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) (14597121398).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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inced pupil must exercise great caution in order to leave convex such portions as are intended to be prominent; and retaining this in mind at the commencement of his practice, he will soon be enabled to overcome the difficulty caused by this tendency. In Example 3,showing a loose or scattered foliage, the above observation applies with still greater force ; for as each leaf, or group of leaves, is complete in itself,the preservation of the convexity of the outline is indispensable. When the foliage is thin and much scattered, as that of the birch, it is better to draw the tree in the first instance with its branches and twigs complete, afterwards adding the leaves in their proper places. In Example 4,the light parts are relieved cool upon a warm ground, and in this and the three preceding examples the sun is supposed to be behind the spec-tater, a little to the left—this being the easiest position in which to portray the effect. Owing to the disposition of the light, or the cool local colour. Understanding of warm and cool colours
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