The Art of Landscape Painting in Oil Colors

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Winson & Newton, 1883 - Landscape painting - 63 pages
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Page 11 - Easel. — The easel is a frame which supports the painting during its progress. Easels are of various forms ; but the most convenient is undoubtedly the rack-easel, which allows the painter to raise or lower his work with speed and convenience, as occasion may require. The commoner and cheaper kinds are supplied with pegs for this adjustment of the height of the work. It is desirable that the easel should stand firmly, and not be liable, as is too...
Page 10 - ... greater space for the working of tints, as well as for their advantageous arrangement. Wooden palettes should be prepared for use by rubbing into them as much raw linseed oil as they can be made to imbibe. 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...
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 12 - Of these the most useful are the hog-hair, sable, and badger brushes. The black fitch and white goat-hair are but seldom used, as the sable and hog tool will effect all that can be done by the former. Nothing can be superior to a well-made, fine, white bristle tool, in larger work ; or to a good red sable for details. Hog-hair Tools. — These brushes are made both round and flat. Flat hog-hair are generally more useful than round ones ; they are preferred, as assisting in giving a squareness and...
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 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.
Page 11 - It is usually formed of cane or of lance-wood, and it should be light, yet firm. The lower end of the stick is held in the left hand, while the upper extremity, which is covered with a soft round ball or pad of leather, to prevent injury, rests on the canvas or some other convenient support.
Page 21 - Is a bright transparent yellow, a difficult drier, and liable to be destroyed by light. It affords beautiful foliage tints, and would, if it could be depended on, be of extreme value in what is called
Page 47 - Lastly; a mode of aiding the finish is, by passing over a portion of the work with light delicate tones, which are left only on the projecting touches of texture objects. This operation must be done carefully and dexterously, with a light hand, holding the brush so loosely as to permit the somewhat thick colour, with which the brush is charged, to adhere partially to those projecting points of the picture with which the hair thus gently comes in contact. This manipulation is called "dragging...
Page 29 - 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 under proper management. The next in importance is poppy oil. It is inferior in strength, tenacity, and drying, to linseed oil...

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