i^INTlNG Frederick Tayler Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/studiesinanimalp00tayl_2 Anim/l PAINTifjq IN WATEI^-CoLOURq. o Studies in Animal Painting. WITH Eighteen Coloured Plates^ From VVatcr-Coloiir Drawi?igs by FREDERICK TAYLER, LATE PRESIDENT OF THE ROYAL SOCIETY OF PAINTERS IN WATER-COLOURS. & Company, LONDON, PARIS NEIV YORK. 1S84, [all rights reserved.] LONDON ; CASSELL & COMPANYj LIMITED, BELLE SALVAGE WORKSj LUDGATE HILL, K.C. AjimjKh Py\lNTfNq IJi WATEI^-CoLOUf^q. INTRODUCTION. TT has occurred to me that it might be useful to the student of Animal Painting in Water- Colours to receive a few practical hints from one whose life has been devoted to this charming art. and this particular branch of it. With this object in view, I have painted some examples of the domestic animals we meet with daily, and have attached to each of them a short explanation of my method of painting; I hope, and indeed think, the student will find it of use to copy them before commencing to paint animals from nature, having previously drawn from good casts of animals. anatomical ones, which show the position of the principal bones and muscles. The g-nal advantage of this plan is that the e,ve becomes acquainted with their form ie/on- having to contend with the difficulty of their changing movements. 6 PifilMAh PaINTIJ^Q \f\ Water-Colouf^3. I have from my earliest boyhood delighted in watching all forms of animal life, and in endeavouring to depict what I saw ; any facility I may have acquired, I attribute to this feeling of enthusiastic admiration. I have painted animals in the society of the late Sir Edwin Landseer, and of Madlle. Rosa Bonheur, and I am convinced that what gives the charm to their work is the power which is born of love, and which springs from love. A mere photograph will give an exact transcription of the animal. I would say to the student, ''Love Animals," observe their graceful movements; at every turn they present beauty of form and colour to the eye ; in this way every walk you take will be at once a lesson and a pleasure. FREDERICK TAYLER. 7 ftjMlMAL PyVINTIjMQ I]M WyVTER-CoLOUR3 PLATE /. of COFFIF DOQ, with OUTIhIKF. Draw carefully the outline—an example of the style of outline is here given with the head. The colours used are yellow ochre, burnt sienna, Vandyke brown, and cobalt or French blue. Begin with the colour of the eye, taking care to leave the small high light in the right place ; the dark of the eye may be French blue and Vandyke brown. The rich warm tone on the nose, burnt sienna ; the darker part, French blue and Vandyke brown. With French blue and Vandyke brown all the tones of the head and neck are given, using more blue for the cool light passages, more brown for the warmer darker ones. Lay on the flat broad undertones, vaiyflng the proportions of blue and brown as the copy and aftei wards the dark rich markin'^s 8 AjMIMAL PaINT1|MQ !)M WaTER“CoLOU!^3. PLATE II. TWO H^ADS 0? 3TAO^HOUKD3. In the light yellow hound, the warm tones are rendered by yellow ochre, with a little burnt sienna in the warmer part ; the pink tones in the muzzle with light red or vermilion ; the grey tones of nostrils and head and the dark markings with Vandyke brown, cobalt, or French blue, in varying proportions. In the dark hound, the pink tones of muzzle and tongue are light red and vermilion ; while the grey tones arc entirely given with Vandyke brown and cobalt or French blue. In laying on the under tones, do not soften off edges: leave them sharp and crisp. W-ryF r 4 . 4 Aj^IMAL P/INTIJMq l)M W/,TER-CoLOUFJS. PLATE riL BJhOOD-HOUMD. The eyes, gamboge with burnt sienna painted strongly, the higi, lights to be left very sharp, and great care taken to leave them in the right shapes. The light tones of the head, gamboge' and burnt sienna. The darker tones about the ears painted with Vandyke brown and burnt lienna These three colours are used for all the warm rich passages of the body. Cobalt is the colour with which to make the greySt Be most careful to leave the yellow lights on the head and the white lights on the face and breast sharp, of the right shapes, and in the right places^ B 10 ftfvlIMAL PA!NT!]MQ IJM WatER-CoLOUF^3- PLATE IV TWO DO03. QT\]^Y-H0UKD AKD OTTf^'F^-HOUKD. Having carefully drawn them in, begin with the grey-hound, painting the warmer tones inside the ears and Under the body with brown madder and light red ; a little vermilion may be used in the tongue. The strong dark tones in the body may be painted with Vandyke brown and French blue ; in the light delicate greys, cobalt and light red are used. In the otter-hound, the warm tones with yellow ochre and burnt sienna ; the grey tones, light red and cobalt. In the background, a light wash of yellow ochre, followed by a wash of light red dnd cobalt, sinking into French blue in the distance ; the green is yellow ochre and cobalt ■MMilliliii Anijvial Pai]^tinq i]m Watei^-Colouf^s. ii PLA7E V DAl^K HOT^S£;’S H^AD, WITH 01JTJL,IKH. Draw very carefully the outline. I have given an outline of a different head, that you may have the advantage of drawing an additional subject. In the horse’s head begin with the eyes as before directed ; be careful to preserve the angular drawing and direction of the ears, as well as the angular character of the nostril. The colour may be confined to \*an- dyke brown and French blue, the blue telling strongly in the mane. In the eye gamboge and burnt sienna, and in the nostrils vermilion and light red. AiNIMAL PAINTIf^G !]M W ATER- CoLOU R S. i2 PLATE VI. TY\^0 Draw them in with care, preserving the angular character in the drawing, with the direc¬ tion of the eyes, and the distance between them. In colour—the one bay, and the other clrestnut—the difference will be more burnt sienna in the bay, with mane of French blue and Vandyke brown ; while in the chestnut, the lights will be lighter, and more pinky, and the mane painted with light red and madder brown. The background should have a light wash of yellow ochre, followed by one of light red or vermilion and cobalt blue; this will give value to the hiffh lichts on the horses’ heads. ■Ijsll 13 AjMIMAL PaIJMTINQ I|M WyVTER-CoLOUR3. PLATE VII. aKd hoofs. Great care in drawing is required to give the distinction and idea of bone and muscle; and here I would strongly advise the student to study a simple treatise on the anatomy of the horse, such as “ Artistic Anatomy of the Horse,” by Mr. B. Waterhouse Hawkins. The colours used are, for the white horse, cobalt and light red ; for the middle one, burnt sienna, yellow ochre, and cobalt; for the dark one, Vandyke brown, burnt sienna, and cobalt or French blue. 14 AfiliAAh P^iNTip^Q ijM Water-Colours. PLATE VIII. BAY I^OAK HOT^SB. Draw the outline carefully, then commence with a warm wash of yellow ochre and light red all over the horse, leaving the bright high lights on the upper part of the tail and hind quarters. I would here recommend the student, whether in copying or in painting from nature, to observe the direction from which the subject is lighted ; in this case the light, coming from above, throws strong cast shadows under the horse. It should be modelled or rounded by washes of cobalt blue and brown madder, the warmer portions given by yellow ochre and burnt sienna, the darker portions of the tail and legs heightened by indigo and Vandyke brown. The straw in which the horse’s foredegs are hidden may be freely painted with gamboge, raw sienna, and yellow ochre, and cast shadows falling from the horse on to the straw and manger may be given with a wash of burnt sienna mixed with indigo and gamboge. LSiiL.i^r. 1^ 1 ^ > ) 'ft • TCVik 15 Animal Pa'ntinq in Water-Colours. PLATE IX. CAT^T-HOF(Si;., Outline the subject, including the harness, then wash the background lightly with yellow ochre ; while still damp, not too wet, put in faint washes of cobalt and light red. For the retiring green tones behind the horse’s head, cobalt, light red, and yellow ochre. For the lighter touches of the grey mottling near the lights on the horse, cobalt with vermilion ; for the darker, indigo with Indian red ; for the darker marking of knees, &c., Vandyke brown and French blue will be found to answer the purpose. The harness may be freely painted in with indigo, Vandyke brown, and burnt sienna. 16 ftjiiMAL Paintijiq Water-Co]l.oui^p. PLATE X. chestnut jviftNE vohh Carefully outline the subject, then apply a faint wash of yellow ochre all over the drawing, only leaving the white markings on the nose of mare and foal. When this wash has dried, the sky tones may be put in with cobalt blue and light red, deepening towards the distance. Cobalt blue with light red and rose madder would do for the lights on the mare, while burnt umber with raw sienna would give the local colour. The foal, burnt umber and yellow ochre. Gamboge with neutral tint and cobalt would describe the distance, the foreground yellow ochre and burnt sienna. The shadow cast by mare and foal on the ground may be painted with Vandyke brown, French blue, and gamboge. I A]M!MAL PAINTIjMQ l|M W/VTER-CoLOU^3. 17 PLATE XL BUI,!, aKd Cow. Having outlined them, wash in the background with yellow ochre and gamboge ; when this wash is nearly dry, apply cobalt blue, and where the green deepens into grey, a little neutral tint may be blended. The local colour of the bull may now be washed in with neutral tint and purple madder, shaded in the darker portions with Vandyke brown. The high light of the eye may be either left, or put in with a touch of Chinese white ; the deep tone in the pupil of the eye will be best given with a touch of indigo. The red colour of mouth and nostrils, with light red and Indian red, being careful to leave the high lights in their exact shapes. The horns carefully rounded with Vandyke brown and raw sienna. The head of the dun cow first washed in with yellow ochre, then rose madder and cobalt for the pinky-grey tones near the lights. Raw and burnt umber for the browner tones. c 18 ftf^lMAL P/MNTIIMQ 1)1 WATER-CoLOURg. PLATE XII. THE BUEE, Having carefully drawn this subject, with the distant cows, wash the sky with a pale tone of vermilion, and while this is still damp~but not wet-put in the pale tones with cobalt, passing cobalt over the vermilion for the grey tones of the distance, A strong wash of yellow ochre and burnt sienna may now come over the bull; the dar markings on his head, chest, and lower parts of body, may all be rendered by French blue and burnt sienna, with brown madder in the darker portions. Then put in the reflected portion of the eye with gamboge and raw sienna, the dark of the pupil with indigo, the red of the eye-ball vermilion and light red. The horns modelled with raw sienna, indigo, and Vandyke brown. ^ The grass painted with washes of gamboge and yellow ochre, cobalt and mdigo; wit yellow ochre and burnt sienna for the earthy touches in the foreground. I t 4 ir? ii' . %• ftjMIMAL PyVINTIjMQ IJ\ WyVTER-CoLOUF^S. i9 PLATE XIIT. Cow i\KD CAC?. Carefully outline the whole subject, then apply a pale wash of yellow ochre all over the picture, only leaving out the white portions of the cow and calf. A wash of cobalt blue ma\- now come over the distant bank, deepened in part with light red. French blue with purple madder and neutral tint will best describe the dark tones on the body of the cow. The calf, yellow ochre and light red ; the grey tone, vermilion and cobalt. Xow wash the shallow water in the foreground with gamboge and raw sienna. When nearly dry, the shadows in the water may be washed in with indigo and brown pink. 20 RjiimAh Paint!|hq ifi Water-Cox^-ouf^^. FZATE XIV. TWO 3HEEP”“”WHIT£; and dat^k face. Commence with a pale wash of yellow ochre over the whole subject, only leaving the high lights on the noses of the sheep. Now give the tone of the sky with cobalt blue and Indian red. The distant downs may be washed in with cobalt and yellow ochre deepened with Indian red. The dark head painted with yellow ochre and burnt umber, the dark purple of the nose given with French blue and purple madder. French blue and brown madder for the foredegs. The warm tones of the wool on the body may be freely treated with washes of yellow ochre, burnt umber with cobalt blue, and light red for the greyer portions. The lighter sheep, the same colours only lighter. The ground, yellow ochre and burnt sienna, with the grass indicated with touches of indigo and gamboge. ftjMIMAL PaIJMTINQ IN WaTER-CoLOURS. 21 PLATE XV TWO AKD SHHITIP. Care in the drawing of the ram’s head can hardly be too great, as otherwise it might be easily caricatured. Paint the ram’s horns with power, using burnt sienna and Vandyke brown in the dark markings. Purity in the light blue wash of the sky will give value to the warm colours of the sheep. For the warm tones of the wool, yellow ochre and burnt sienna ; less burnt sienna in the sheep. For the grey tone of the ram’s face, cobalt and brown madder, with Vandyke brown in the dark markings. The same grey will serve for the lighter grey tones of both. Red on head of sheep, light red and Indian red. 22 ftj^lMAL PAINTljMQ W/vTER-Coi.OUI^^. PLATE XVI. Having drawn the sheep, put in the sky with a light wash of yellow ochre and rose madder, shading the clouds with cobalt and light red. On the right bank paint a wash of gamboge, shaded in the dark part with French blue and burnt sienna. The sheep may be painted with yellow ochre and raw or burnt umber; the light pure grey of the legs, as in the head, with cobalt and light red, and strengthened in the darker passages with Vandyke brown and French blue. The lamb treated in the same manner. The ground, raw umber and burnt sienna. The cast shadows from the sheep powerfully marked with Vandyke brown and gamboge. AjMIMAL PaINTIIMQ f)M WaTER - C OLO U R S. PLATE XVIT. TWO doKkt;y$’ ht;ads. Having carefully outlined them, wash all over with a pale wash of yellow ochre, only leaving the white on the donkeys’ noses. Now put in the sky with cobalt mixed with a very little light red. Then wash in the purple-grey tones of the darker donkey’s head with French blue and brown madder, the warmer brown markings to be given with Vandyke brown and burnt sienna. The eyes as previously directed. The lighter donkey to be painted with }'ellow ochre, light red, and raw umber; the grey tones with brown madder and cobalt blue. The soft grey round the nostrils with light red, cobalt, and neutral tint 24 ftj^lMAL Pa1NT!|MQ 1)M WaTER-CoLOUR3. FE ONTISPIEL 'E. donkey and foad. Make a careful outline, then wash yellow ochre over the whole, only leaving the lights on the noses. Now get some pure tones of cobalt blue and light red on to the sky. When this .s done, the foliage of the distant hedge may be painted with indigo and gamboge, with more indio-'o and French blue in the bluer parts near the donkey. The prevailing colours of the donLy and foal are raw umber, with a mixture of light red and cobalt for the grey. Where purple predominates, use French blue and brown madder; some touches of Vandyke brown and burnt sienna will be found about the nose-band, mane, and tail. The foal may be treate in the same manner. For the shadow on the grass, French blue mixed with Vandyke brown and gamboge. In the foreground, raw and burnt sienna. BOOKS ON PAINTING IN OILS AND WATER COLOURS Published by Cassell 6 ^ Compavy^ Limited. 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