File:The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts (1871) (14597040300).jpg

Identifier: theorypracticeof00barn (find matches)
Title: The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts
Year: 1871 (1870s)
Authors: Barnard, George, 1807-1890
Subjects: Landscape painting Watercolor painting
Publisher: London : George Routledge & Sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ed with equal force all round the linesdelineating such objects, as this would give them the unnatural appearanceof being cut out. The general effect being gained, the sky surrounding theobjects crossing it should be left undefined, unless it be desirable to makeone more conspicuous than the others, when the strongest light may bebrought into contrast with this object. A very agreeable effect is sometimesgiven by showing light clouds behind the stems or branches of trees; butthis must not be often repeated; as if so, it becomes unnatural and tricky.Chinese white in a pure state is rarely used even on the brightest object;to give it a sunlight appearance a little warm colour should be added. Rawsienna, having a rich sunny character, is very suitable for this purpose.The mode of adding the lights hi the foreground can be slightly varied byusing the pigment rather drier and more opaque, and by dragging the brushcharged with it, over the surface, so as to leave it unequal; thus increasing
Text Appearing After Image:
ON THE USE OF TINTED PAPERS. 67 the effect of roughness and variety in the texture. Lights on those parts ofold stone buildings, rocks, &c, which have the sunlight strong upon them,or come against the edge or shadow, may be painted with fulness anddecision, and afterwards softened by the process of dragging the brush side-ways, or partly removed with a sharp knife. The more delicate forms ofclouds or tones in the sky may, in like manner, be softened or subdued byrubbing bread. When only a slight modification of the tint of the paperis required, and a little increase of tone not objectionable, a wash ofsome warm colour without the white may be passed over the part to bealtered; but this should be done with caution, so that its influence mayscarcely be perceived. Used in the way above .indicated, tinted papers are of great serviceto the artist, who, however, while having recourse to them, must be carefulto guard against the abuse of colours in this form of practice. As a generalrule

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