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) (14783426662).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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uction of granulation by scraping outwith a razor, and then touching down the lights thus obtained, gives anentirely different character to the tones ; and by these means the distancesare preserved without resorting to strong oppositions, either of colour orlight and shade. The first tints of rocks will often appear too dark; for, being put inbefore the loose foliage, grass, or the other tints surrounding them, theyare contrasted with the white paper alone; but when the shadows of thetrees, &c. are added they appear much lighter. By putting in largemasses of colour with boldness, feebleness and dryness of style are avoided,the general effect is at once produced, and great breadth is the result. Theshadows and markings should, when the first tint is dry, be done withtransparent colours, sometimes warmer and occasionally cooler than thefirst. Thus, over a cool gray rock of Indian red and indigo, tints represent-ing the moss, or any of the warmer portions, may be laid on, composed of
Text Appearing After Image:
ROCKS. 197 raw sienna and brown madder, or Indian yellow and Vandyke brown, orbrovm pink. Care, however, should be taken to avoid blackness and cold-ness in making these additions. Should the shadowed side appear to wantreflected light, a portion of the first colour may be rubbed off, and someother warm and transparent or semi-transparent colour added. All these delicate variations cannot be produced at first, for the result ofsuch efforts would be only feebleness and thinness. The fissures and mark-ings are now to be put in, producing firmness and crispness in the outlinemore by bringing up one tint with a decided edge against another than byany strong line, which looks artificial. If these markings, clefts, and fissurescan be introduced, having in them variations of light, shade, and colour, aswell as reflected light, great truth in the detail will be given, the breadthremaining uninjured. The final touches, comprising the putting on of lighttones or smaller patches, with body colou

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