The art of miniature painting

Front Cover
Winsor and Newton, 1852
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Page 18 - Purple Madder. — An intensely deep, rich, and warm purple, affording the greatest depth of shadow, without coldness of tint. The clearness and beauty of its delicate tones render it valuable in every stage of a drawing. With Indigo and Raw Sienna it gives beautiful shadow tints.
Page 17 - Sienna character, but without that tendency to brown which distinguishes the latter ; it is consequently valuable in its pale wash for bright sunny tints, and is unequalled for clearness of tone.
Page 17 - ... green. Beautiful as this colour is, it is not so well calculated for mixed tints as many other blues, on account of a gritty quality of which no grinding will entirely divest it, and which causes it to separate itself from other colours with which it...
Page 15 - Venetian Red is a very serviceable colour for general purposes ; its tints, though not bright, are clear, and it mixes and works kindly with Cobalt or with French Blue, affording fine pearly greys. Heightened by Madder Lake, it affords a fine glowing red, very serviceable in some descriptions of skies ; and saddened by blacks, gives low-toned reds of good quality for buildings. Indian Red.
Page 15 - Carmine. — A very brilliant, deep-toned crimson, possessing great power in its full touches, and much clearness in its pale washes, although in this latter quality not equalling Madder Lake.
Page 16 - Scarlet Vermilion has properties the same as the above, with the exception of being a little more scarlet in its tint, and washing better. Orange Vermilion.— Rather more transparent than the other two, with a clear but not bright orange tint ; it washes better than the other descriptions...
Page 18 - It forms a soft shadow colour with Blue; alone it may be used to lower red curtains or draperies, and for the darkest touches in flesh.
Page 48 - It is the background which forms the picture, and its use is not merely to throw out the principal object, but by its tone and colour to control and harmonize the whole.
Page 33 - The upper lip being almost always in shadow is both darker, and less bright in colour, than the lower lip ; but as these reds will lose somewhat by time, they may be painted a little brighter in colour than they are in nature, to allow for this loss.
Page 18 - Madder Brown. — This rich lakey brown is, if prepared with skill, of intense depth and transparency, affording equally the richest description of shadows and the most delicate pale tints. With Cobalt, or with French Blue, a set of fine warm or cool greys are compounded, in proportion as the brown or the blue predominates.

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