The art of landscape painting in water colours, by T. and T.L. Rowbotham |
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affords Antwerp Blue artist bright brilliant Brown Madder Brown Pink brown sable Burnt Sienna Cadmium Yellow Cake Box camel hair Carmine Chinese White clear containing Gamboge CRAYON Crimson Lake CUMBERLAND LEAD drawing board Drawing Paper DRAWING PENCILS effect Emerald Green employed flaw foliage foreground French Blue Gallstone give gray HALF CAKES Harding's Imperial Indian Red Indian Yellow Indigo Italian Pink LANDSCAPE PAINTING Lemon Yellow Light Red Madder Brown Madder Lake MADDER ROSE manufacture middle distance mixed Moist Colours MOIST WATER COLOURS Naples Yellow Neutral Tint objects Olive Green orange outline painter permanent picture pigment PINK IVORY prepared Price Prussian Blue Purple Lake RATHBONE PLACE Raw Sienna rich Roman Ochre Rose Madder Scarlet Vermilion Sepia shade shadows skies SOLID SKETCH BOOKS sponge surface thick tone transparent tree Ultramarine Vandyke Brown warm Water Colour Painting WHOLE CAKES WINSOR & NEWTON Yellow Ochre دو
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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 12 - It is inflexibly permanent, and washes and works well. Mars Orange. — A very clear and beautiful orange, of the Burnt 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. Very permanent. 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...
Page 13 - 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 9 - ... transparent yellow gum, highly useful in every kind of subject. In landscape, it affords, with Indigo or Antwerp Blue, clear bright greens ; and with Sepia a very useful sober tint : in its very deep touches it shines too much, and verges on the brown. Yellow Ochre. — This sober and useful yellow is generally employed in the distance and middle ground of a landscape ; it possesses a slight degree of turbidness, and is esteemed for this property, which is considered to give it a retiring quality....
Page 14 - It is quite permanent. art. It is clear in its pale tints, and deep and warm in shadows. With Indigo it gives very clear, sober, neutral greens, for middle distance. Permanent. Sepia. — Unless artificially warmed by mixing other colours with it, this pigment is of a pale brown tint. Its pale washes are extremely clear, but its colouring property is so very strong, that, unless used with caution, it is apt to engender heaviness in the shadows.
Page 13 - LIQUID OX GALL. This limpid extract of Gall possesses all the strength and properties of the Gall as it is usually sold in the paste state, but is deprived of its unpleasant qualities. PRICE Is. THE BOTTLE.
Page 15 - The ink is a rich brown fluid, and, as its title imports, is indelibly fixed on the paper as soon as it is dry ; thus allowing the artist to work or wash over it repeatedly, without its being disturbed. If diluted with water to its faintest tint, it still continues to possess its indelible qualities undiminished. It is generally used with a reed pen, and employed principally in architectural details and outlines.
Page 28 - In working details, the brush, after it is filled with colour, should be drawn over a piece of paper provided for this purpose, to bring the hairs, if necessary, to a point, that the markings may be made with neatness and precision ; and in laying flat washes, some attention is necessary to prevent a blotty appearance, which sometimes is caused by the overcharging of the brush with colour. In such cases, the brush, being only moderately filled, should not, after covering the space intended, have...
Page 35 - The difference observable in the representation of foliage, as painted by various artists is very considerable. In fact, it may be said that no two persons ever painted a tree with precisely the same feeling. Some artists employ the colour as wet as possible, and merely blot the forms of the trees in, mingling light and shadow together, and trusting to the lights intended to be taken out by the handkerchief, when the work is dry. Others work in a manner altogether different. They employ their colour...
Page 6 - Eagle brush is very large and expensive, and is seldom used. The Duck and Crow sables are employed for delicate markings; as in branches, foliage, and architectural details. Very pleasant and agreeable brushes are now made with German silver ferrules; heavier indeed than the quill brushes, but exquisitely made, and much employed for many purposes.