Book Description

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1828 edition. Excerpt: ...on the hill is a little yellow, mixed with the tint to give it a greenish hue." The sky and back ground are now finished. The gable end of the house is put in shade with neutral tint, formed with blue and indian red; with this tint the dark shadow under the roof is laid in, likewise the windows, leaving the frames white; the chimney is put in shade with the same tint. When this is dry lay a tint of yellow ochre on the front of the house, at the edge next the sky, and then change it by adding a little red, and in other parts a little grey. It is this imperceptible change of colour on the surface of old buildings, that makes them such excellent subjects for picturesque drawings, and the effect will be easily produced after a little practice. These changes are effected while the colour first laid on is wet, so that they blend and soften into each other. The colour of the road is formed with indigo, lake, and raw umber, in the distance; in the centre, lake and raw umber; and in the foreground, raw umber alone. These tints must be changed in due gradations, in the same way as those on the front of the house. The grass in the middle ground, where the figure stands, is prussian blue, gamboge, and indian red. The grass and foliage on the bank, at the side of the house, blue and gamboge. The first tint on the tree m burnt sienna and indigo. The figure is coloured with lake and bli Observe, all the tints laid on in Fig. 1. are fiat, without any attempt at shade; that is reserved for the finishing tints. Fig. 2. is the same subject continued, and finished by adding the deep shadows. The sky will not require any touching; the distant hill, toward the bottom, is darkened with a tint of indigo and lake. When this is dry, the forms of the small...