The art of landscape painting in oil colours [by W. Williams].

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Page 26 - ... being softer. Asphaltum is principally used in oil-painting ; for which purpose it is first dissolved in oil of turpentine, by which it is fitted for glazing and shading. Its fine brown colour and perfect transparency are lures to its free use with many artists notwithstanding the certain destruction which awaits the work on which it is much employed...
Page 29 - The linseed, poppy, and nut oils are the fixed oils used as vehicles; turpentine and occasionally spikelavender are the essential oils so used. Of the fixed oils, linseed is in most common use. It should be of a pale amber colour, transparent, and limpid; and, when used in moderately warm weather, it should dry in a day. The most valuable qualities of linseed oil, as a vehicle, consist in its great strength and flexibility. It is by far the strongest oil, and the one which dries best and firmest...
Page 17 - The reason is that they throw a light, and consequently a transparency, through the work ; and, as all colours in oil painting have a tendency to sink into the ground on which they are laid, and to become darker, this tendency can be counteracted only by having grounds of considerable lightness and brilliancy. Cold grey grounds have been used in landscape painting ; but they impart a heaviness of colouring much to be avoided. Some artists have painted on grounds of a dull red, or leather-coloured...
Page 10 - If this dressing with oil be thoroughly effected, and the palette be then suffered to dry till it becomes hard, the wood will subsequently not be stained by the absorption of colour. A palette thus prepared is easily cleaned, and presents a hard and polished surface, exceedingly agreeable for the preparation of tints. It is important to keep the palette free...
Page 24 - Cobalt Blue.— This is a pure light azure, affording clear bright tints in skies and distances. With Light Red it gives beautiful cloud tints, with Madder Brown it affords a range of fine pearly neutrals. Cobalt has not the depth and transparency of Ultramarine ; but it is superior in clearness and beauty to other blue pigments.
Page 22 - ... the edges of the uppermost surface. • Winsor and Newton's Solid Sketch Books are all made of stout and extra thick Drawing Papers, as being better adapted for Water Colour Painting than the ordinary papers generally used. A large stock and great variety are constantly kept, containing the papers...
Page 59 - The greens which French Blue would give, when mixed with Naples Yellow, or with Yellow Ochre, break and are subdued by the use of Madder Lake, or sometimes by Light Red ; more or less White being mixed with it, where it is required to gain an atmospheric tint. In painting trees, it will be necessary to make the extremities of the branches more tender in colour than their middle parts ; and by letting the light be seen through various portions, great thinness and beauty may be attained, and thus that...
Page 27 - It is however occasionally of value, if discreetly used, in the drapery of a foreground figure, where a bright green may be demanded; or in a touch on a gaily painted boat or barge. It is permanent both in itself and when in tint with white. Brown Pink.—This is a rich transparent olive, inclining sometimes to green, and sometimes towards the warmth of orange.
Page 13 - BOTTLE. INDELIBLE BROWN INK, FOR OUTLINES OR FOR SKETCHING. This rich and permanent Ink is found to be of great service to the Architectural Artist, as the outline, or ornamental design, drawn with it (even if the Ink be diluted with water to the palest tint), cannot, when dry, be effaced by continued washings.
Page 30 - Megilps. — The vehicles known by this name are in great favour with artists. They possess a gelatinous texture, which enables them, while flowing freely from the pencil, yet to keep their place in painting and glazing. The megilp generally in use is formed by mixing together equal parts of strong mastic varnish and drying oil.

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