieces of paper, so as to permit only the two 
 tints to be seen, above described as harmonising. Thus effect may 
 
i 
 
 18 
 
 ESSAY ON THE 
 
 be produced by contrast alone ; and from judicious selection, the 
 most pleasing composition will receive additional beauty. 
 
 The sketching with a lead pencil, as represented in plate 2, 
 should be no stronger than barely to determine the shapes. If any 
 part however be too heavy it should be reduced. The best method 
 of doing this is to crumble a piece of bread on it, rub it gently, and 
 wipe it off with a handkerchief; for the friction of Indian rubber is 
 liable to injure the surface of the hardest paper. In sketching or 
 tinting, always commence on the right side of the drawing, or that 
 which lies nearest the left hand, that the hand may not injure any 
 part in its progress. 
 
 The annexed plate 3 shews the preparation of a landscape for 
 colouring in which the light is introduced from the right. Begin with 
 the grey tint, No. 1 , (marked at the bottom) composed of ochre, lake 
 and indigo, agreeably to the directions for laying in a tint. Pass over 
 all the parts, except the lights, and keep the shape of every inter- 
 fering object perfect on the light edges also, till the masses are 
 finished Thus every part of the subject having shadow will be 
 covered, and the degree of force necessary for the remote masses de- 
 termined. Strengthen the tint to the force No. 2; lay in the detached 
 masses on the more advanced plans, attending to the lights as in the 
 first; and thus the second degree of force will be obtained. Strengthen 
 the tint as No. 3, and lay in, or rather retouch, the parts yet nearer 
 than in the second, till the third degree of force is produced. 
 
fed 
 
y 
 
 
 V' i 
 
 
 V 
 
 I 
 
 % 
 
 \\ 
 
 
 
AUt OF COLOURING. 
 
 19 
 
 Plate 4 shews the subject with the marking, &c. on tli£ masses 
 represented by Plate 3. Prepare a tint of indigo and lake, retouch 
 the parts not yet sufficiently detached, till the distances, or keeping, 
 appear decided; this should be done with the pencil moderately 
 charged with the tint, lest hardness be produced : for a drawing may 
 easily be made sharper when it would be difficult to produce softness. 
 
 With respect to colouring this subject, a view consisting of 
 three plans, upon reference to nature for the arrangement of colours 
 appropriate to it, it will be found that blue and purple are attached 
 to the distance, or third plan ; because in the extent of vision the 
 portion of air between the eye and the object, causes the assimilation 
 of all colours with the aerial tone. Upon examining what colours may 
 be proper for a second plan, it will appear that various tints, as reds, 
 greens, &c. may be introduced; but having yet a considerable portion 
 of air intervening, they will not be perfectly clear of the aerial tint. 
 Examining farther with respect to the first plan, the yellows, browns, 
 and all the colours may appear in their brilliancy, agreeable to na- 
 ture, not being seen through any medium, that can be supposed to 
 affect them. Hence may be deduced, that yellow or clearness will 
 render an object prominent as far as relates to the colour, in pro- 
 portion as blue or mistiness will cause it to recede. The distribution 
 of light, the subduing masses of shade, and the arrangement of all 
 the intermediate colours must depend on nice discrimination, and 
 just appropriation to the subject : however, the following is a method 
 of applying the tints to the landscape, Plate 4, to produce the effect 
 exhibited in Plate 5 
 

 20 
 
 JSSSviY OJY THE 
 
 
 For the sky use a tint of indigo, No. 1 softened off to the left* 
 For the distant trees, a purple tint, composed of indigo and lake, No* 
 2, passed over the whole mass. The lights are afterwards to be 
 lightly stained with ochre and gamboge, No. 3; the shades with in- 
 digo No. 4. For the trees on the second plan use a tint composed 
 of indigo, ochre, and gamboge, No. 5, over the whole. The lights 
 are to be stained with ochre and gamboge, No. 6 ; the shades with 
 indigo and lake No. 7 ; the stems with ochre and indigo, No. 8. For 
 the thatch use a tint of ochre, gamboge, and indigo, No. 9, over the 
 whole; afterward broken with gamboge and indigo, No. 10: for the 
 stains on the cottage, ochre and gamboge, No. 11 ; for the chimney, 
 &c ochre, No 12; for the ground, ochre, gamboge, and indigo, No. 
 18, over the whole. The grass, &c. are to be stained with indigo and 
 gamboge No. 14 ; the mass in the foreground, with ochre, lake, and 
 gamboge, No. 15. A tint like No. 6, washed over the more advanced 
 part of the road, will tend much to improve the keeping. The 
 touching is with bistre and burnt sienna. 
 
 The degree of finish given to a drawing will depend on repe- 
 tition of tint, touching with warmer tints such parts as appear crude, 
 washing out others which may affect the masses, and by an attention 
 to character. To produce force and brilliancy with correctness, the 
 student must be refered to nature ; since it would be impossible to 
 enlarge on this particular, without insisting on manner or style, which 
 is again strongly recommended to be avoided. 
 
> 
 
 — 
 
Jrt of colouring, <$-c. 21 
 
 PLATE 6. The Effect of a Sun-Rise. I 
 
 After having determined the masses of shade, with a weak 
 tint of prussian blue wash in the parts between the rays, observing 
 they tend to the point where the sun is situated, after which proceed 
 as in No. 5. for the landscape, The point of sight where all the 
 receding lines of the building would intersect, were they continued, is 
 on the vessel in the horizontal line. No. 1 is the grey preparation 
 tint. No. 2 the indigo for the sky, softened off towards the light. 
 No. 3 a weak tint of lake, softened off close to the light. No. 4 the 
 gamboge tint, softened off towards the cloud. No. 5 a tint of prussian 
 blue to glaze the clouds, &c. which may not have the cool aerial tone 
 sufficiently expressed* 
 
 PLATE?. Sun-Set, 
 
 The glow of warmth in the horizon is the leading feature, 
 by which the landscape is partially affected. This subject may be 
 treated as the one already described ; observing where the principal 
 light is placed to introduce but little of the colder tints* since it is 
 easy to lower the force of light, but difficult to heighten it. In 
 the management of the sky, prepare a tint of indigo and lake No. I ; 
 wash in the clouds with all possible freedom, having but little colour 
 in the pencil; soften their edges to prevent the hardness they would 
 otherwise have; repeat with the same tint, the parts requiring more 
 

 : .i 
 
 22 
 
 ESSAY ON THE 
 
 4 '"• 
 
 force, without extending this repetition to the extremity of the 
 form before made. With a black lead pencil faintly sketch the boundary 
 of light on the edges ; and with a tint of indigo, No. 2, float in the 
 azure, with the flat pencils ; approach in a diagonal direction the 
 part where the Sun is imagined to be; and while the edge is wet, 
 expeditiously turn the pencil and soften off. Where interfering clouds 
 or other objects, preclude the use of flat pencils, the same effect may 
 be produced by making three tints of indigo, one darker than the 
 other ; beginning with the deepest at the part most remote from the 
 light; at about a third of the space take the second degree of strength ; 
 and so on to the third, till the softening is effected. Next with a tint 
 of lake and gamboge, No. 3, with the flat pencils pass over the whole 
 of the subject, then with a tint of gamboge, No. 4, pass over about 
 a third of the sky, and soften off obliquely as the subject may require, 
 A drawing made thus far, agreeably to the foregoing hints, may yet 
 be deficient in the general glow, but more particularly where the lake 
 and indigo have been softened over each other ; unite them by passing 
 over the whole of the sky a weak tint of orange red, and afterward if 
 the lake be found too predominant, a tint of gamboge will correct it; 
 on the contrary, if the gamboge predominate, correct it with a tint 
 of lake. Where trees appear too cold on the parts receiving the 
 warmth from the horizon, pass a tint of burnt sienna over them ; if 
 the parts in shade be too warm, pass over them a tint of indigo ; if 
 they require force, add bistre; till the due tones are introduced, 
 which tend to harmonize the whole. 
 
 

 

 
 I 
 
 
ART OF COLOURING* $C< 
 
 23 
 
 PLATE 8. Moonlight* 
 
 After the situation of the light is determined, sketch in the 
 douds faintly, and with a tint of Indian ink and indigo No. 1, wash 
 them in, preserving their edges tender as they approach the moon ; 
 arid retouch the parts most distant from the light, till they obtain 
 their due force. The formation of the clouds while doing this should 
 be attended to, so that they exhibit no perfectly regular shape, such 
 for instance as an angle, circle, &c. Then take the tint No. 2 in- 
 digo, and with the flat pencil float in the whole space occupied by 
 the sky and clouds on each side the moon, softening it off in a cir- 
 cular direction round the orb as a centre. This may be repeated till 
 the most remote parts are of sufficient depths remembering, that 
 the softening off each time is to be brought nearer and nearer to 
 the centre, so that the light will imperceptibly diminish towards the 
 sides of the drawing. The shape of the orb is to be kept perfectly 
 clean during this process. If by the frequent washing of tint upon 
 tint, any unevenness or improper lights should be made, correct them 
 with the small pencil, by cutting in a tint to the shape of the part, 
 but not so as to leave the edge hard ; or by making with the pencil 
 nearly dry, a number of lines parallel to each other, termed hatching, 
 till the parts unite with the general tone. The shape of the moon, 
 if injured, may be corrected by taking out, as also the clouds, reflec-* 
 tionsj &e. 
 

 24 
 
 ESSdY OJV THE 
 
 
 The colour of objects by moonlight, should be faintly marked, 
 a universal greyness should prevail, and the deepest tone should 
 only approach to blackness. No. 3 is the grey tint for the landscape ; 
 No. 4, a tint composed of Indian ink, indigo, and gamboge, is extremely 
 useful for trees, &c. in various gradations of tone ; and is susceptible 
 of great force in touch for foregrouuds, &c. 
 
 PLATE 9. The Effect of Snow 
 
 On a landscape, affords *a pleasing variety, and is expressed 
 by great breadth of light, and the use of the cool tints. After the 
 shapes of the clouds are determined, and the azure put in, prepare a 
 tender tint of Indian ink and indigo, No. 1, wash in the shades of the 
 objects covered with snow, and repeat with the same tint, agreeably 
 to their natural shapes, all the parts receding from the light, till the 
 force required is produced. A tint of ochre and indigo, No. 2, passed 
 on parts partaking of rotundity, and a tint of indigo, No. 3, on parts 
 thrown into shade, will contribute much to the preservation of the 
 principal, as well as to give distance. Then with a tint of indigo, lake 
 and gamboge, No. 4, and with the flat pencil, pass over the whole of 
 the sky, clouds, and mass or masses of half tint, in order to prevent 
 their interference with the principal : which on the highest light is to 
 be clean paper. A few appropriate tints, such as the objects may 
 require touched on the perpendiculars not hidden beneath the snow, 
 on a beaten road, on the figures, &c. tend to enliven and give clear- 
 

ART OF COLOURING, 8fC. 
 
 25 
 
 ness to the whole. The projecting branches of trees may be taken 
 out, so as to produce a pleasing and natural effect. 
 
 PLATE 10. The Effect of Fire 
 
 Is among the variety that Landscape comprehends. It requires 
 great depth of tint in the back ground, for relief; and great clearness 
 in the light, to produce the brilliancy the subject demands. 
 
 After the position of the fire is determined, sketch with a black 
 lead pencil that part of the fire which is supposed to be the fiercest, 
 giving it such shapes as observation shall have impressed on the 
 imagination. The method used in acquiring the gradation in the 
 moonlight may be resorted to in this instance with indigo. With a 
 tint of lake and gamboge, No. 1, wash in the space, outside the shapes, 
 extending it as far as the reflection may catch on the surrounding 
 objects, and soften off in a circular direction, having the fire for the 
 centre. Strengthen the tint with lake to No. 2, and repeat the wash 
 without approaching dose to the part left white before, but extending 
 it farther, and soften off. This must be repeated till sufficient force 
 is given, and the glow appears gradually to unite with the surrounding 
 tint. Next with a tint of gamboge and ochre, No. 3, pass over the 
 fire, except the centre, extending this tint to all the light parts affected 
 by the heat, within the space determined by the background ; retouch 
 with this tint the raging part, with the curves and spiral forms which 
 fire assumes ; then with the tint red lead and gamboge, No. 4, con- 
 tinue to retouch the parts as before, observing to preserve the gradation 
 from the centre to the extremities. With a tint of ochre, indigo, and 
 

 <aQ ESS4Y OJV THE 
 
 lake No. 5, wash in the masses, smoke, &c. that obtrude between the 
 eye and the principal, keeping them soft on the edges. With red 
 lead, No. 6, heighten by sharp touches the consuming parts of the 
 object, retouching as judgment shall direct. 
 
 A tint of bistre and lake is useful to give force to foregrounds 
 or objects situate near the principal, and with the addition of indigo 
 to those more remote, or in shadow, observing that hardness be 
 avoided. 
 
 Drawings appear to advantage in the port-folio when the 
 margin is lowered by a neutral tint; but are lessened in their conse- 
 quence when a number of lines are drawn round them. They are 
 preserved from injury considerably by being mounted, or pasted on a 
 stouter paper. A good tint for margins may be made from ivory black 
 in cake, it flows easily and dries smooth. 
 
 Of Varnishing Drawings. 
 
 It is presumed, that all drawings on their being varnished are 
 intended to be framed, therefore what is termed a straining frame 
 must be provided. This is a slight frame work, made so as to be 
 received into the rabbit of the outer or gilt frame. On this small 
 frame let a piece of canvas, linen, or even strong paper be stretched, 
 and secured with tinned tacks, or with glue, if paper be used. Pre- 
 pare the paste with a small portion of glue incorporated, and of such 
 consistency, that it will spread with the brush easily. Damp the 
 drawing with water, and paste it evenly, also pass the brush over 
 
AWr OF COLOURING, §C. 
 
 27 
 
 the canvas, doing little more than damp it, and place it on the 
 drawing. Use every precaution to exclude the air from between the 
 two, by pressing from the centre to the extremities; the edges require 
 particular attention, that they be firmly secured, lest they should rise 
 in the preparation. When it is perfectly dry, prepare a wash from 
 isinglass, or cuttings of white glove leather ; it should be luke warm 
 when used, and of such strength that, when spread with a flat pencil 
 on a piece of coloured paper and dried by the fire, it gives the paper 
 the appearance of being faintly glazed. If it appear in shining patches 
 unequally distributed, it must be reduced to the state before men- 
 tioned, by adding more water. With a flat pencil proportioned to 
 the size of the drawing, apply the wash, by passing it in parallel 
 lines, the pencil being moderately charged, so that it may not be 
 laid fuller at the beginning than at the end, till the surface is covered. 
 No part should be retouched while wet, lest the colours should rise 
 and mix with the isinglass. This process may be repeated four or five 
 times, changing the direction in which the pencil is passed over the 
 surface at each application. No wash should be repeated till the 
 preceding is thoroughly dry. In this state a drawing if required, may 
 be retouched with oil colours : but it will be necessary to rub a little 
 oil on the parts previouly, that the colours may work with freedom. 
 
 The drawing thus prepared being thoroughly dry, and free 
 from dust, may be varnished with copal varnish, which is the most 
 pure and colourless; or where a faint yellow tinge would not be in- 
 jurious, mastic varnish may be used with good effect. The varnish 
 should be free from dirt, and being poured into an open vessel, a hog's 
 
1 1 
 
 ' ' ! 
 
 28 
 
 ESSAY ON THE ART OF COLOURING, 8fC. 
 
 hair brush, which must be kept for this use alone, is to be taken mo- 
 derately full of it, and passed briskly over the surface, till the whole 
 is thinly covered. Then crossing the brush, without dipping it afresh 
 into the varnish, from right to left, diagonally, and from top to bottom 
 over the whole carefully, will cause the varnish to be evenly spread. 
 The drawing should remain about a quarter of an hour on a level, to 
 prevent the varnish from running, which it will sometimes do, if put 
 in an upright or inclining position too soon. When the first coat of 
 varnish is perfectly hard, so that it will not adhere to the finger, another 
 may be applied in the same manner ; and when this is perfectly hard, 
 a third ; which will be found in general sufficient. 
 
 *«fa fekir. 
 
 Printed by J. HAYES, \ 
 Dartmouth Street, Westminster. J 
 

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