LESSONS IN FIGURE PAINTING IN WATER COLOURS. Lessons in Figure Painting IN Water Colours. SIXTEEN COLOURED PLATES FROM DESIGNS BY BLANCHE MACARTHUR {Medallist, Royal Academy, 1877, /or the Best Painting 0/ a Head from Life), AND « JENNIE MOORE (Medallist /or a Drawing /rom the Antique). WITH SPECIAL INSTRUCTIONS BY THE PAINTERS. Cassell, Petter, Galpin & CO.; LONDON, PARIS &* NEW YORK. [all rights reserved.] Digitized by the Internet Archive in 2014 https://archive.org/details/lessonsinfigurepOOmaca HELPS TO THE STUDY AND PRACTICE OF PAINTING IN OIL AND WATER COLOURS, &c, Published by Cassell 8f Company, Limited, Marine Painting . By Walter W. May, R.I. With Sixteen Coloured Plates. Crown 4 to, cloth, 5s. Figure Painting in Water Colours. With Sixteen Coloured Plates from Designs by Blanche Macarthur (Medallist, Royal Academy, 1877) and Tennie Moore (Medallist for a Drawing from the Antique). With Full Instructions by the Painters. 7s. Oil. China Painting* By Miss Florence Lewis. 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With Twenty-four Plates from Designs by R. P. Leitcu. The Letterpress to each Plate contains Full Instructions to the Learner, and the Plates show the progress of the work through its different stages. Oblong 4to, cloth, price 5s. Sketching from Nature in Water -Colours. By Aaron Penley. With Illustrations in Chromo-Lithography. Super-royal 4to, cloth, price 15s. Landscape Painting in Oils, A Course of Lessons in. By A. F. Grace, Turner Medallist, Royal Academy. With Eight Reproductions in Colour after Turner, Constable, Da Wint, Midler, F. Walker, Mason, and A. F. Grace ; and numerous Examples engraved on Wood from well-known Pictures. £1 5s. Cassell & Company, Limited, Ludgate Hill, London; Paris & Melbourne. 890 Qeneh^ Inflictions THE DRAWING. 1. — In drawing a subject which is afterwards to be painted in water-colours, a soft pencil should be used, so that in case of alteration being needed, the marks may be rubbed out without injuring the surface of the paper. When the general proportions and position of the figure seem to be correct, a harder pencil may be used, and with a fine point the delicate drawing of the features should be put in, particular attention being directed to those parts which give the expression, such as the corners of the the mouth, nostrils, the eyes, and the shape of the eyebrows. THE COLOURING. 2. — Lists of colours are given with each of the follow- ing examples which will produce the right tints for copying them, but it is not absolutely necessary to have exactly these colours to produce the same effects. For example : Sepia, mixed with a little Burnt Sienna, might be substituted for Vandyke Brown ; Sepia, mixed with Lake or Rose General Instructions. Madder, for Brown Madder : Raw Sienna may be used instead of Yellow Ochre. The effect would not be quite the same, but if it were impossible to get the specified colour, the substitute might well be used. It is advisable to practise mixing different colours to produce the same effects, as it is only by experience that a thorough knowledge of all the properties of the colours can be obtained. 3. — Any tint of Grey may be formed by the mixture of Red, Blue, and Yellow. Red and Blue make a Violet colour, Blue and Yellow make Green ; therefore, if the Grey desired be of a Violet tint, the Red and Blue must be used in larger proportions, with a little Yellow only ; if a Greenish Grey be required, then the Blue and Yellow must predominate, and the Red be used very sparingly ; and if quite a neutral Grey be wanted, the three colours should be used in nearly equal proportions. 4. — If the colour should at any time look too dark and heavy, a very good effect will be produced by washing the part which requires lightening with a little pure water, and dabbing it with a piece of rag. This sometimes will produce a better effect than if the colour had been put on the right depth at first. General Instructions. 5. — Always try to avoid dotting or stippling in the colour with a fine point, as drawings worked in this way, although they may look well when placed just in the light in which they were worked, yet, when turned in the opposite direction, will have the spotty appearance which it was your aim to avoid. The reason is this : — - All water-colour paper has a certain grain or roughness ; therefore, if you work with the light coming in on the right-hand side of the picture, the light will catch on the right-hand side of each of these little elevations of the paper, and there will be a shadow cast from each towards the left. Should you then feel uneasy about the uneven appearance of the paper, and begin stippling, you will probably dot on each of these little lights with a darker tint. The paper will then look tolerably smooth. But if the drawing be turned round with the light on the left, the light will catch on the side which was before in shadow, and where you have put no tint, and each of the elevations will cast its shadow to the right-hand side, where you have already put a darker tint. There- General Instructions. fore there will be not only a shadow, but a darker colour also to contrast with the light on the other side. Accordingly, stippling is to be avoided. The best mode of putting the colour on is in washes. The best position for your paper is that in which it faces the light. 6. — While copying, you should frequently put your drawing side by side with the original, and look at both from a little distance, that you may see if you have the general effect of light and shade correctly. For instance, in the example, " An Old Salt," the eyebrows overhang the eyes so much that the upper eyelids are all covered by the shadow, but yet if you were looking at the eye- lids alone, you would see that they look light compared with the dark marking above them, and you would most probably get them too light. The same remark applies to the reflected light on the nose, which is certainly light compared with the shadow, but when compared with the full light, is quite a shadow tint. Any faults in this respect may easily be found out and corrected by looking at both drawings from a distance. Blanche Macarthur. CONTENTS. Norwegian Haymaker. By Blanche Macarthur . 10 An Old Salt „ 12 Approaching Footsteps ,, 14 The Muslin Cap. By Jennie Moore ......... 16 Hands and Feet „ ,, 18 Girl with Basket ,, . 20 Boy's Head ,, ,, 22 Girl Knitting „ „ 24 B IO Figure Painting Book. HoRWEQI/JM HAYJVIAKER. By Blanche Macarthur. THE DRAWING. Refer to paragraph i, General Instructions, and in addition no:ice that as the face in this example is young, the pencil markings should not be very strong or decided. Pay particular attention to the drawing of the hands before commencing the painting. THE COLOURS. Eleven colours are used in this example, viz. : — YELLOWS. REDS. BLUES. BROWNS. 1. Yellow Ochre. 3. Scarlet Vermilion. 7. Cobalt. 9. Burnt Sienna. 2. Pale Cadmium. 4. Rose Madder. 8. Indigo. 10. Vandyke Browh 5. Light Red. ii. Brown Madder 6. Crimson Lake. THE UNFINISHED EXAMPLE. 1. — Put in all the principal shadows and the hair with Cobalt and Light Red mixed, — a little darker than you would at first imagine they should be, as, when first put on, they always look darker in contrast with the pure white paper • but when the other colours come they seem to diminish in force. Let these shadows dry. 2. — Put a wash of Yellow Ochre and Rose Madder over the face, neck, and hands. Vandyke Brown on the hair, leaving for the lights the under-tint of Cobalt and Light Red. A wash of Pale Cadmium under the red jacket and cloth twisted round the hair. Cobalt and Pale Cadmium for green trimming on jacket, with Indigo, instead of Cobalt ? in the darker parts. Cobalt for band and strings of apron. A mixture of Yellow Ochre, Light Red, and Cobalt for general under-tint of apron. Then a wash of Vermilion mixed with a little Rose Madder or Crimson Lake over the Yellow for the red drapery. Figure Painting Book, ii THE FINISHED DRAWING. Work separately Cobalt, Rose Madder, Vermilion, and Yellow Ochre on the face, not in fine scratchy touches, but as small washes, so that one pure colour may overlap another. By this means beautiful grey tints and much transparency will be obtained (see paragraph 5, General Instructions). The shadows on the white drapery will be formed of combinations of Cobalt, Light Red, and Yellow Ochre. The deep shadows of the red jacket with Brown Madder and Lake. The stripes in the skirt with Lake, Burnt Sienna, and Cobalt, used separately. Blanche Macarthur. 12 Figure Painting Book. An Old $/\lt By Blanche Macarthur. THE DRAWING. Proceed according to directions given in General Instructions ; the only- difference being that, as the face in the present example is old and rugged, the pencil lines may be firmer and darker. Notice also the angular drawing about the eyes and eyebrows, and the sunken appearance of the upper lip. THE COLOURS. Eleven colours are used in this example, viz. YELLOWS. 1. Yellow Ochre. 2. Raw Sienna. REDS. BLUES. 3. Light Red. 7. Cobalt. 4. Scarlet Vermilion. 8. Indigo. 5. Rose Madder. 6. Crimson Lake. BROWNS. 9. Raw Umber. to. Vandyke Brown. [i. Brown Madder. THE UNFINISHED EXAMPLE. 1. — Put in the principal shadows strongly with Cobalt and Light Red mixed. When these are dry, a wash of Raw Sienna, mixed with a very little Rose Madder, over the face ; a wash of Yellow Ochre under the red cap ; a wash of Yellow Ochre mixed with Light Red under the blue jersey. Next get in the Grey tints on the hair and beard {see paragraph 3, General Instructions). 2. — When these washes are dry, put in some of the red tints of the face with washes of Rose Madder and a little Vermilion ; a wash of Vermilion with a little Lake over the cap ; a strong shadow of Brown Madder on the jersey under the beard, and when this is dry a wash of Indigo all over the jersey. Figure Painting Book, THE FINISHED DRAWING. Begin to work up the eyes, using a little Brown Madder and Indigo for the pupils of them, and leaving the white paper for the bright high lights. If, however, the lights should get painted over, they may be lightly scratched out with a sharp penknife. Work separate small washes of Light Red, Rose Madder, Raw Sienna, and Cobalt over the face, and a little Raw Umber in the dark shadow on the face near the beard and whiskers. Use Indigo, with a little Lake and Raw Sienna in parts, for the blue jersey. Blue alone would make it too cold in colour, and especially so in the shadows, which always have a warm tinge. (Refer to paragraph 6, General Instructions.) Blanche Macarthur. 14 Figure Painting Book. Approach ijmq FooT3TEPg. By Blanche Macarthur. THE DRAWING. Proceed according to directions given in General Instructions. THE COLOURS. Twelve colours are used in this example, viz. : — YELLOWS. REDS. BLUES. BROWNS. 1. Yellow Ochre. 4. Scarlet Vermilion. 8. Cobalt. ii. Vandyke Brown. 2. Raw Sienna. 5. Rose Madder. 9. Antwerp Blue. 12. Burnt Sienna. 3. Pale Cadmium. 6. Light Red. 10. Indigo. 7. Crimson Lake. THE UNFINISHED EXAMPLE. Put in the shadows with Cobalt and Light Red, as m the two previous examples. When these are quite dry, put a wash of Yellow Ochre and Rose Madder over the face, neck, and arm ; a wash of Vandyke Brown, mixed with a little Cobalt, on the hair ; a wash of Antwerp Blue over the bodice ; a pale wash of Cobalt nearly all over the white sleeve (except where the high light falls on the shoulder, and the narrow light on the front of the sleeve) ; a wash of Pale Cadmium under the red drapery ; a wash of "Vandyke Brown, mixed with a little Crimson Lake and Cobalt, over the skirt ; a wash of Yellow Ochre and Cobalt over the background, where the leaves of the arbour come ; a wash over the sky, beginning with pure Cobalt at the top, and gradually taking with it a little Rose Madder and Yellow Ochre towards the lower part. Mark iri the trellis-work of the arbour with Vandyke Brown and a little Cobalt. Figure Pain tlx g Book. THE FINISHED DRAWING. Begin working up the features carefully with small, separate washes of Yellow Ochre, Vermilion, Rose Madder, and Cobalt over the face, until the requisite strength of colour is obtained ; and if the colour should look spotty or a little too strong, wait until it is dry, and then, with a brush dipped in clean water, wash it over. This will have the effect of blending the colours. For the hair use Vandyke Brown, and a little Cobalt, Light Red, and Yellow Ochre to vary the colour. Some of the lights and loose pieces of hair will be best obtained by washing out. For the black velvet on neck — Indigo, Lake, and a little Raw Sienna. These colours will make a deeper, richer black than either Ivory or Lamp Black. The blue bodice — Cobalt and Antwerp Blue, with a little Red and Yellow to soften the tint. The dark skirt — Vandyke Brown, Lake, Indigo, and Raw Sienna. The red drapery — Vermilion, Light Red, Lake, Burnt Sienna, with a little Cobalt and Raw Sienna in the half-tones. The arm and hand — The same colours as the face, using less Vermilion and Rose Madder. The foliage in the background — Yellow Ochre, Raw Sienna, Cobalt, and, for a few of the darker leaves, Indigo mixed with Raw Sienna. Use the Indigo very sparingly, otherwise it will look dark and heavy when dry. Blanche Macarthur. j5 Figure Painting Book. The Mu5Lin Cap. By Jennie Moore. THE DRAWING. Proceed according to directions given in General Instructions. THE COLOURS. Nine colours are used in this example, viz : — YELLOWS. REDS. BLUES. BROWNS. 1. Gamboge. 3. Vermilion. 6. Coba.lt. 8. Vandyke Brown 2. Raw Sienna. 4, Rose Madder. 7. Antwerp. 9. Raw Umber. 5. Venetian Red. THE UNFINISHED EXAMPLE. Begin by putting in the background (Raw Umber and Antwerp Blue, mixed), first having gone over that part of the paper with a brush containing clean water, to prevent the colours lying unevenly. For the face, use Rose Madder, Gamboge, and Cobalt, in pure washes, where such colours appear prominent. Put in the reflected lights with Venetian Red and Gamboge. Immediately on laying on these washes, run a clean brush along the edges to prevent them drying with a sharp line. When these are dry, put a wash of Rose Madder and Gamboge entirely over the face. For the hair, use Raw Sienna and Raw Umber in the lights, Vandyke Brown in the shadows. The dress, Vermilion and Gamboge ; the cap, Antwerp Blue, Raw Sienna, and a touch of Venetian Red. Figure Painting Book, 17 THE FINISHED DRAWING, It is advisable to lay on the finishing washes in stronger tints than those seen in the copy, completely covering high lights, &c. These are afterwards taken out with a clean brush, all stippling and cross-hatching being thus rendered unnecessary. In the final dark touches, the brush should be kept as dry as possible, so that the drawing may acquire strength and richness. Jennie Moore. c i8 Figure Painting Book. H/1ND3 ajnd Feet. By Jennie Moore. THE DRAWING. See General Instructions. Before beginning to paint, satisfy yourself that the outline expresses the position, action, and character of the original. For instance : the clasped hands and left foot are in action ; the single hand and right foot in repose. THE COLOURS. Ten colours are used in this example, viz. : — YELLOWS. REDS. BLUES. BROWNS. 1. Gamboge. 3. Vermilion. 6. Cobalt. 9. Vandyke Brown. 2. Raw Sienna. 4. Rose Madder. 7. Antwerp Blue. 10. Madder Brown. 5. Venetian Red. 8. Indigo. THE UNFINISHED EXAMPLE. Having first washed in your background (Antwerp Blue, Raw Sienna, and a touch of Venetian Red), begin by putting in the half-tones : Antwerp Blue against the lights, then Rose Madder ; and for the reflected lights, Gamboge and Rose Madder. Be sure that one wash is dry before the next is applied, or the whole will become a dirty grey. For the cast shadows and spaces between the fingers and toes, use Vandyke Brown and Rose Madder. Cover the whole with a rather strong wash of Rose Madder and Gamboge. I have purposely made this faint in the accompanying plates, in order that the washes underneath may be more distinct. Figure Painting Book. 19 THE FINISHED DRAWING. Take out the high lights with a small sable brush. If the paint should be difficult to remove, it is a good plan to push the brush rather than to drag it ; by this means the thin surface of the paper comes off, leaving that part of the drawing pure and white. It is advisable to use a very small brush for the nails, &c, or the fine drawing may be lost on account of their size. Beyond filling up spaces, and taking out spots, no stippling will be required. Roundness and solidity will be obtained by strictly carrying out the above-mentioned rules. Jennie Moore. 20 Figure Painting Book. G[irl with Basket. By Jennie Moore. THE DRAWING, See General Instructions. The first point to be considered is the general action of the figure ; be careful, therefore, to indicate that the girl is supported by the right arm, which is resting on a rock. Also see that the proportions are correct before putting in details. THE COLOURS. Ten colours are used in this example, viz. : — YELLOWS. REDS. BLUES. BROWNS. 1. Gamboge. 3. Vermilion. 6. Cobalt. 8. Vandyke Brown. 2. Raw Sienna. 4. Rose Madder. 7. Antwerp Blue. 9. Burnt Sienna. 5. Venetian Red. 10. Raw Umber. THE UNFINISHED EXAMPLE. Begin with the background, putting in the pine-trees quickly, with a full brush (Raw Umber and Antwerp Blue). For the blue distance, use Cobalt. The dress, Venetian Red with Rose Madder and Vandyke Brown in parts. Antwerp Blue, Gamboge, and Rose Madder for the flesh tints. Raw Umber and Vandyke Brown for the basket. For the bodice, Gamboge and Antwerp Blue, with Vandyke Brown and Burnt Sienna in the shadows. It is advisable to mark out the features and fingers with Burnt Sienna, or the drawing may get losL Figure Painting Book. 21 THE FINISHED DRAWING. It is, I think, unnecessary to observe that the face and hands are the most attractive points in the figure, and that they should, therefore, be brought out as much as possible. Be very careful that there are no sharp edges that come against the background. The trees, sky, and rock should be treated in a sketchy manner, having very little work bestowed on them ; this will give the figure greater impor tance. Jennie Moore. 22 Figure Painting Book. Boy'? He>d By Jennie Moore. ZffE DRAWING. Proceed according to directions given in General Instructions. THE COLOURS. Eleven colours are used in this example, viz. : — YELLOWS. REDS. BLUES. BROWNS. 1. Gamboge. 4. Vermilion. 6. Cobalt. 9. Vandyke Brown. 2. Yellow Ochre. 5. Rose Madder. 7. Antwerp. 10. Burnt Sienna. 3. Raw Sienna. 8. Indigo. ii. Raw Umber. THE UNFINISHED EXAMPLE. Background, Raw Umber and Antwerp Blue. In this face the washes may be first mixed, the complexion being of a less delicate character. For the half-tones use Cobalt and Rose Madder, neutralised with a little Yellow Ochre. Be careful that this tint does not spread over the hollow just below the cheek bones ; that is obtained by using Yellow Ochre and Antwerp Blue. Yellow Ochre and Rose Madder for the flesh tint. Hair, Raw Umber, Yellow Ochre, and Cobalt. Waistcoat, Indigo ; coat, Raw Umber, Yellow Ochre, Burnt Sienna, and Cobalt, used separately with a full brush, so that one wash floats into the other. Figure Painting Book. 2 j THE FINISHED DRAWING. With clean water, get rid of any hard lines left by washes on the face. On the brightest part of the cheek a little pure Vermilion may be used, put on with a rather dry brush. Being short-haired, the head has its shape distinctly shown. Bring the high light out, therefore, as strongly as possible, and be very careful that there is no sharp line round the head; that would destroy a roundness, giving it the appearance of a disc. Continue to float in the colours on the coat, &c. By putting in the blue stripes (Antwerp Blue) sharply at the last, the crispness of the linen shirt will be obtained. Jennie Moore. 2 4 Figure Painting Book. Qifcl Knittijnq. By Jennie Moore. THE DRAWING. See General Instructions. In this study the figure is leaning with its entire weight against the wall. This effect will be obtained, not only by accurate drawing of the figure, but also by getting the cast-shadow thrown from the figure exactly in the right place. Before beginning to paint, be careful to express in your outline that the girl is knitting. The turn of the head, and the action of each finger will have to be closely studied to attain this end. THE COLOURS. Ten colours are used in this example, viz. : — YELLOWS. 1. Gamboge. 2. Raw Sienna. REDS, 3. Vermilion. 4. Rose Madder. BLUES. 5. Cobalt. 6. Antwerp. 7. Indigo. BROWNS. 8. Vandyke Brown 9. Burnt Sienna. 10. Raw Umber. THE UNFINISHED EXAMPLE. It will be observed that there is a strong effect of light and shade in this study ; it must be treated, therefore, in a broad style. At this stage, it will be best to leave the white paper for the high lights, especially on the face and hands. By this time the student will have discovered for himself the various properties of the above list of colours, always remembering that the transparent ones are best adapted for shadows and reflected lights ; the opaque, such as Vermilion, Cobalt, &c, for those parts that require the colour to be prominently shown. Figure Painting Book. 25 THE FINISHED DRAWING. Put a strong wash of flesh-tint entirely over the face and hands, taking out the lights afterwards with a firm sable brush. 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