Identifier: gri_c00033125010497473 (find matches)
Title: The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of a master : being the only work of the kind in which the principles of effect are explained in a clear, methodical, and at the same time familiar style
Year: 1827 (1820s)
Authors: Smith, Thomas, watercolorist Sherwood, Gilbert & Piper, publisher Clowes, William, 1779-1847, printer
Subjects: Drawing Watercolor painting Color
Publisher: London : Printed for Sherwood, Gilbert, and Piper, Paternoster-Row
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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zontal lines of lakeand blue, whilst the dark shades of the waves are put inwith No. 10, and the lighter ones with No. 12. No-thing more remains than to put in the dark shades of thelarge stone in the left-hand corner, as well as of thesmaller ones along the shore, and to touch up the roadand rock, all of which may be clone with a strong tint ofVandyke brown. The birds may be done with neutraltint. The next subject consists entirely of sea, without anyland. The blue of the sky must be made of No. 2, laidon very strong in the right-hand corner, growing paleras it approaches the edges of the white clouds, whichmust be left in ragged irregular forms, such as are com-monly seen after a storm: these clouds may be shadedwith No. 4. The sea, where it comes against the hori-zon, is made of a strongish tint of indigo and lake,making it still stronger by changing it into a deep neu-tral tint when it approaches the white foam of thewaves. This tint will require to be done two or three ^Wc HiuBBH
Text Appearing After Image:
■ %!*£ ON MARINE DRAWING. 71 times before sufficient strength can be obtained, andcare must be taken that the left-hand side be madedarker than the right. The nearer waves must betinted with a mixture of raw umber and indigo, chang-ing occasionally into a cooler and warmer colour, whilstthe foam may be imitated by dragging the brush nearlydry lightly over the white paper, in such a manner thatonly the little eminences shall take the colour: for thispurpose a rough-grained paper is much better than hot-pressed paper, which ought never to be used for land-scape painting. The first tint of the boat and masts ismade of burnt sienna; the first tint of the sail is madeof yellow ochre, with which also the stripes on one ofthe sailors jackets are done, the stripes on the otherman being made with Prussian blue; the shade side ofthe sail must be made with No. 21. The distant ves-sels may now be laid in with neutral tint No. 5, andshaded with the same, after which the waves must befinished wi

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