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) (14597119398).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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care the firstupright and horizontal lines. He then divides each side into five; andwhen lines are drawn from these points intersecting the whole, he findshe has twenty-five diamond forms to fill up. For this purpose he usescake-colours. He is also careful that he gets pure genuine pigments, eachbeing a good type of the colour of the pigment; for they not only differprepared by different colourmen, but even from the same house at varioustimes. Thus yellow ochre is sometimes dull and heavy enough for Eomanochre; sometimes tinged with citrine, so as to be like raw sienna. Cad-mium sometimes too much resembles chrome; it should be far moreluminous for its strength. Eed, again, may be too yellow, too much likelight red. Hose madder will appear pink, and very opaque and feeble. Allthese differences he will study. Having rubbed up a small quantity ofeach pigment of the same degree of consistency in saucers, he fills hisbrush with lemon yellow No. 1. As he cannot get the full strength of the
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DESCRIPTION OF PLATES. 135 concentration of this or any of the other examples at once, he must leave itto dry, and proceed with Nos. 4, 5, 6, which do not touch the first; thenhe takes the next row but one, raising a row each time to avoid their run-ning into each other. When he has obtained the full strength he observesin the examples, he proceeds to finish them, by dappling on,in some such manner as this, small strokes of pure intense Acolour, until he brings the last touches to somewhat the /appearance of tin- pigment in cake; but lie must tlnii /;•;he has a colour, even in the darkest part, and each must be ^HHHrknown and felt as very differenl from black This dappling MaMrhas been explained in other places; it is an excellent mode ▼of obtaining an increase of power without opacity, the eye passing throughthese little flakes or films of colour with great pleasure. Plate 5. Chalk-drawing on Tinted Papers.—Described in the Sectionon Paper, p. 67. Plate 6. On the Handling of th

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