Digitized by the Internet Archive in 2015 https://archive.org/details/watercolourwithoOOhatt WATER COLOUR WITHOUT A MASTER: UPWARDS OF TWO HUNDRED EXAMPLES OF SEPARATE OBJECTS IN LANDSCAPE SHOWN UNDER VARIOUS TINTS AND AFTERWARDS COMPOSED INTO PICTURES, TO WHICH IS ADDED, AN INDEX OF TINTS, SHOWING AT A GLANCE THE VARIOUS POWERS OF THE SEVERAL COLOURS AND THEIR COMPOUNDS. BY THOMAS HATTON, AUTHOR OF HINTS FOR SKETCHING FROM NATURE IN WATER OOLOU R,” “HINTS FOR SKETCHING TREES,” &c., &c. LONDON; li E E V E S AND SONS, 113, C IT E A P S I 1) E . M D C C C L V. h ' »U t L. m ) i r a’. J >■ CONTENTS PREFACE ... ... ... ... ... ... ... ... ... Page v. INSTRUCTIONS FOR COLOURING ... ' vii. BUILDINGS. TINTS FOR STONE Plate I. BRICKS AND TILES II. WOOD AND THATCH III. PLASTER AND SLATE ... ... ... ... ... ... ... IV. TEEES AND EOLIAGE. BRIGHT TINTS FOR FOLIAGE V. SOMBRE TINTS VI. AUTUMNAL HUES ... VII. TRUNKS AND BRANCHES VIII. CATTLE AND EIGUEES. BAY AND DARK BAY HORSES AND CATTLE ... IX. DARK BROWN AND BLACK DITTO X. LIGHT CATTLE AND SHEEP XI. RUSTIC FIGURES XII. EOEEGEOUNDS AND DISTANCE. PURE GRASS GREENS XIII. BROKEN GREENS FOR HERBAGE FADED LEAVES XIV. BANKS AND ROADS ... ... ... ... ... ... ... ... „ DISTANT FOLIAGE XV. NEARER MOUNTAINS DISTANT HILLS XVI. THE SAME LIT UP BY THE SUN SKIES AND CLOUDS. SUNNY AND SOMBRE SKIES ... ; XVII. SUNSET SKIES ... ... ... ... ... ... ... ... XVIII. FINE WEATHER, LOWERING, AND STORMY CLOUDS XIX. SUNSET CLOUDS XX. ENTIEE LANDSCAPES, COMPOSED PROM THE PRECEDING OBJECTS. LANDSCAPE UNDER A SUNNY EFFECT ... ... ... ... ... XXI. THE SAME UNDER A SOMBRE EFFECT ... ... ... ... ... XXII. LANDSCAPE UNDER A SUNSET EFFECT ... ... ... XXIII. THE SAME UNDER A STORMY EFFECT ... ... ... ... ... XXIV. INDEX OE TINTS. INTEODUCTION. The following Plates are intended to supply an acknowledged deficiency in the Student’s Portfolio. Abundance of elementary works have been produced, giving examples of the separate forms of different objects in Landscape, and gradually introducing the student to more or less complicated combinations of those forms, but the same treatment has never been adopted in reference to the colours of the objects. The first question that arises in the mind when we attempt to copy works in Colour is, Of what is this tint composed f The question occurs to us in another form in studying Nature — By what colours should this object be represented? To answer this question practically, by demonstration, is the design of the present attempt. Some works have answered it theoretically — they have given abstract instructions for mixing certain tints, and directions for applying them to particular objects, but have stopped short of the important point of illustrating their instructions — they have given precept without example. In the present work the Student will find the simple and compound tints separately exemplified, and applied to those forms in Nature for which they are suitable. The book may be said to possess four distinct claims to consideration : — 1. — The exhibition of a copious set of Tints for the principal Objects in Landscape, classed according to their uses. 2. — The exhibition of the Proportions of the Compound Tints, which no merely precep- tive instructions could ever show. 3. — The Application of these Tints to the Forms with which we find them associated in Nature. 4. — The Composition of the Forms so coloured into Pictures, exhibiting four distinct effects of light and atmosphere. The Study of Colour might be pursued with greater certainty if the systematic method of teaching other sciences were more generally adopted in this. In learning Geometry, for instance, we have first the simple fines presented to our notice, and then their combmation into angles, curves, and spheres. In Music we have first the simple notes, and then are led on to chords, runs, phrases, &c. In Language we have in the same way the simple sounds, then their application to syllables, words, and sentences. Why not have also a Grammar of Colour f To supply this desideratum as far as regards Landscape has been the aim of the Author, by embodying the abstract instructions of the best colourists ; and it is hoped that the work, however imperfect, may be useful to the Student in the following respects : — 1. — As a Handbook for copying Water Colour Drawings ; 2. — As a Tint Book to select from in Sketching from Nature ; 3. — As an aid for perfecting his finished Picture by varying and graduating the tints of his rough Sketch. Though some of the Colours may appear exaggerated, they are all applicable under certain effects of fight ; and the Student will bear in mind that the local colom- of any object may be altered or entirely transformed by a particidar state of fight or atmosphere. With the view of presenting the colours pure, all shading has been carefully avoided in engraving the Separate Objects : the general outline and a few characteristic markings were indispensable, but the masses of fight and shade are left bare (as may be seen in the plain copies.) No printing ink has therefore been allowed to intervene between the white paper and the colour laid on it, all the tints being produced with the brush, instead of the usual mode by engraving, which, from being printed with black or neutral ink, must always more or less sully the colour laid on it. For the same reason, printing in colour has been avoided, the only vehicle used being the perfectly colourless medium water, that the tint exemplified might always be strictly identical with the tint described. The “ Entire Landscapes^ Part VI., however, will be executed in aquatint, as the object in them is to show the colours blended, and the neutral ink of the engraving rather aids this effect. ':V'Jw> ' .? : : ■ ■ 1 ■■« ' ■> if ' k ViT ' 0} -^'r-'jrr 1 r' i ,^.r;r -V'^: ‘^2 1 , :‘r-''»0 -tc .>. V. / fi‘,1 j] ■' {^. • ■»# ■ f ,fy£.A ' .• .• . •.■, ;T,- - ni i ?;m , : 'Tddh^'it) ■’f) nr-: li- ^v/arff? mf- • ~v •■ .btiV'A' ■i . -'i ■ ■ V ' ‘I’/i.. :-'-n 4 ;y 07 . . • :moips .?»{ .r^.V|•lt^g!I|.; ;p. ■ .' _. , lE&'iifn »'#.({fil?';'ii?3lii5- .lud&i'^r -r.4 .• K - ■•. iv»/i t.> r •. ..... '-i' i ' Wtv^ ^v ' ' ■ ■ ■'■ . S' ■''■•' ?',V: •'- *, X* .• - ■ I^i'' f . - ■ ■■ ,"’‘i»'.'-' . ■ - . ' ' **i V ■' . .-'SiiM //•.' Ik' ' aiTf'^ '.A ■', ii£ J : d'.'/- noJ^vr'dlt^arti. ‘ ’ *W'‘ . -t Tp- I'lT.s ':: >';’^dC "r^ :^-.y ..-rf 'i3: .Jil ,* ' ’ ' ; ’i *'.’. 10 .v',' ) i . '' • . ' , 1 V / • . ruwr /^rjii.AT- ^ ■,' J..' jj V i^Tirr ' "• “ij'- . *• ( . r i^'. , ' ♦ V KTUqr;;3 ■ r. ■" ■ ' tm yyy y A .i'c^NVE 'i . '■< h n ■:‘'-'.Li ^pcitvOilJ •o':.-; ' ■♦! j f] f 'ii(>i5,ri?t.rr..i v^ir--- .?? ' ' > 'deici aAr^'p.’i^"’ ‘•yTa i •.’-«» 1 *. " fK i .T-fric hrjp?r. vv «^tv'2j4\’iC\n- ^ .j r-’:5‘;- *?«oV viti ..♦»;:* p''^^ C!rff./To/'* :**►'! ;oi ao; jS'^ arfi — • ' \ jKf^ttvA •‘'■djU*. ;\i«r<:iidjioii ■il'' . , - . ' h >.K'i .' ‘ - 7!i# .'.■^» ^K.'! ' J^y* ■ ’ ;./ 1* ■ ; Ml ■ :Ai4'.: i-l' - >:■ .:l -■#1! •' ■ fcK. • - 4 ^ llim- ■>■ PREFACE. The design of the present work is to familiarize the Student of Landscape Painting with the various tints required in representing Nature, that by storing them in his memory he may acquire a power of expression for the scenes he may wish to depict. The advantage of such a work is obvious. As the Linguist must become familiar with the value of the several letters and the words they compose before he can be master of expression in Language, so must the Artist learn the powers of the several pigments and their various combinations before he can attain expression in Painting. The following Plates compose, so to speak, a Vocabulary of Colour, to which an Amateur may refer for each tint as he requires it, as the learner of a language turns to his Dictionary ; but the earnest Student of Landscape will endeavour to make the various tones as familiar to his mind as are the words of his native tongue. The first and humblest use of the work may be to regard it as a Handbook for Copying Water Colour Drawings, as by it the Student may ascertain by comparison the composition of each tint in the picture he wishes to imitate. The second and more independent use of the work will be to assist the Student in recognising in Nature, and employing out of doors, the tints he had previously used merely by rote in copying the works of others ; though, from the bold style of execution necessary to a rapid sketch, the range of tints required will here be comparatively limited. The tliird and enlarged use of the work wdl be to assist the Student in perfecting the finished picture from his rough Sketch ; aiding his memory in representing the refined and graduated variety of hue in the scene he had but imperfectly depicted on the spot. To select and compare the tints most nearly allied, as a means of familiarizing his eye with their nice shades of difference, will be found materially to aid the attainment of delicacy of expression, just as the exercise of discriminating and applying the various shades of meaning belonging to each word in a language conduces to force and elegance in verbal compo- sition. As the exhibition of variety in Colour is the chief aim of the work, it has been found advisable, except where a difference is demanded by the nature of the subject, to use the same form for each Object throughout the various diversities of tint, as being less distracting to the eye in discerning their several degrees of difference. VI PREFACE. Although it has been necessary, for the sake of distinctness and simplicity, to colour the whole of each Separate Object with one tint, yet it is far from being meant that this is desirable in practice. On the contrary, the Student will be enabled, by the copious set of tints assigned to each Object, to produce a pleasing variety in his picture without sacrificing Breadth. This desirable effect is exemplified in the “ Zcmdscajpe*',” Plates XXI. to XXIV., where, while the Object reproduced is identified as to its leading colour with one particular example in the preceding Plates, it is also varied and graduated by some of the other tints under which that object is there shown. For the purpose of showing two different strengths of the same tint, the shadows of the Objects are expressed in most of the examples by the same colour as the lights, the exhibition of contrast of colour in light and shadow not being within the scope of the present work. A few exceptions, however, will be found (Plates II., XI., XIY., XVI.) where the force of the warm light is enhanced by the cooler colour of the shadow. As many of the tints are applicable to several different forms, under varying circumstances, an analysis of the work, called an Index of Tints, has been added, not only showing where each tint may be found, but also, as a consequence of bringing together the various uses of each particular mixture, affording to the mind a comprehensive grasp of the value of every colour. With the view of presenting the colours pure, all shading has been carefully avoided in engraving the Separate Objects : the general outline and a few characteristic markings were indispensable, but the masses of light and shade are left bare, as may be seen in the plain copies. No printing ink has therefore been allowed to intervene between the white paper and the masses of colour laid on it, all the tints being produced ivith the brush, instead of the usual mode hy engraving, which, from being printed with black or neutral ink, must always more or less sully the colour laid on it. For the same reason, printing in colour has been avoided, the only vehicle used being the perfectly colourless medium water, that the tint exemplified might always be strictly identical with the tint described. The Landscapes, however, are shaded in the engraving, as the object in them is to show the colours blended, and the neutral ink used in printing them rather aids this effect. The work, as it has proceeded, has been called by teachers empirical, and its instructions arbitrary. Such is not its intention : it has no wish to dictate, but only to explain. If the Student does not recognise the tints shown, let him not use them. At the same time it must be borne in mind that the number of tints is necessarily limited. The book is but a vocabulary, not a dictionary ; it does not contain every tint in Nature, any more than an elementary vocabulary contains every word in a language, yet who objects pro tanto to the use of the latter 1 Let the Student extend this little work into a Dictionary for himself, and let him place every tint and tone in its proper relation, and he will undoubtedly acquire by this method a more comprehensive knowledge of Colour than if he had studied in a less systematic way. 78 , Smi> Steeet, Beigutojt, July, 1855 . INSTRUCTIONS FOR COLOURINO The following Hints were put together to accompany the Plain Copies of this work. They may however be found useful by those who feel inclined to copy the objects with a pencil, but ai’e at a loss as to the manner of colouring the outlines when drawn. OENERAL DIRECTIONS. Have plenty of colour in your brush — this keeps the tint clear. If the brush is too fuU, place it on a damp sponge, to take off the superfluous moisture. Pass the colour quichly over the work, and never re-touch while wet. The light side should never be touched again. The shadow side must he strengthened with a second tint v^ien the first is dry. Use a medium strength of colour : not so bare in the lights as to look poor, nor so full as to require the shadows to he heavy, and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect in the shadow side. Where the subject is broken off keep the broken edge faint ; and in colouring the shadow side, leave off before you reach the bi’oken edge of the under tint. In using Hose Madder, it saves time to soalc it leforehand. A clean pomatum pot with a cover wdll do for this purpose, and then the colour is always ready for use. Some of the colonrs when mixed (French Blue and others) require stirring before you use them, or the mixture is not perfect. As a general rule, work from the light towards the shadow. Past I.— BUILDINGS. Plate I. — As the tints in this Plate are mostly opaque, keep the light side pale, or you lose bi-ightness in the shadow. Plate II. — The first tint must be carried over the ivhole object. Lay the shadow tint upon it when the first is dry. Take care that the shadows are as cool as the pattern, to throw up the colour of the light side. All the shadows have a tendency to purple, if properly mixed : if not, the effect is too hot. Let the cast shadow be sharply defined. Plate III. — It is better to colour the Thatch first, as the strength of the tint for the wood below will depend on that of the roof If the AVood is done first, you may have to strengthen it afterw'ards. Let the broken part retire in a slanting direction, and do not carry the tint beyond the lines of the engraving. This helps the transparency. Plate IV.— For the Roof, wash from the front edge to the further corner. Keep the front edge light, and the further corner full, to make it retire. For the Plaster, pass the second tint irregularly, with the side of the brush, over the upper part of the light side, to give it richness. Paet II.— trees. Plate V. — The characteristic of this tree is Ireadth. Pass the first tint quickly over the whole tree, beginning with the light side, and taking care not to run over the edge of the outline. AVhen the first tint is dry use the second thickly, and let tlie first tint appear here and there between the touches to give light- ness to the mass. Be careful to preserve iheform of the edge of the part in light, and not to run into it with the deeper tint, or you will spoil the breadth. Plate VI. — The general outline of this tree is more broken- You must be careful to preserve the lights which pierce the foliage, and not to run beyond the edge of the outline. The second tint should be put on with a smaller brush. The shadow lines of the engraving wlU be a guide for the parts that require deepening, referring also to the coloured copy. Plate VII. — The character of this tree is pendulous. The breadths of light run more perpendicularly, and are easily appre- hended. Keep close to the outline, and touch the deeper parts lightly with thick colour. Plate VIII. — For the Trunks you must use a large brush for the first tint and a smaller for the second. Pass the second tint broadly and rather irregiilarly down the shadow side, and but slightly on the opposite side, just to give rounduess. The Branches require care in keeping to the outline, and a smaller brush. Paet III.— CATTLE AND FIGURES. Plate IX. — Bay Horses have all their extremities tipped with black, which gives a beautiful finish to the animal, peculiar to this colour. The black parts should be put in first. The long hair of the mane and tail being of unmixed black, must be left out in passing the colour over the animal ; but the black on the other extremities being less decided may take the first wash of bay colour with the rest of the body. Take care to leave a broad light across the mane and tad. when deepening the tone with the second tint of black. The Cow, not having these black terminations, merely requires care in keeping to the outline. The Ground may be washed in with a paler tint of the bay colour, to unite the objects, taking care to give it an agrreeable form. Plate X. — This Plate merely requires care in keeping to the outline. The general colour being darker, the tint shoidd be kept moderately strong, or the engraved shadows wiU appear too hard. Plate XI. — For the Cattle, a very pale tint of Yellow Ochre is required ; if strong it looks unnatural, as the local coloiu’ tends to white. The shadow tint should be quickly passed over the under tint, or both wiU appear muddy. The Sheep require a stronger tint, as the local colour is yellowish, but must be paler in the nearer parts than at the edge in light. In the body of the Black-faced Sheep you may use any of the preceding colours for Sheep. The Payne’s Grey for the head and feet being of a cool tint, a warmer colour is added for the shadow, it being a rule iu Colouring that cool tints are shadowed with warm, as well as warm tints with cool. Plate XII. — The Figures require care iu keeping to the outline. The parts most in light are the palest ; the retiring parts alone receive the second tint. “ Light pales the colour, and shade dulls it.” The distinction between the colours of each pair of Figiires represents the difference of effect of varied light on the same object. The whole of the left hand Figures being shown under a sunny effect, and those on the right hand under a cloudy or sombre aspect, the colouring of the Figure assumes a brighter or more sombre tone according to the aspect under which it is viewed, — thus developing the purpose of the Bntire Landscapes f (Part A^I.) to one of which each object belongs. INSTRUCTIONS FOR COLOURING. viii Paet IV.— FOEEGEOIJNDS AND DISTANCE. Plate XIII. — Lay on the first tint clearly, and pnt in the markings for the Grrass with thick colour when the first tint is dry. Treat the Broken Grreens like the Eoregronad Trees, Plate V. Plate XIV.— The Faded Leaves are coloured as usual, taking care not to pass the outline. The first tint for the Banks and Eoads requires a fuU colour for the part in shadow, and paler for the part in light. When quite dry throw the shadow quickly over the first tint, and take care to keep the cast shadows horizontal. The shadow tint must be just strong enough to look positive, and not so strong as to look heavy. A weak cast shadow looks as if the sun were clouded, and too strong a shadow reniinds us of moonlight. Plate XV. — -The masses of light and shadow in the Distant Foliage must he distinctly separated, and the second tint may contain a little more blue than the first, that the parts in shadow may retire. No attempt at leafing is necessary, as the trees are too distant for the leaves to he seen. For the same reason the general efiect is more dim, the colour more grey, and the light and shadow less opposed, than in the Foreground Trees (Plates V., VI). The Nearer Mountains belong to Middle Distance, and consequently more detail is there shown than in the Distant Foliage, although the efiect of the atmosphere is apparent in obscuring the local colour of the herbage and giving it a bluish cast. The principal care required in treating this plate is in the light and shadow ; the nearer hill in shadow is relieved against the more distant one in light. Plate XVI. — The Distant Mountains in Daylight require softness and not too strong a tint, or they will come too forward and look hard. The Mountains in Sunlight are more sharply defined. The first tint is carried over the whole subject, and the shadow wash, if pnt on quickly and without disturbing the under tint, gives a luminous transparency to the whole. Part V.— SKIES AND CLOUDS. Plate XVII. — Tlie Sky tints must be laid in with a broad brush tolerably full of colour, and of a moderately strong tint. Too full a blue makes the sky look heavy, but too weak a tint allows no contrast to the white clouds. The paper should be slightly damped before beginning. All the colours in this plate being of a cool tone, care must be taken to avoid using too much red. Plate XVIII. — The tints in this plate are warmer, but great delicacy must be observed, or the colouring will be coarse and vulgar. It will be noticed that the source of light at sunset being low, the tints, after passing through red, become gradually cooler as they retire upwards, till the rich colouring given by the sun fades into the azure of the upper sky. Plate XIX. — Lay on the Sky tint as before, and wLile wet take out the shapes of the clouds with blotting paper, passing your nail quiclvly over the part. Then tint the clouds slightly all over except the high lights, and when dry strengthen the shadow parts, but stop short of the edge to give rounduess. The Stormy Clouds req\iire a broader treatment: the edges maybe left more abrupt and ragged, to imitate broken cloud. Plate XX. — The Sky Tints are graduated, using the first colour midway, and adding the second with a clean brush while wet, and so on down to the yellow. The lowest pair represent the appearance of the sky after the sun has sunk, when the density of the atmosphere is beginning to overpower the warm light stfU lingering about the horizon. The Cloud tints are more forcible than those used for the sky in which they fioat, but care must be taken in the light clouds to keep the force in the middle of the body, or the form will not he aerial and fleecy. A drier brush must also be used. The Horizontal Clouds having but slight gradation of light and shade, the edges are much more hard and firm than the feathery forms of the brighter clouds. Part VI.— LANDSCAPES. The leading colour of every object reproduced is indicated at the foot of each plate. The other colours may be found by comparing the “ Separate Objects ” with the “ Landscape ” in which those objects are embodied. Those parts of the landscape which lie between the objects prefigured may he coloured by examining the composition of those tints that are shown. Place all the tints in rotation on a strip of paper and name them, beginning with the palest yeUow, and then the stronger and deeper yellows towards brown ; then the deeper and cooler browns, rising through warm browns towards red; then the brighter reds, then the rich or bluer reds, till you arrive at purple, and thence at black ; then the deepest bines, then lighter, passing through the greens up to yellow again, which completes the circle. The more elaborate you make this sampler, the more exact and comprehensive will be your knowledge of colour. Tour colour box should be arranged in the same way. Damp the paper before you begin to tint. The Sky and Distance must be first treated, and finished before you commence any object in front, otherwise you cannot wash the sky without soiling it with the colour of the object before it. A neutral tint composed of Yellow Ochre and Brown Madder must be passed over the whole landscape except the blue parts of the sky (which it would turn green) to give a warm, sunny appearance to the light objects. The white paper alone is too raw and harsh. As a general rule, tbe tints of the background, being pale, may be passed over every darker object in front of it. Thus the green of the grass in Plate XXI. may be passed over the dark cattle without injuring their colours, and could not be broadly given by putting in the grass between their legs with a small brush. All retiring parts go into partial shadow ; thus the farther corner of the tiled shed and the slated roof should be darker than the nearer edge. All shadows in nature are true contrasts to their lights. Thus, the lights of the Dark Cattle are cool (bluish), and the shadows warm (reddish). In the Light Cattle tbe lights are warm (yellow) and the shadows cool (purple). This opposition of warm and cool colour prevails throughout each Landscape, and consti- tutes beauty in Colouring. In the “Separate Objects” it could not be fully shown, though there are some examples (Plates II., XI., XIV., XVI.,) but the principle is fully carried out in the “ Entire Landscapes,” both as regards individual objects and the general arrangement of the picture. It is less obvious in the Sombre than in the Sunny Landscapes, but the principle equally exists, and indeed is essential to the success of every composition. INSTRUCTIONS FOR COLOURINO Have plenty of colour in your brush — this keeps the tint clear. If the brush is too full, place it on a damp sponge, to take off the superfluous moisture. Pass the colour quickly over the work, and never re-touch while wet. The light side should 7iever be touched again. The shadow side must be strengthened with a second tint when the first is dry. Use a medium strength of colour : not so bare in the lights as to look poor, nor so full as to require the shadows to be heavy, and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect on the shadow side. Where the subject is broken off keep the broken edge faint ; and in colouring the shadow side, leave off before you reach the broken edge of the under tint. i- Some of the colours when mixed (French Blue and others) require stirring before you use them, or the mixture is not perfect. As a general rule, work from the light towards the shadow. SPECIAL INSTRUCTIONS FOR PART I. PLATE I. As the tints in this Plate are mostly o'paque, keep the light side pale, or you lose brightness in the shadow. PLATE II. The first tint must be carried over the lohole object. Put the shadow tint upon it when the first is dry. Take care that the shadows are as cool as the pattern, to throw up the colour of the light side. All the shadows have a tendency to purple, if properly mixed : if not, the effect is too hot. Let the cast shadow be sharply defined. PLATE III. It is better to colour the Thatch first, as the strength of the tint for the Wood below will depend on that of the roof If the Wood is done first, you may have to strengthen it afterwards. Let the broken part retire in a slanting direction, and do not carry the tint beyond the lines of the engraving. This helps the transparency. PLATE IV. For the Roof, wash from the front edge to the further corner. Keep the front edge light and the further corner fidl, to make it retire. For the Plaster, pass the second tint irregularly, with the side of the brush, over the upper part of the light side, to give it richness. Let the fragment on the shadow side retire in a slanting direction. INSTRUCTIONS FOR COLOURING-. Have plenty of colour in your brush — this keeps the tint clear. If the brush is too full place it on a damp sponge, to take off the superfluous moisture. Pass the colour quickly over the work, and never re-touch while wet. The light side should never be touched again. The shadow side must be strengthened with a second tint ivhen the first is dry. Use a medium strength of colour : not so bare in the lights as to look poor, nor so full as to require the shadows to be heavy, and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect on the shadow side. Where the subject is broken off' keep the broken edge faint; and in colouring the shadow side, leave off before you reach the broken edge of the under tint. Some of the colours when mixed (French Blue and others) require stirring before you use them, or the mixture is not perfect. As a general rule, work from the light towards the shadow. SPECIAL INSTRUCTIONS FOR PART II. PLATE V. The characteristic of this tree is Breadth. Pass the first tint quickly over the whole tree, beginning with the light side, and taking care not to run over the edge of the outline. When the first tint is diy use the colour thickly, and let the first tint appear here and there between the touches to give lightness to the mass. Be careful to preserve the form of the edge of the part in light, and not to run into it with the deeper tint, or you will spoil the breadth. PLATE VI. The general outline of this tree is more broken. You must be careful to preserve the lights which pierce the foliage, and not to run beyond the edge of the outline. The second tint should be put on with a smaller brush. The shadow lines of the engraving will be a guide for the parts that require deepening, referring also to the coloured copy. PLATE VII. Tlie character of this tree is pendulous. The breadths of light run more perpendicularly, and are easily apprehended. Keep close to the outline, and touch the deeper parts lightly with thick colour. PLATE VIII. For the Trunks you must use a large brush for the first tint and a smaller for the second. Pass the second tint rather irregidarly down the shadow side, and slightly on the opposite side, to give roundness. The Branches require care in keeping to the outline, and a smaller brush. INSTEUCTIONS FOE COLOUEING. Have plenty of colour in your brush — this keeps the tint clear. If the brush is too full, place it on a damp sponge, to take off the superfluous moisture. Pass the colour quickly over the work, and never re-touch while wet. The light side should never be touched again. The shadow side must be strengthened with a second tint when the first is dry. Use a medium strength of colour; not so bare in the lights as to look poor, nor so fuU as to require the shadows to be heavy ^ and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect on the shadow side. Where the subject is broken off keep the broken edge faint ; and in colouring the shadow side, leave off before you reach the broken edge of the under tint. In using Rose Madder., it saves time to soak it beforehand. A clean pomatum pot with a cover wiU do for this purpose, and then the colour is always ready for use. Some of the colours when mixed (French Blue and others) require stirring before you use them, or the mixture is not perfect. As a general rule, work from the light towards the shadow. SPECIAL INSTKIJCTIONS EOE PAET III. PLATE IX. Bay Horses have all their extremities tipped with black., which gives a beautiful finish to the animal, not to be found in any other colour. The black parts should be put in first, and the bay colour washed up to them. The long hair of the mane and tail being of unmixed black, must be left out in passing the bay colour over the animal ; but the black on the other extremities being less decided may take the first wash of bay colour with the rest of the body. Take care to leave a broad light across the mane and tail when deepening the tone -with the second tint of black. The Cow, not having these black terminations, merely requires care in keeping to the outline. The Ground may be washed in with a paler tint of the bay colour, taking care to give it an agreeable form. PLATE X. This Plate merely requires care in keeping to the outline. The general colour being darker, the tint should be kept moderately strong, or the engraved shadows will appear too hard. PLATE XI. For the Cattle, a \exj pale tint of Yellow Ochre is required; if strong it looks unnatural, as the local colour tends to white. The shadow tint should be quickly passed over the under tint, or both will appear muddy. The Sheep require a stronger tint, as the local colour is yellowish, but must be paler in the nearer parts than at the edges. In the body of the Black-faced Sheep you may use any of the preceding colours for Sheep. The Payne’s Grey for the head and feet being of a cool tint, a warmer colour is added for the shadow, it being a rule in Colouring that cool tints are shadowed with warm, as well as warm tints with cool. PLATE XII. The Figures require care in keeping to the outline. The parts most in light are the palest ; the retiring parts alone receive the second tint. “ Light the colour, and shade dulls it.” The distinction between the colours of each pair of Figures represents the same object under two different effects of light. The whole of the left hand Figures being shown under a sunny effect, and those on the right hand under a cloudy or sombre aspect, the colouring of the Figure assumes a brighter or more sombre tone according to the aspect under which it is viewed, — thus developing the purpose of the “ Entire Landscapes,'' (Part YI.) to one of which each object belongs. INSTRUCTIONS FOR COLOURINO. Have plenty of colour in your brush — this keeps the tint clear. If the brush is too full, place it on a damp sponge, to take off the superfluous moisture. Pass the colour quickly over the work, and never re-touch ivhile ivet. The light side should never be touched again. The shadow side must be strengthened with a second tint ivhen the first is dry. Use a medium strength of colour : not so bare in the lights as to look poor, nor so full as to require the shadows to be heavy, and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect on the shadow side. Where the subject is broken off keep the broken edge faint; and in colouring the shadow side, leave off before you reach the broken edge of the under tint. Some of the colours when mixed (French Blue and others) require stining before you use them, or the mixture is not perfect. As a general rule, work from tbe light towards the shadow. SPECIAL INSTRUCTIONS FOR PART IT. PLATE XIII. Lay on the first tint clearly, and put in the markings for the Grass with thick colour when the first tint is dry. Treat the Broken Greens like the Foreground Trees, Plate V. PLATE XIV. The Faded Leaves are coloured as usual, taking care not to pass the outline. The first tint for the Banks and Hoads requires a full colour for the part in shadow, and paler for the part in light. When quite dry throw the Shadow quickly over the first tint, and take care to keep the cast shadows horizontcd. The shadow tint must be just strong enough to look positive, and not so strong as to look heavy. A weak cast shadow looks as if the sun were clouded, and too strong a shadow reminds us of moonlight. PLATE XV. The masses of light and shadow must be distinctly separated, but no attempt at leafing is necessary, as the trees are too distant for the leaves to be seen. For the same reason the general effect is more dim, the colour more grey, and the light and shadow less opposed, than in the Fore- ground Trees (Plates V., VI.). The Xearer Mountains belong to Middle Distance, and consequently more detail is there shown than in the Distant Foliage, although the effect of the atmosphere is apparent in obscuring the local colour of the herbage and giving it a bluish cast. The principal care required in treating this plate is in the light and shadow : the nearer hill in shadow is relieved against the more distant one in light. PLATE XVI. The Distant Mountains in Daylight require softness, and not too strong a tint, or they will come too forward and look hard. The Mountains in Sunhght are more sharply defined. The first tint is carried over the whole subject, and the shadow wash, if put on quickly and without disturbing the under tint, gives a luminous transparency to the whole. INSTEITCTIONS FOE COLOUEINa. Have plenty of colour in your brush — this keeps the tint clear. If the brush is too full, place it on a damp sponge, to take off the superfluous moisture. Pass the colour quichly over the work, and )iever re-touch ivhile ivet. The light side should never be touched again. The shadow side must be strengthened with a second tint when the first is dry. Use a medium strength of colour : not so bare in the lights as to look poor, nor so full as to require the shadows to be heavy, and so hide the engraving. In the fainter tints, keep the light side bare of colour, or there will be no effect on the shadow side. Where the subject is broken off keep the broken edge faint; and in colouring the shadow side, leave off before you reach the broken edge of the under tint. Some of the colours when mixed (French Blue and others) require stirring before you use them, or the mixture is not perfect. • As a general rule, work from the light towards the shadow. SPECIAL INSTEtCTIONS FOE PART V. PLATE XVII. The Sky tints must be laid in with a broad brush tolerably full of colour, and of a moderately strong tint. Too full a blue makes the Sky look heavy, but too weak a tint allows no contrast to the white Clouds. The paper should be slightly damped before beginning. All the colours in this plate being of a cool tone, care must be taken to avoid using too much red. PLATE XVIII. The tints in this plate are warmer, but great delicacy must be observed, or the colouring will be coarse and vulgar. It will be noticed that the source of light at sunset being low, the tints, after passing through red, become gradually cooler as they retire upwards, till the rich colouring given by the Sun fades into the azure of the upper Sky. PLATE XIX. Lay on the Sky tint as before, and while wet take out the shapes of the clouds with blotting paper, passing your nail quickly over the part. Then tint the Clouds slightly aU over except the high lights, and when dry strengthen the shadow parts, but stop short of the edge of the under tint, to give roundness. The Stormy Clouds require a broader treatment ; the edges may be left more abrupt and ragged, to imitate broken cloud. PLATE XX. The Sunset Sky tints are graduated. Beginning at the top, use the first colour to midway, and add the second with a clean brush while the first is wet, and so on down to the yellow. The lowest pair represent the appearance of the Sky after the Sun has sunk, when the density of the atmosphere is beginning to overpower the warm light still lingering about the horizon. The Cloud tints are more forcible than those used for the Sky in which they float, but care must be taken in the light Clouds to keep the force in the middle of the body, or the form will not be aerial and fleecy. A drier brush must also be used. The Horizontal Clouds having but slight gradation of light and shade, the edges are mucli more hard and firm than the feathery forms of the brighter clouds. r m -f .::M ' f!^c k/- 1$ .9/. T : ^ f ' i» Isi^; "5i? ♦y i?¥r: 5 tvv' t l'-i^^‘''i ■•/:, •■'j :!/"’' ^^■"^ |c^''-5:,#p'''f4 i* s:l:'^ror ? lo i;?-'; ' ' * I ■, ti - J iviin.' f . S» >j 3 T; , . i 5 ’ *f- • ■ . . ; • : i V: (■’ ^a ■!' 'i ■:0 ■ ^,- f. j ;'V' '•,, 'L .' V : ■ ■ • '•; V’ /'yr - '■ ■• ;. A- .'i^u it-;, (. - '-'j^’' ,1 •r-'* ■ k'. .. • ' . •'* ^ ,■- “I * ' 'fS.lv 'V 7 ' , :i-^' y ; ■ - V ' 1 /, / .- V>/. . „• ;f '■ ■ ■■ B :it?t !<■ ■ '' ■: • I'A, ^•'j’f.V i-’ * V. • .; ' *r.'.< :'■ '....^^'^•*■^-^ ^ ■ -^■♦'' M- " ' - !, ■ ' '"' ■ M. ^ '■ -t^-' >-" ! '..■I %■-' '■' :*r Ui':; •■•■'•'X!^ V ■ ' :4;" *• .'*!»,? •:•* -.-?. •• ..', u. • : ^ •- ■ -4; „i‘‘ , ■ ■ •‘\ ;, . .-tM 1 i . -’l*^ - ^ ■■ -1 ■( t' * , ... ; ' . . Xi.rcrt, ■■ ■ - "' ■'^ ■ ■ 'SS'.: " . ■ '"■■ ' • ” •'■'■'\’r«i - . ‘ 5 ^'' •" ■• . ,-'V"v..-. '. ••,■' •> ; KW.i ' ■ ■::vX:-^ .i‘“' .; .' ' , ' 4 '’''W v/'.i ' X :a 5 :' v-'fe ■ '; .‘i •> 4^ )X-4;,fX'xXA.>iV5;s,: -XX (.X-xf/ov! X.; -.■.: ‘X £/■ ■■'XXX-X ■;.> #r:-i >; >,;.: ..; v'/XV'’^'- X-X X'-. ■: ■ ■■■- ■tX !.J i > '■■;v "* T* 1 ' '■^' .*"_!.■• ' U. ■ r'^wA^jr, ;, V A Vy'’ '^-‘ • • X.'_ ; '/ i ■■.’■■> ,• ■ ' ■ ' . ./w'-'t. i rV'il ; ,T f jii.-./w-.; A, . ’■' --■ •' ' ">X, ■ X ’■■>^ X„'-.-'XX;‘"/ '•i >'■: 'rX ^ ' ' ■ ■ ‘ vX’,vX.;'r X "' A- ■ ., ; : * , ., •'■ ■„, ■■ 'X ' ji. ■' ■ •■'fJ X • . tH'S , ' ■ t ■■ ,' . ¥ •■. ■ - ,.^.. Plate I. (Applied in Plate^XXIII.) YELLOW OCBBB AND S.A1ZP BLACK. EAW OMBEB AND FBBNCH BLUB. 5 BAW CMBEE. 3 YELLOW OCHBE AND SEPIA. 7 BOBNT OMBEB, (Applied in Plate XXIV.) 4 YELLOW OCHBEj BEPIA, AND PAYHE’S OBEY. YBLLOW OCHBE, LIGHT BED, AND COBALT YELLOW OCHBE. Plate II. SHADOWS. VANDYK BROWN, PURPLE MADDER, AND TRENCH BLUE. LIGHT BED AND payke’s GBBT. IKDIAII BED A9D IKDIOO. INDIAH BED, BOMAH OOHBB, AND FBBHCU BLUE. lichjs, HJKNT sienna. IIGHT RED. IBOWR MADDEB. NDUN YELLOW AND lOWN MADDER. BURNT SIENNA AND PURPLE MADDER. INDIAN BED. LAMP BLACK AND LAKE. INDIAN BED AND ROMAN OCHBE. PURPLE MADDEB. INDIAN BED AND RAW SIENNA. (Applied in Plate XXIV.) SHADOWS. BUnNT SIENNA AND BROWN MADDER. UCHTS. YELLOW OCHRE AND INDIAN RED. (Applied in Plate XXIII,) *1 ’H i V- * •» '•>5 .4 '> ■ »...r V * ? , < ■ I .. w - v ^'' ‘<'1 Plate III. WOOD AND THATCH. THATCH. rURPLE MADDEPv. VANDYK BROWN. 2 BROWN MADDER payne's grey 6 TELLOW OCHRE AND AND AND 6EPIA- FRENCH BDUE. BURNT SIENISA. SEPIA. 3 BRbwpr MADDER. Payne’s quey AND LIOHT UEP. 7 TELLOW OCHBH AND BROWN MADDER. SEPIA AND rilOWN MADDER. 4 fiEPIA. INDIGO AND LIGHT RED. 8 VANDTK BROWN. .n n r \ f j i* i. "IMI , V 1 ' V r » '6 ♦ ,..f ' - ft .s V' I ' '• ft-^' • f V » r* :j J t yr 1 a«£i o w u i\WM.!t >» ■ » tl # '-i BUILDINGS Phie IV. PLASTER AND SLATE. plaster. yellow ochre AND BROWN MADDER. (Applied in Plate XXL) SLATE- LAMP BLACK. RAW U51BER. 6 F LAMP BLACK AND ROSE MADDER. YELLOW OCHRE AND LAMP BLACK. 3 FRENCH BLUB AND LAMP BLACK. RAW UMBER AND FRENCH BLUE. 7 SEPIA, LAKE, AND INDIGO. (Applied in Plate XXII,) YELLOW OCHRE, LAMP BLACK, AND ROSE MADDER. Payne's grey. ROMAN OCHRE AND LAMP BLACK. INDIGO AND LAKE. TREES Plate V. # J ■i t Plate VI. SOMBRE TINTS. HOMAN OCHRE, LAKE, AND INDIGH). PRUSSIAN BLUE, BISTRE, AND INDIAN YELLOW. ROMAN OCHRE, INDIGO, ROSE MADDER, AND COBALT. INDIAN YELLOW, VANDYK BROWN, AND INDIGO. (Applied in Plate XXL) If I a- I W;» f r ' , \ .VT W- V > • \ r % V A ir. '.1 TT-3»: V ' h I ^ » M fc »y, '7 \ i • ! ■ i n^-- >■- ;'f\ . t ^ ' < vn »7 •?i'' jfE ^ Jk . .A a TREES PkUe VII. AUTUMNAL HUES. 1 GAMBOGE AKD BROWB MADDER. 9 . RAW SIENNA AND INDIGO. 8 ROMASl OCHaa AND BnOWN MADDEn. 6 INDIAN TELDOW AND 60SE MADDER. 7 ITALIAN PIRH ARD tUDieo. (Applied in Plate XXII.) Plate VIII. TRUNKS AND BRANCHES I « BXOW» aAADDr.K. (Applied in ( Applied in Plate XXIII.) aSOW»I STAD»?!R ABD IBDIGO. BOaST filKNNA A»J> PRSSCH BLUB. (Applied in'^Plate XXI.) laniAH TELLOW, eUBMT PSBWNA, A!tp tSDt-QO. (Applied in Plate XXII.) BBOWh- M.'.DPt’n ANP fiBHA.' SBTIA hvr> PURPLE MADDEE. PATBs'e A «0 (.POBt BBP. 8 LAMP BLACK. .i.M> EOSf MADD3?* ■ , 1 • i ; 1 iV ■ v* ' ■.; '1 ", \ 'Jlf 4 ■i' , 0 IV ^ yif • • P I •/ •. •ff.' .tk • •.•«•'< . ,* • I '''' . > ii % ^ '• ' I ■: r ^- '.Mi 1 CATTLE. DARK BROWN AND BLACK. Plate X. f f 5 CATTLE & SHEEP Plate XI. LIGHT CATTLE. LIGHTS. 1 SHADOWS LIGHTS. 2 SHADOWS. TELI.OW OOHEB. COSAiT AND LIGHT BED. LIGHT BED. VANDYK BBOWS AKD PAYHE’S obey. SHEEP. I aOMAK OCHRE. (AppUed in Plata XXIII.) 4 COBALf AMD 54GHT BED. RAW OSSBER. 6 OOBALT AND OGHT BED, PAYKE’B GREY. FOR BLACK HEADS & FEET. 7 VANDYK BBOWM AND PAYNE’S GEBY. Payne’s obey. 8 Payne’s geey AND BROWN MADDER, FIGURES. Plate XII. teto— P russian Bi.uk rromers — B,AW Sienna. ?«<— Yellcw Ochre. 1 1 (Applied in Plate XXI.) 2 GENERAL TINTS. Flesh — Light Red. Shoes, <&c. — Sepia. J acket — Indigo. Trowsers-'V AVtuYV . Brown. Hat — Raw Umber. dp — V F.SMIBLION. ^ Frock, (fee.— S epia. Trotraers-VAHDTK Brown. Flesh — Indian Red. Cap — Indian Red. ’ Frock — Vandyk Brown. Hat — Vandyk Brown. Tackel—Bs.oWN Madder, r/’OM'swd— P russia 5* Brub. Flesh — Burnt Sienna. Eat, &e. — Sepia- J acket — Vandyk Brown. (Applied in Plate XXII J.) Bonnet — Olive Green. 'Frock — Brown Madder. Pinafore — PaYne’b Grey. Straw — Yellow Ochre. Flesh — Venetian Red. Bonnet, &c. — Sepia. Frock — Purple Madder. Pinafore — Payne’s Grey. (Applfjcd m Plo.te XXIII.) (Applied in Plate XXII.) Flesh — Brown Madder Shoes, dtc. — Sepia. Trowsers, &c. — Sepia Flesh — Burnt, Sienna. (Applied in Plate XXII.) 7 TrcHBsers—lttmao. Flesh — Indian Red. (Applied in Plate XXIV.) 8 (Applied in Plate XXIV.) Straw — Raw Sienn.i. Fksk—LiQHT Rep. 7 * u V‘ fc. i: a I - ¥ ■ ♦ ;M*’^ J^.t‘, itov ^i , «, - ■^• ' •< • \ • I ^ f i * » I FOREGROUNDS Plate XIII. PURE GREENS FOR HERBAGE. 1 OAUBOGB AND INDIOO. BAW SIBNNA AND INDIGO. (AppUed in Plate XXII.) INDIAN YELLOW AND INDIGO. 4 GAMBOGE AND COBALT. BROKEN GREENS. (Applied in Plate XXL) 6 BEOWN PINK. (Applied in Plate XXII.) 8 GAlfBOGE AND SEPIA. BAW SIENNA, LAKE, AND INDIGO. I I II !' iii 1 ^. ij li' Ij FOREGROUNDS Plate Xir. 9XUBOOE AMD BBOWN UADDXB. BAUBOOB AMD VANDTK BBOWN. INDIAN YBLLOW AND FDBPI.E HADBBB. BDBNT BIBNNA. BANKS AND ROADS. LIGHTS. XLLOW OCHRE. 5 SHADOWS. LIGHTS. LAMP BLACK BCBNT SIBNNA. AND LIGBT BED. 7 SHADOWS. PATHB’g e»BT. TELLOW OCHRE B vandyk brown. FRENCH BLUE AND BROWN MADDER. YELLOW OCHBR AND LIGHT BED. SB IPSA. DISTANCE FkUe XV. DISTANT FOLIAGE AND HERBAGE. 1 3 YBLLOW OCHKE, COBALT, AN» ROSE MADDER. ROMAN OCHRE, COBALT, AND ROSE MADDEB. (Applied in Plate XXI.) (Applied in Plate XXII.) NEARER MOUNTAINS. 5 7 COBALT AND BROWN MADDEB. COBALT, SEPIA, AND BROWN MADDEB. w DISTANCE. Pkne XVI. DISTANT NIOUNTAINS. 1 COBALT, NAIPLBS THLLOW, AND BOSE MADDER. 3 EBENCH BLUE AND LAMP BLACK. ' (Applied m Plate XXIV.) 2 COBALT AND BOBE MADDBB, 4 COBALT, INDIQO, AND BOSE KADDBE. . DISTANT MOUNTAINS LIT UP BY SUN. 5 LIGHTS. SHADOWS. ‘mLOW OCHSE AND ROSE MADDSE, COBALT AND BOSH MADDER. 1 i t j 1 7 LIGHTS. SHADOWS. YELLOW OCHBE AND INDIAN BED. COBALT AND BOSE KADDElt, 6 lUDiaoit YELLOW AND ROSE MADDER. COBALT AND EOSB MADDEB. > 1 ' (Applied in Plate XXIII.) 8 YELLOW OCHBB AND LIGHT BED. COBALT AND EOSB MADDER. SKIES Plate XVII. SUNNY SKIES. 1 3 COBALT. COBALT AND BOSE HADDEB. (Applied in Plate XXL) 2 4 COBALT AND FEENCH BLDE. COBALT, INDIGO, AND BOSE MADDEE. SOMBRE SKIES. 1 5 7 COBALT AND INDIGO. INDIGO AND EOSE MADDER. (Applied in Plate XXII.) 6 8 COBALT AND BEOWN MADDEE. INDIGO AND PDEPLB MADDEE. (Applied in Plate XXIV.) MSUI-IOL t SUNSET SKIES Plate XVIII. (Applied in Plate XXIII.) AZURE. COBALT AND INDIGO. COBALT AND PEENCH ELITE. PURPLE. COBALT AND PURPLE MADDER. COBALT AND INDIAN EED. ROSY. BOSE MADDER. BOSE MADDER AND INDIAN BED. YELLOW. YELLOW OCHRE. CADMIUM YELLOW. CLOUD S PLATE XIX. FINE WEATHER CLOUDS 1- COBALT AND LIGHT RED. Aj-c^-died irty Plate- XXI.J 3-COB..ALT AND MORE LIGHT RED. DARK & LOWERING. 3.- INDIGO AND LIGHT BED I.— INDIGO AND BROWN" MADDER. COLD GREY. b.- C OBALT AND LAMP BLACK . Ap.p. lied in Plate- XXII. 9.-FRENCH BLUE, SEPIA AND PURPLE MADDER . /^Aitj-died in Plate XXII. J S T O R IVI Y. 7.- INDIGO, L-AMP BLACK AND LAKE . ^ Ajijtlied. in, Plate- XXIV. 8.- TRENCH BLITE AND L.AMP BLACK. /^Applied in Plate XXIV. / SKIES — as vth Plalxi JiVII, con^esjcoiuhiruj ihvisifins PLATE XX SUNSET CLOUDS. (Applied in Phae A 1 1 / I PURPLE. CRIMSON. i ! I .'i— INOIAN KEn, GLA/.El) BOSE MAIAIEB. ! , .‘iki/— euttr. '/.vm, j A -BOSE MABBEU STBENOTHENEU B ITH LAKE Sh/J — Plnlr XV III, 4-, 6. GOLDEN. ' 7 INUUiO, t;OHAl,T, liHOVVN MADDI.B. T~ i Ski/.- PloUs XV!// 9 XV//. 7. M- r.AMl’ m.Al'K, IMIIU’I.E i\i M ) i )K H , C I Hi \ 1. 1 . \ i Sk/i -//,i/T.s XV/// .6 \ I V/ G.C Llh'MTtAH lt»(il«TON VsH.'- Pl,ATTi: XXI. E) S ^ I. y [D) IE [H A\ sy S^J ¥ EiF IFliy? Composed from the preeediii'g (fhjeets. INDEX TINTS OF COIOTJE. APPLICA.TIOK. PLATE. EIGEBE. BISTRE and Prussian Blue Sombre Tints for Trees . YI. 5, 6 BROWN MADDER . . . Bricks and Tiles in Light II. 3 3 > ... Thatch in Buildings III. 3 5 , ... Trunks and Branches of Trees YIII. 1 3 ? ... Dark Bay Horses and Cattle IX. 5 33 ... Jacket for Figure XII. 3 33 ... Frock for Figure XII. 4 33 ... Flesh for Fignre XII. 5 Bro-wn Madder and French Blue Thatch in Buildings III. 2 Brown Madder and Indigo Trunks and Branches of Trees VIII. 2 Brown Madder, Indigo, and Lake Black Horses and Cattle X. 4 Brown Madder and Sepia Trunks and Branches of Trees VIII. 3 33 35 • • Dark Bay Horses and Cattle IX. 7 BROWN OCHRE Autumnal Tint for Trees VII. 3 BROWN PINK Bright Tint for Trees V. 2 33 ... . Broken Green for Herbage XIII. 6 Brown Pink, Vandyk Brown, and Indigo Sombre Tint for Trees . VI. 4 BURNT SIENNA Bricks and Tiles in Light II. 1 35 ... Autumnal Tint for Trees VII. 4 33 ... Flesh for Sunburnt Face XII. 3, 6 35 ... Faded Leaves XIV. 4 33 ... Banks and Roads in Light XIV. Burnt Sienna and Brown Madder Bricks and Tiles in Shadow II. 1 55 35 Bay Horses and Cattle . IX. 1 Burnt Sienna and French Blue Trunks and Branches of Trees VIII. 5 Burnt Sienna and Purple Madder Bricks and Tiles in Shadow II. 2 Burnt Sienna and Payne’s Grey Shadow for Light Cattle and Sheep XI. 3, 5 BURNT UMBER Wood in Buildings III. 1 CADMIUM YELLOW . Sunset Skies .... XVIII. 8 33 ... Golden Clouds at Simset XX. 5 Cadmium Yellow and Rose Madder Distant Hills lit up by Sun XVI. 6 COBALT .... Daylight Skies XVII. 1 Cobalt and Brown Madder Nearer Hills .... XV. 5 33 33 • • Sombre Skies .... XVII. 6 Cobalt and French Blue Daylight Skies XVII. 2 35 jj . . Sunset Sky .... XVIII. 2 Cobalt and Indigo Sombre Skies .... XVII. 5 33 35 • Azure Sky at Sunset XVIII. 1 Cobalt and Indian Red Purple Sky at Sunset XVIII. 4 Cobalt, Indigo, and Rose Madder Distant Hills .... XVI. 4 Cobalt and Lamp Black Cold Grey Clouds XIX. 5 Cobalt and Light Red Shadows to Light Cattle XI. 1 „ „ . . Shadows for Sheep XI. 4, 6 55 35 • . Nearer Hills .... XV. 6 35 33 • ■ Fine Weather Clouds XIX. 1, 2 INDEX OF TINTS. COLOtTB. APPLICATION. PLATE. PI&tTEE. COBALT continued : — Cobalt, Naples Yellow, and Eose Madder Distant Hills .... XVI. 1 Cobalt and Purple Madder Sunset Skies .... XYIII. 3 Cobalt and Eose Madder Distant HiUs .... XVI. 2 ?? • * Shadow to Distant Hills lit up by Sun XYI. 5, 8 • * Daylight Skies XYII. 3 Cobalt, Sepia, and Brown Madder Nearer Hills .... XY. 7 FEENCH BLUE and Brown Madder Slate in Buildings lY. 2 33 33 Shadow for Banks and Eoads XIY. 6 French Blue and Lamp Black . Slate in Buildings lY. 3 33 33 • • Distant Mountains XY. 3 53 33 • • Stormy Clouds XIX. 8 French Blue and Purple Madder Slate in Buildings lY. 1 French Blue, Sepia, and Lake . Black Cattle and Horses X. 6 French Blue, Sepia, and Purple Madder . Cold Grey Clouds XIX. 6 GAMBOGE and Brown Madder Autumnal Tint for Trees VII. 1 33 33 • • Faded Leaves in Foreground XIV. 1 Gamboge, Indigo, and Cobalt Sombre Hue for Trees YI. 1 Gamboge, Burnt Sienna, and Indigo Bright Tint for Trees , V. 1 33 33 33 Broken Green for Foreground Herbage XIII. 5 Gamboge and Cadmium Yellow Golden Clouds at Sunset XX. 6 Gamboge and Cobalt . Grass Green for Foreground XIII. 4 Gamboge and Indigo . Ditto .... XIII. 1 Gamboge and Sepia . Bright Tint for Trees V. 3 33 33 • • Broken Gi’een for Herbage XIII. 8 Gamboge and Yandyk Brown . Faded Leaves XIV. 3 INDIGO .... Trowsers for Figure XII. 7 33 .... Jacket for Figure XII. 5 Indigo and Brown Madder Dark and Lowering Clouds XIX. 4 Indigo, Cobalt, and Brown Madder Slate-coloured Clouds at Sunset XX. 7 Indigo and Lake Thatch in Buildings III. 1 33 33 • Slate in Buildings lY. 8 33 33 ■ Manes and Tails of Bay Horses . IX. 1 , 8 33 33 • Black Cattle and Horses X. 3 Indigo, Lamp Black, and Lake . Stormy Clouds XIX. 7 Indigo and Light Eed Wood in Buildings III. 8 33 33 • • Lowering Clouds ' . XIX. 3 Indigo and Purple Madder Sombre Sky .... XYII. 8 33 33 • • Nearer Hills .... XY. 8 Indigo and Eose Madder Ditto .... XVII. 7 INDIAN EED Bricks and Tiles in Light II. 6 33 ... . Flesh for Figures XII. 2, 7 33 • ■ • • Cap for Figure XII. 6 Indian Eed and Indigo Bricks and Tiles in Shadow II. 7 Indian Eed and Eoman Ochre . Bricks and Tiles in Light II. 7 Indian Eed, Eoman Ochre, and French Blue Bricks and Tiles in Shadow II. 8 Indian Eed and Eaw Sienna Bricks and Tiles in Light II. 8 Indian Eed and Eose Madder . Crimson Clouds at Sunset XX. 3 Indian Eed, Eose Madder, and Cobalt Purple Clouds at Sunset XX. 1 INDIAN YELLOW and Brown Madder Bricks and Tiles in Light II. 4 33 33 Bay Horses and Cattle . IX. 3 Indian Yellow, Burnt Sienna, and Indigo . Bright Tint for Foliage . . . V. 7 33 33 33 Trunks and Branches of Trees YIII. 6 Indian Yellow and Indigo Grass Green for Foreground . . i XIII. 2 Indian Yellow and Lamp Black Bright Tint for Foliage . . . Y. j 7 Indian Yellow and Purple Madder Autumnal Tint for Trees VII. 1 5 33 33 Faded Leaves . . . . , XIY. 2 Indian Yellow and Eose Madder Autmnal Tint for Trees . . . YII. 6 Indian Yellow, Se]na, Indigo, and Cobalt. Sombre Hue for Trees . . . YI. 8 INDEX OF TINTS. COLOTJE. j APPLICATION. PLATE. EIGERE. INDIAN YELLOW continued : — Indian Yellow, Vandyk Brown, and Indigo Sombre Hue for Trees . VI. 7 ITALIAN PINK and Indigo Autumnal Tint for Trees VII. 1 7 LAMP BLACK Slate for Buildings IV. 5 Lamp Black and Lake Bricks and Tiles in Shadow II. 1 3 Black Cattle and Horses . X. i 5 Lamp Black and Light Eed Shadow for Banks and Eoads XIV. ! ^ Lamp Black, Purple Madder, and Cobalt . Slate-coloured Clouds at Sunset XX. I 8 Lamp Black and Eose Madder . Slate for Buildings IV. , 6 Trunks and Branches of Trees VIII. 8 LIGHT EED .... Bricks and Tiles in Light II. 2 ?>•••• Light-coloured Cattle XI. 2 Flesh for Figures XII. 1, 8 Light Eed and Brown Madder . Bay Cattle .... IX. 2 Light Eed and Payne’s Grey Bricks and Tiles in Shadow II. 6 NAPLES YELLOW (See Cobalt) .... XVI. 1 OLIVE GEEEN Bright Tint for Trees V. 4 jj . Bonnet for Figure XII. 4 Olive Green and Burnt Sienna . Bright Tint for Trees V. 6 Olive Green and Indigo Ditto .... V. 5 PAYNE’S GEEY Slate for Buildings IV. » ... Black Heads and Feet of Sheep . XI. 7, 8 ... Shadow to Pinafore XII. 4, 8 55 ... Shadow for Banks and Eoads XIV. 7 Payne’s Grey and Brown Madder Shadow for Sheep XI. 8 Payne’s Grey and Burnt Sienna Wood in Buildings III. 6 55 55 Shadow for Sheep XI. 3, 5 Payne’s Grey and Light Eed Wood in Buildings III. 7 55 >5 • • Trunks and Branches of Trees VIII. 7 Payne’s Grey and Yandyk Brown Black Cattle and Horses X. 7 55 55 Shadow for Light Cattle and Sheep XI. 2, 7 PEUSSIAN BLUE .Jacket for Figure XII. 1 55 ... Trowsers for Figure XII. 3 Prussian Blue and Bistre Sombre Hue for Trees . VI. 5 Prussian Blue, Bistre, and Indian Yellow Ditto .... VI. 6 PUEPLE MADDEE Bricks and Tiles in Shadow II. 4 55 • • ■ Thatch in Buildings III. 5 51 • ■ . Frock for Girl XII. 8 Purple Madder and French Blue Purple Clouds at Sunset XX. 2 EAW SIENNA Tint for Straw XII. 8 55 ... Ti’owsers for Figure XII. 1 Eaw Sienna and Brown Madder Bay Horses and Cattle . IX. 4 Eaw Sienna and Indigo Autumnal Tint for Trees VII. 2 55 55 • . Grass Green for Foreground XIII. 3 Eaw Sienna, Lake, and Indigo . Broken Green for Foreground Herbage XIII. 7 EAW UMBEE Tint for Stone . I. 5 51 • • . . Plaster in Buildings IV. 6 55 • • . . Tint for Shee 2 i XI. 6 55 • • . . Hat for Figure XII. 5 Eaw Umber and French Blue . Tint for Stone I. 6 55 55 . . Plaster in Buildings IV. 7 EOMAN OCHEE Tint for Sheep XI. 4 Eoman Ochre and Brown Madder Autumnal Tint for Trees VII. 8 Eoman Ochre, Cobalt, and Eose Madder . Distant Foliage XV. 3 Eoman Ochre, Indigo, Eose Madder, and Sombre Hue for Trees . VI. ‘ 3 Cobalt .... Eoman Ochre and Lamp Black . Plaster in Buildings . . . t IV. 8 Eoman Ochre, Lake, and Indigo Sombre Hue for Trees . . . ' VI. 2 Eoman Ochre and Vandyk Brown Tint for Sheeji XT. 5 INDEX OF TINTS. COIiOTTE. APPLICATION. PLATE. EIGEEE. EOSE MADDEE Eosy Sky at Sunset XVIII. 5 Eose Madder and Indian Eed . Ditto .... XVIII. 6 Eose Madder and Lake Crimson Clouds at Sunset XX. 4 SEPIA .... Wood in Buildings III. ‘3 }} .... Thatch in Buildings III. 4 3; .... Shadow to Frock for Figure XII. 2 33 .... Hat and Shoes to Figures XII. 1—8 33 . . Browsers for Figure XII. 6 33 .... Bonnet for Figure XII. 8 33 .... Shadow for Banks and Eoads XIV. 8 Sepia and Brown Madder Wood in Buildings III. 4 Sepia and Lake Dark Brown Cattle X. 1 Sepia, Lake, and Indigo Slate in Buildings IV. 7 33 33 • • • Black Cattle and Horses . X. 8 Sepia and Purple Madder Trunks and Branches of Trees VIII. 4, VENETIAN EED Flesh for F emale Figure XII. 4 VANDYK BEOWN Wood in Buildings III. 2 33 ... Thatch in Buildings III. 8 33 ... Dark Brown Cattle X. 2 33 ... Shadow to Frock XII. 6 33 ... Browsers for Figures XII. 2 ", 5 33 ... Hat for Figure XII. 3 33 ... Jacket for Figure XII. 7 Vandyk Brown and Lake Dark Bay Cattle IX. 8 Vandyk Brown and Payne’s Grey Shadow for Light Cattle and Sheep XI. 2, 7 Vandyk Brown and Purple Madder Dark Bay Cattle . ... IX. 6 Vandyk Brown, Purple Madder, French Blue Bricks and Tiles in Shadow II. 5 VEEMILION .... Cap for Figaire XII. 2 YELLOW OCHEE Tint for Stone I. 1 33 ... Light Cattle and Horses XL 1 33 ... Tint for Sheep XI. 3 33 ... Hat for Figure XII. ,1 ‘3 ... Tint fpr Straw XII. 4 33 ... Banks and Eoads in Light XIV. 5 53 ... Sunset Skies .... XVIII. ■ • 7 . . Yellow Ochre and Brown Madder Thatch in Buildings III. /S’ ‘ w-7 ■ 33 33 Plaster in Buildings IV. 1 Yellow Ochre, Cobalt, and Eose Madder . Distant Foliage and Herbage XV. 1 Yellow Ochre, Cobalt, and Light Eed Ditto .... XV. 2 33 33 53 Tint for Stone I. 8 Yellow Ochre, Cobalt, Indigo, and Indian Eed Distant Foliage and Herbage XV. 4 Yellow Ochre and Light Eed Banks and Eoads in Light XIV. 8 33 33 • • Distant Hills lit up by Sun XVI. 8 Yellow Ochre and Indian Eed . Bricks and Tiles in Light . ^ . II. 5 33 33 • ■ Distant Hills lit up by Sun XVI. 7 Yellow Ochre and Lamp Black . Tint for Stone I. 2 33 33 • • Wood in Buildings III. 5 33 33 • • Plaster in Buildings IV. 3 Yellow Ochre, Lamp Black, and Eose Madder Ditto .... IV. 4 Yellow Ochre and Payne’s Grey Ditto .... IV. 5 Yellow Ochre and Eose Madder Distant Hills lit up by Sun XVI. 5 Yellow Ochre and Sepia Tint for Stone I. 3 33 33 • • Thatch in Buildings III. 6 33 33 • • Plaster in Buildings ... IV. 2 Yellow Ochre, Sepia, and Payne’s Grey . Thatch in Buildings I. 4 Yellow Ochi’e and Vandyk Brown Banks and Eoads in Light XIV. 6 '■ • ;;.P i: nr’ • ’ , vr . V=S — ^ — =. . iliil GETTY RESEARCH INSTITUTE 3 3125 01047 4753