A Course of Wat erColour Painting R.P LfEITCH Wate r~ Colour Paij^tinq. 1 Digitized by the Internet Archive in 2014 https://archive.org/details/courseofwatercolOOIeit A COURSE OF WATER-COLOUR PAINTING. WITH Twenty-four Coloured Plates, From Designs by R . P. LEITCH. Ciffbt!) (EUttton, ErtiscU. Cft^Ei,^ & COMPANY, Edited: LONDON, PARIS & NEW YORK. [ALL rights reserved.] LONDON CASREIL & COMPANY, LIMITED, BELLE SAUVAGE KOSSS, LUDGATE HILL, E.C. Water-Colour Pai^tijmq. GENERAL DIRECTIONS. HE paper most suitable for use in copying the Examples contained in this book is that which is called Whatman's "not" paper — i.e., not hot-pressed. A rougher kind is made, but it is of value only for large and bold drawings. For Water-Colour Painting the paper should be mounted, that is, pasted, or "stretched" on a drawing board. This is done in the following manner : — Let the sheet be rather smaller than the board, and bend up a margin about half an inch wide all round. Turn the paper face downward, and spread water over the back (now uppermost) with a clean sponge, allowing it to soak in for a minute or two, but keeping the surface equally moist all over. Next raise the paper by the edges, turn it rapidly over again, so that the wet side may come next to the board, and apply strong paste to the turned-up edges. Rub these down, and in doing so draw the paper outward. It is a good plan to burnish the edges well with the handle of a penknife, by which means the air is pressed out, and the proper adhesion is ensured. The board should then be placed horizontally whilst the paper dries. During drying it should be carefully watched, and if any portions bulge out in " blisters," which do not seem to decrease, a few holes may be pricked in them with a needle, by which the air will escape, and the evil will in most cases be remedied. If not, pass A* 6 WyVTER-CoLOUR PyVINTIJMQ. the sponge over the face of the paper, moistening it especially towards the edges. It is advisable to stretch only small sheets at first, until the power of mounting larger ones is acquired. Sketching blocks are very convenient. They consist of a number of pieces of paper fastened together by their edges, and the whole mass attached to a piece of thick millboard, thus supplying the place of several sheets of drawing paper, ready stretched as on a drawing board. As each drawing is finished, it is removed by running the penknife round the edges, when another sheet ready for work is presented. Before giving any instructions as to the uses of colours, it is necessary to impress on the student that no amount of shading or colouring, however well done, will improve a bad drawing, whilst a good outline will often clearly represent the object without either shading or colour. The learner is therefore urged not to begin to colour until he has carefully examined and corrected the sketch. When about commencing to work in colour, see, in the first place, that the slab is perfectly free from dust. Drop some water on it from one of the larger brushes, but do not, on any account, dip the cake of colour into the water, for by that means the edges become softened, and crumble off in rubbing. Rub the cake of colour firmly, but not too heavily, or you will not get your colour smooth. Be careful to hold the colour upright, so as to keep its edges flat. When you have rubbed as much colour as you think will be wanted, do not at once put the cake back into the box, but place it on one of its edges to dry. Moist colours are sold either in metal tubes, in china pans, or are placed in compartments in japanned tin boxes. Each of these methods has its own special advantages, which the tastes or necessities of each student will soon discover. If the moist colours in compartments or pans are used, you must be careful, before closing your lesson, to wash off the surface of any colour you may have soiled, so that next time you dip in it the colour may be pure. Moist colours from tubes are squeezed out on to the palette by pressing the tube. They possess GjENER/X DlF(ECTIO^$- 7 great body, and are well adapted for large works. The colours in pans are transferred to the slab by wetting a brush, and rubbing it over the colour, then touching the brush off on the slab. When only a small portion of the pure colour is wanted, it is taken directly from the moist colour, and applied to the drawing. When you wish to mix a secondary colour — such as Green, from the two primary colours. Blue and Yellow — rub the Blue in one division of the slab and the Yellow in another, leaving a space between them ; then with your brush take first some of the one, and then of the other, and place in the vacant compartment, in which they are to be mixed together. If you are likely to require a quantity of any particular colour or tint, it is a good plan to mix it in a small saucer, and after having allowed it to stand for a few minutes, pour off the colour into another saucer or slab, by which means any particles of colour which may have rubbed off the cake will settle to the bottom, and the colour poured off will be smooth and clear. There are some colours, however, to which these remarks do not apply, as Vermilion, Emerald Green, &c, as these, being heavier than others, sink down, and the liquid poured from them would possess little or no colour ; these colours are not, however, used as washes in Landscape painting. In order that the colour may flow easily and cover a flat surface evenly, it should be thin. If, when dry, it should prove not dark enough, another wash can be applied, but it is very difficult to lighten a tint which is found to be too dark. When you have laid on your colour, do not touch it until it is dry ; whatever fault may appear in it will only be made worse by your stirring about in the wet colour, whilst the surface of the paper will be rubbed up and its grain spoiled. Use brushes as large as the work will admit of, otherwise you will be likely to get a "niggling" effect. For the examples given in this book a large swan-quill brush, and three or four of smaller sizes, known as 8 Water-Colour P/intijnq. "goose" and "duck" will suffice. Those made of red sable-hair are the best, but camel-hair brushes will do. The following are the principal colours used in Landscape painting : — It is seldom that all of these are found in a box, nor are they all necessary ; thus, beginners do not want Indian Red, Venetian Red, and Light Red ; the last will be sufficient, which the student will, after a little experience, be able to alter by the addition of Lake or a little Brown, so as to resemble the others in tone. Again, if Prussian Blue be in the box, it may be used as Indigo, by the addition of a little Black and Lake ; and weak Crimson Lake may, in the present set of studies, be used instead of Pink Madder. French Ultramarine and Burnt Umber could also be spared if this list is still too long ; but we would not counsel the student to confine himself to too small a number of colours. The following brief description of some of the colours will aid the student : — Prussian Blue is a fine deep colour, which works very smoothly. It may not only be used pure, but mixes well with others. Prussian Blue, when mixed with Lake, makes a beautiful Purple, and the addition of more Lake produces Violet. Mixed with Gamboge, Prussian Blue gives a bright Green, such as would be used in painting the leaves of most flowers. The addition of more Gamboge produces a Yellow Green, and when the Blue predominates the colour is termed a " Blue Green." Indian Yellow. Yellow Ochre. Raw Sienna. Burnt Sienna. Gamboge. Light Red. Lake. Indian Red. Madder Brown. Venetian Red. Vandyke Brown. Vermilion. Burnt Umber. Pink Madder. Sepia. French Ultramarine. Prussian Blue. Indigo. Cobalt. Lamp Black. Chinese White (in tube or bottle). GfENER/iL DlF{ECTI0^J3. 9 When mixing a Green by night, it must be remembered that the light from gas or candles is not like daylight, composed of red, blue, and yellow rays, but is altogether a yellow light. This will cause the Green to look less yellow than it really is, and great disappointment will ensue when the Green, on being examined by daylight, is not found to be of the expected shade. This must be guarded against by the Green which is mixed at night being made to look less yellow in relation to the other colours than it would be desired if looked at by day. It is, however, safer to mix the Green by daylight, and put it by ready for use in the evening, carefully covering the slab, so that dust may not fall into it. The Green made of Prussian Blue and Gamboge is not the colour to use in painting trees, for we have few if any trees in this country which are of so bright a Green ; for this purpose, therefore, Brown or Black must be mixed with it, but the Greens used in foliage will be fully described in the various lessons. Indigo is a dark Blue colour ; it may be imitated, as already stated, by adding Black and Lake to Prussian Blue, but it is a very useful colour, found in most of the larger boxes. Indigo is used for shading Prussian Blue, and, when mixed with Gamboge or Indian Yellow, makes an excellent Green for trees, &c. Cobalt is a fine clear Blue, used in skies, &c. It makes good Greys for clouds widi Lake, Light Red, or Madder Brown. It is heavy, and the colour mixed from it should be stirred up at each brushful used. This refers also to French Blue or Ultramarine. Sepia is a dark Brown, and is used for shading several other colours. It is advisable to practise painting in Sepia alone before attempting to use other colours, as it washes and shades off in a very smooth manner. This style is termed " painting in monochrome," or one colour. Sepia, either alone or mixed with Indian Yellow, makes an excellent colour for shading trees, and for the markings in the trunks, &c. Vandyke Brown and Burnt Umber are two other Browns, not so dark as Sepia ; all of these may be made warmer in tone by mixing Lake with them. 10 Wy\TER~C0L0UR PyUNTI j\|Q. Madder Brown, or Brown Madder, is a transparent Reddish Brown very useful in warm shadows, and when mixed with Indigo forms excellent Greys. Burnt Sienna is a bright Red-Brown, and is very transparent. It is exceedingly useful in shading Yellow colours, and as a warm tint over Raw Sienna, Indian Yellow, or Yellow Ochre. When washed lightly over trees it gives the mellow, golden hue to them which is seen in the autumn. Indian Yellow is also used for this purpose. Lake is a beautiful Red colour ; the one usually called Lake in colour boxes is Crimson Lake, but there is another shade, called Scarlet Lake. The Crimson is Red with a Blue tinge, tending towards Purple, whilst the Scarlet is Red with a Yellow hue, tending towards Orange ; both of these wash over the paper very smoothly, and are constantly used. When laid on very thinly, they give various shades of Pink. Vermilion is a very bright Scarlet. It is exceedingly heavy, and separates from the water or from other colours with which it may be mixed, thus requiring constant stirring up. It should be used sparingly. Light Bed, Indian Bed, and Venetian Bed are colours not so bright as Vermilion, but are extremely useful in Landscape painting. They are used in painting brick buildings, tiles, &c, besides the various hues and washes into which they enter, as will be seen in the following lessons. They may be shaded with Vandyke Brown or Burnt Umber. Gamboge is a clear bright Yellow, which mixes well with any other colour. It is very transparent, and lies very flat when applied thinly. Its use in mixing with Blue, to form Green, has already been spoken of. Indian Yellow is a colour much like Gamboge, but darker. It is very extensively used in Greens in Landscape painting, as will be seen from the subsequent lessons. Yellow Ochre is heavier than Gamboge, and neither so bright nor so transparent. It is used in GfENERyVL DlF(ECTI0^3. 11 stone-work, and in the foreground, and mixed with Cobalt and Light Red for skies, distances, and mountains. It may be shaded with Burnt Sienna, Vandyke Brown, Burnt Umber, or Sepia. Lamp Black is the Black most generally used in Landscape painting. Mixed with Raw Sienna or Indian Yellow it makes a rich quiet Green, and with Light Red, Venetian, or Indian Red, it forms useful warm Browns for earth, brickwork, &c. It is scarcely ever used alone, except for monochrome studies. Mixed Grey. A good neutral colour, to which we shall often have to refer, can be made with Lake, Indigo, and Vandyke Brown, or Sepia. Mix the Lake and Indigo to a Purple tint, and add the Brown gradually till the desired colour is obtained. This Grey, used thinly, will be found particularly useful in putting in the general effect of light and shade before beginning the positive colouring ; it gives depth and harmony to the shadows, and it may be made warmer or cooler, as occasion requires, by the addition of more Red or Blue. The student will now proceed to practice, and experience will teach more than could be written in a volume far larger than the present. WyVTER-CoLOUR PyMNTI JNQ. 43 PLATE I. FLAT WASHES. The colours here represented are Yellow Ochre, Indian Red, Pink Madder, and Cobalt, but equally good practice can, of course, be had with any other colours. Let the paper be slightly damp, not wet, and sloping about as much as an ordinary writing, desk. Begin, with a full brush, at the top left-hand corner, carry the brush along the top edge of the paper, or of the portion of it which you intend to colour, and work downwards, always from left to right, keeping the colour flowing as evenly as possible. When you reach the bottom, lay the paper flat to dry. When the student is able to lay a flat wash of one colour, let him try flat washes of two colours mixed, such as Lake and Cobalt (Purple), Gamboge and Prussian Blue (Green), or Lake and Indian Yellow (Orange). He should make himself thoroughly master of the resources of his colour- box, by trying the effect of mixing each colour with every other colour in turn ; the knowledge so gained will be of great value in enabling him to hit at once upon the colours necessary to produce any tint he may wish to imitate. B 14 WyVTER-CoLOUR PyVINTIJNQ. PLATE II. GRA D UA TED IV A SHES. In the first stage of a Water-colour Painting it is often necessary to graduate one colour into another ; as, for instance, the sky-tint into the first tint for the foreground. The examples given in this plate will afford good practice in this kind of work. The first consists of Yellow Ochre graduated into Pink Madder. Commence, as before, on slightly damped paper, sloping slightly forward, with a brush charged with Yellow Ochre alone ; when you have carried this once or twice across the paperi refill the brush with a little less Yellow Ochre, and just a touch of Pink Madder, and so on, decreasing the quantity of Yellow and increasing that of the Pink as you descend. Finish by washing all the Yellow out of the brush and using Pink Madder alone. It will be well to practise this on a larger scale than the copy, but take care to finish before any of the colour dries, and not to use a brush so full as to leave the colour in pools. The remaining examples on this plate consist of Yellow Ochre graduated into Cobalt with a touch of Lake in it, Madder Brown graduated into Indigo, and Cobalt graduated into Venetian Red. W^ter- Colour PyviNTi^iq. 15 PLATE III. ELEMENTARY STUDIES IN FOLIAGE. The examples given are foliage of the Elm, Willow, Chestnut, and Scotch Fir, and an introductory practice in the use of the brush in Raw Sienna. The paper should be dry for this study. The Greens in this plate are composed of Raw Sienna and Indigo, a little Indian Yellow being added in the case of the Elm foliage, to give additional brightness. In copying the examples of Elm and Chestnut a tolerably full brush should be used, commencing at the top and adding more colour towards the bottom. They should be laid in at once without any pencil outline, the extreme points of the masses only being indicated. The Willow should have the branches outlined in pencil, filled in with Grey in the shadows (Vandyke Brown, Indigo, and Lake), and with Yellow Ochre and Madder Brown in the lights. The foliage should then be put in with light, sharp touches, and the trunk finished with Vandyke Brown and Lake. The Scotch Fir may be done in much the same manner, but with a fuller brush for the foliage. 16 WyVTER-CoLOUR PyVINTIjMQ. PLATE IV. STUDIES IN FOLIAGE. Elm, Poplar, Lime, and Elementary Studies. — The first thing in this example is to wash in the sky, which is composed of Indigo and weak Cobalt, with a slight touch of Venetian Red, leaving spaces for the foliage. The colours employed are Raw Sienna, Indian Yellow, and Indigo, in varied proportions ; the Yellow being weakest and the Blue strongest in the Poplars. The bright green of the lime is obtained by the addition of a little Indian Yellow. A full brush should be used for the broad masses ; but it must be remembered to use a drier brush to give the definite markings. In all cases the examples should be commenced from the top with a brush partly dry, in order to give decision, and the quantity of colour is to be increased as you descend. It is by this means that the requisite roundness of effect is obtained. WyiTER-CoLOUR PAINTJpJQ. 17 PLATE V. TRUNK AND FOLIAGE. In this example the first step, as in the preceding plate, is to wash in the sky with Cobalt, leaving space for the studies, the outlines of which may be faintly indicated with pencil. Trunk. — First a light wash of Yellow Ochre over the whole, followed by a Grey, formed of Indigo and Brown Madder, or the Mixed Grey mentioned on p. n, for the parts in shadow, including the cast shadows of the branches. When this is dry put in the dark markings with Vandyke Brown and Lake, the warmer parts being heightened with a little Burnt Sienna. The Green is composed of Indigo and Indian Yellow. Foliage. — The Green is composed of Raw Sienna, Prussian Blue, and Burnt Sienna. Mix the colours for the lights and shadows separately, and lay in the shadows first ; let them get nearly dry, and then paint in the lighter parts, letting the colour meet that of the shadows, but taking care not to mix them. The shadows may afterwards be strengthened if required. In the branches the colours employed are Madder Brown, Indigo, and Vandyke Brown. Observe, that the external form of trees is obtained by the projecting more or less of various masses of leaves, but be careful to avoid an outline to the whole, which would give the appearance of the tree having been clipped all round. 18 Water-Colour PyuNTij^q. PLATE VI. LANDSCAPE STUDIES. In the upper example the distant hills are Cobalt, merging into Pink Madder ; this is carried under the bridge, increasing in intensity in the left-hand corner. A wash of Yellow Ochre must be taken over the foreground, which is to be heightened afterwards in places with a little Burnt Sienna, and all the parts in shadow should then be put in with Grey (the Mixed Grey or Madder Brown and Indigo), which will give strength to the Greens and Browns which follow. The Green is composed of Indigo, Indian Yellow, and Raw Sienna ; the accidental markings of Vandyke Brown and Madder Brown, &c. In the lower example we commence with a wash of Yellow Ochre over the whole subject ; when this is dry, put in the distant hills with a combination of Cobalt and Pink Madder. Proceed as in the previous example, using Burnt Sienna, Madder Brown, and a mixture of Sepia and Lake for the accidental markings, rocks, &c WyVTER-CoLOUR PyVlNTIJMQ. 19 PLATE VII. In the previous studies only very little outline has been required. It now becomes necessary to repeat the warning given in the general directions, that no amount of colour can make a picture correct if the drawing be bad. The student is, therefore, urged to be very careful in this respect The outline should be very lightly drawn with an H B pencil, and the sketch held up at a short distance from the eye, so as to judge of the perpendicularity of the lines, the correctness of the perspective, &c. The pencil lines should then be lightly removed with india-rubber or bread-crumbs, leaving only a very faint trace of the forms, and a pale wash of Yellow Ochre, stronger on the tower and foreground, carried over the whole subject. This serves both to fix the pencil outline and to warm the tone of the paper preparatory to receiving the colouring, which would otherwise have too raw an effect. The colours used in the sky should be Cobalt, slightly tinged with Pink Madder, using the same in the first instance for the hills. The white clouds may be taken out afterwards by painting them with clean water, and while wet taking them out with blotting-paper or a soft cloth. All the portions of the picture in shadow are then to be washed over with the Mixed Grey ; when this is dry, the sky and distance should be slightly damped with a large brush dipped in clean water, and when just on the point of drying the distant hills should be put in with Cobalt and Pink Madder. While this tint is still a little moist run a brushful of Brown Madder along the lower edge of the mountains to form the distant beach. A wash of Indian Red is then to be taken over the top portion of the tower, allowing the Grey already laid to show through, as in the copy, the darker markings being very lightly washed in with Vandyke Brown. The colours used in the fore- ground are Indian Yellow and Vandyke Brown. 20 Water-Colour P^intijnq. PLATE VIII. Wash over the distant hills with clean water, and when nearly dry put in the shadows with Cobalt and a little Indigo. Strengthen the shadows in the water with the same colour, and finish the distant beach with Madder Brown and a little Indigo. The tower is now to be finished with Vandyke Brown and Lake, the dark patches and markings being made more distinct than in the previous plate. The foreground is to be finished with a Green composed of Indian Yellow and Indigo ; these colours being used in varied proportions. The Brown used is Vandyke. WATER-CoLOUR PyVINTIJNQ. 21 PLATE IX. Sketch in the outline with an H B pencil ; then take a very pale wash of Yellow Ochre over the sky, deepening it as you descend, and carrying it over the whole subject. When this is dry, commence at the top with pale Cobalt with a touch of Pink Madder, and graduate this into Pink Madder alone towards the bottom of the sky. The Yellow Ochre showing through this will give the tint of the light above the moun- tains. Take up some more Cobalt, and carry the wash over all the rest of the picture except the bridge and the strip of yellow sand in the foreground. This should give the colour of the lighter part of the nearer hill without further touching. Now put in the distant mountain with Cobalt and Pink Madder, and the same colour a little less red will give the tone of the darker portion of the hill just behind the bridge. Lay in the dark parts of the trees, bridge, and foreground with the Mixed Grey, strengthening it when necessary with more Indigo or Vandyke Brown as the subject requires. Let this dry before putting in the colours for the lights, which can then be carried over shadows and all. The green of the tree is composed of Raw Sienna and Indigo, with a little Lake ; the rocks, the lightest part of the underside of bridge, and the bush on the left, are of Madder Brown and Indigo. The colours used for the bright part of the bridge are Yellow Ochre Light Red, and Indian Red ; and for the water Indigo and Cobalt. C 22 W^TER-CoLOUR P/UNTIJVIG. PLATE X. The whole picture is now to be brightened up ; darkened in some parts ; markings, branches, rough touches, &c, being added in others ; the colours on the whole being the same as those used in the preparatory stage. When a wash of colour is not desired to have a sharp, hard edge, it is well to work with the paper a little damp. For instance, before putting in the markings of the hills a brush filled with clean water should first be carried over the whole of the sky and hills ; the markings can then be added with a tolerably dry brush, and will look much softer, and therefore more distant, than would be the case if the paper were quite dry. WyVTER-CoLOUR P/UNTi^Q. 23 PLATE XL It is best, as a rule, to commence to sketch the portion of the object or building which is nearest to the eye. In this example, begin with the gable over the door. Be careful to sketch in whole masses or blocks, and make sure of their correctness both as to position and form before adding the detail. Thus the whole building should be carefully sketched before the door, the chimney, the window, or the steps are attempted ; for if the whole form be too wide, too narrow, or out of place, the time spent on drawing these latter parts will have been wasted. It will be seen that this cottage is drawn in what is termed "angular perspective." Thus, all lines which are horizontal in the object vanish to points on the right and left side, and the perspective* rule must be borne in mind, that " all lines which in the object are parallel to each other vanish in the same point." The sky is now to be washed in with Cobalt (which should be carried over the trees), the lighter clouds to be tinted with a very pale colour, composed of Cobalt, Yellow Ochre, and Pink Madder, and a pale wash of Yellow Ochre taken over the building and foreground. The broad shadows should now be put in with the Mixed Grey ; including not only the shaded part, but the cast shadows as well. Next wash over the trees as masses, the Green to be mixed of Indian Yellow and Indigo. The masses of shadows on the trees are afterwards to be strengthened with the same colour, to which a little more Indigo and Sepia have been added. Of course, the trees in the distance must be paler than those in the foreground. The ground is coloured with Yellow Ochre, with which the fronts of the building are also to be tinted. The tiles are painted with Yellow Ochre and Light Red or Indian Red, and the dark markings of the building with the Mixed Grey. * For lessons in this subject the student is referred to "Practical Perspective " (Cassell & Company, Limited). 24 Wy\TER-CoLOUR PaINTIJMG. PLATE XII. This plate shows the picture in its finished condition. The second painting should never be commenced until the first is quite dry. The colours used are on the whole the same as in the first process. Before putting in the markings of the clouds, run a brush filled with clean water over the whole sky, in order to avoid hardness, as explained in a previous example. The cast shadows should be made darker than the shaded side of the building to which they are attached ; but a certain amount of transparency must be preserved* — thus, the shadow cast on the tiles by the projecting gable should be rather darker than the side of the building, but still the dividing lines of the two surfaces should be visible, as should also the markings on the tiles, which, with the various accidental shadows and markings in the doorway, windows, &c, are to be done with Sepia or Vandyke Brown mixed with Lake. The trees are finished with Indigo, Indian Yellow, and Raw Sienna, in different proportions. * For the principles of shading see " Model Drawing," and " Systematic Drawing and Shading" (Cassell & Company, Limited). WyVTER-CoLOUR P^INTIJMQ. 25 PLATE XIII. The leafless trees in this plate must be carefully outlined, so that their exact " bend " or direction may be imitated. The details also of the foreground and distance should be attentively noted. The sky is now to be coloured with Cobalt, slightly tinged in some parts with Indigo, whilst in the distance a little Lake or Pink Madder and Yellow Ochre may be added, and a pale wash of Yellow Ochre taken over the trunks and foreground. Then, as in the previous examples, put in all the shadows broadly with the Mixed Grey. The general tints may next be spread over the foreground and middle distance, Yellow Ochre and Cobalt being used in the latter, with Cobalt for the distant hills, and various Greens and Browns for the former. The intricate character of the branches of the trees renders it necessary that the sky should be finished before the trees are commenced, in order that smearing the colours into those of the sky may be avoided. The tree-trunks are then to be proceeded with ; Raw Sienna, Light Red, and Vandyke Brown being the colours employed at this stage. The shadows, both on these and the plank, &c, may be strengthened with Madder Brown and Indigo. 26 W>TER~CoLOUR PyMNTIJNQ. PLATE XIV. The colours used in the finishing of this plate are the same as those named in the earlier stage, but they should be slightly darker in the present picture. It must, however, be observed that it is in most cases better that the dark colour should be obtained by repeated washes than by mere thickness of colour laid on at once. In the branches, and in the markings and cracks in the bark of the trees, Vandyke Brown, Burnt Umber, or Sepia and Lake may be used rather dark. The few remaining leaves are to be painted with a good Yellow Green, the brush containing only very little colour. The rest of the work will follow according to the taste of the student, no further explanation being necessary. WyVTER-CoLOUR Py\l NTIJMQ. 27 PLATE XV. When the outline has been completed, and a pale wash of Yellow Ochre carried over the whole picture, put in the sky, not in flat washes, but in imitation of the clouds represented in the picture. The colours used are Yellow Ochre and Pink Madder, Cobalt pure (which should also be carried over the mountains), and Cobalt mixed with Pink Madder. Towards the horizon Yellow Ochre is to be very lightly washed over after the Blue is dry, and a stronger tint of the same colour should again be carried over the mill and foreground. The fleecy lights in the clouds should, as far as possible, be "spared up" (i.e., left white from the commencement). Then paint in all the broad shadows, as before, with the Mixed Grey, using it freely in those parts which are in strong shadow. The colours used in the mill are Yellow Ochre, Light Red, and Vandyke Brown. The whole of the foreground is to be washed over with Raw Sienna; and the furze, grass, & NEW YORK'. 3.D.-583 NEW TECHNICAL AND SCIENTIFIC VOLUMES. Practical Mechanics. By John Perry, M.E., Professor of Mechani- cal Engineering, City and Guilds of London Technical College, Finsbury. With numerous Illustrations. Extra fcap. 8vo, cloth, 3s. 6d. 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