Part 4

THE TREES, skirting the stream, should be covered at the same time with the first and lightest tint, varied in the same way and brought into the water, leaving a sharp strip of light at the edge for a bank or path. Any very light stems of trees should be left. When this has become quite dry lay in the trees with Gamboge, Burnt Sienna and Indigo, mixed, for the light; Purple Lake, mixed with Indigo and Gamboge, for stems; stronger and browner for dark touches. The rocky masses lying in the water near the promontory may be covered by a tint of Indigo and Brown Madder, mixed; a little Olive Green will vary the tint, if a greenish hue is wanted. Gamboge, mixed with Indigo to a light green, and varied with Purple Lake and Indigo, will serve for the parts of the rising ground seen through the branches of the trees, which may receive a tint of Indigo mixed with Burnt Sienna and Olive Green.

THE FOREGROUND may be laid in with Indian Red, mixed with Yellow Ochre, and broken by Sepia or Indigo; shadows across the road may be rendered by washes of Indigo mixed with Brown Madder, and Lampblack mixed with Purple Lake for cool slate colored rocks in shade.

Birch trees should be covered with a tint of Indian Yellow and Burnt Sienna, and shaded with Brown Madder and Indigo mixed, or Sepia and Purple Lake. _Bring out the stems_ by dark touches of Vandyke Brown mixed with Purple Lake, in shade. The dark greens about the foreground should be composed of Sepia and Indian Yellow. The figures in the landscape may have some red in the drapery; the sheep, a little Yellow Ochre. In mixing the colors always incline towards warmth, because a little more coolness and atmosphere may be given by a wash of Cobalt Blue mixed with Pink Madder or Indian Red. Reflections in water should be painted similar in hue to the objects, but lower in tone and more transparent. Large stems of trees may be colored effectively by applying varied greys, browns (made by a mixture of Indian Red, French Blue and Ochre), for light sides, leaving any very bright features shown in the bark. Brown Madder and Brown Pink, and sometimes Vandyke Brown mixed with Indian Lake, will be found of service for markings. When laying on the blue in the sky, be careful to leave the shape of the light parts of the clouds, then with another brush wash in the middle tint and suffer it to blend with the blue on the shady side of the cloud. Add a little Venetian Red, as the tint is carried down to the horizon; mix more Cobalt for distance. Give a first color to the road and cottage; pure Yellow Ochre for the light of the plaster, with white paper left, and with very small portions; the shade, Sepia or Brown Madder, mixed with Indigo; the hedge by the cottage, brown-pink, olive-green, mixed with Burnt Sienna.

WHEN THE DRAWING IS DRY, begin with the sky, and heighten or subdue as seems best; give the shade to the clouds, taking care that the indications of shadow, and feature generally, grow lighter the nearer they come to the horizon; the country is distinguished from the sky by outline—a dark touch of blue in the shadows, from the clouds. Dark touches on the roof, chimneys and windows of the cottage, will give it relief from the sky, and give distance to the small objects; they may be made with Vandyke Brown, mixed with Purple Lake. Brown-pink, mixed with Purple Lake, gives a very dark transparency to water.

FOR MOONLIGHT SCENES, _wash in_ the general effect of sky with Burnt Umber, mixed with Cobalt Blue and Pink Madder, and Cobalt Blue for dark clouds and distances; Indigo, mixed with Vandyke Brown and Pink Madder, for the general landscape. The learner, before commencing at once upon a landscape, will do well to practice upon blending colors; commencing with Cobalt Blue and Pink Madder you will produce a purple; add Gamboge, the purple will be grey, etc. In the combination of the following colors, a great variety of tones adapted to skies and distance may be found: Sepia and Gamboge, Sepia and Indian Yellow, Sepia and Italian Pink, Lampblack and Indian Yellow. Chinese White is of service when tinted paper is used for sketches.

IN SELECTING THE PAPER it should be as natural as possible, either cool or warm in hue, according to the effect intended. The tint may serve as middle tint in light of buildings, stems of trees, banks, etc. Cold pressed imperial paper is the best for landscape. There are several other kinds of paper which are used, such as Whatman’s extra thick, of 140 lbs. to the ream; or Creswick paper, if white; or pale cream color, are good; but if much opaque color is used in the picture, any common paper will do, especially if of a warm grey or brownish color; and very good pictures are painted on the ordinary brown paper used for wrapping. The most convenient form of paper for sketching in the outlines of a scene is that made up in blocks or tablets.

BRUSHES should come to a fine point of their own accord, and not bulge out in the middle. Sables are the best for general use. The brushes necessary are two or three red Sable, or goose quill size, and a black Sable of large swan-quill size for flat washes; or where these are too high price for the beginner, a large swan-quill French camel’s hair with good points. Do not allow the color to dry on them, or they are spoiled; but wash as soon as used and allow them to dry with the hair in its natural position.

OTHER MATERIALS, such as a drawing-board, a sponge, an HH pencil for outlining, India-rubber, a sharp penknife for mixing up opaque colors with Chinese White, a tin water-bottle to hold water when sketching, prepared ox-gall to use in small quantities where the paper is greasy or woolly, a quill pen, will also be found useful.

THE COLORS USED ARE Indigo, French Blue, Cobalt Blue, Purple Lake, Indian Red, Indian Lake, Pink Madder, Indian Yellow, Gamboge, Yellow Ochre, Vandyke Brown, Brown Madder, Sepia, Burnt Sienna, Venetian Red, Olive Green, Brown Pink, Vermilion. One of the principal points in which water-color painting differs from oil, is the laying on of the flat tints by means of washes.

THE ART OF LANDSCAPE PAINTING IN OIL COLORS.

TECHNICAL NAMES AND MATERIALS USED. MIXING OF TINTS, AND HOW TO APPLY THEM.

No doubt you are sufficiently acquainted with the general principles of Drawing and Perspective at the time you reach this branch of art work, as to be able to apply them with facility and certainty to the representation, in outline, of a given view or subject. The rules here laid down will place within your reach the power of securing to yourself one of the most delightful and agreeable of accomplishments.

In the production of a painting in Oil Colors, there are certain modes of operation, in introducing a beginner to the practice of the art, the operations are distinguished by the technical names of glazing, impasting, scrumbling, and handling.

A GLAZE is a thin transparent film of color, laid upon another color to modify the tone, or to aid the effect of the latter, the work thereby appearing distinctly through the layer of glaze, from which it receives a characteristic hue. This process of glazing is effected by diluting proper transparent color with megilp, or other suitable vehicle. Thus diluted, these colors are laid upon portions of the work, either in broad flat tints, or in touches, partially and judiciously distributed. The object is to strengthen shadows, and give warmth or coldness to their hue, to subdue lights that are unduly obtrusive, or to give additional color and tone to those that are deficient in force and richness.

IMPASTING. In oil painting, the dark shadows, or dark portions of the picture, are painted thinly, while the lights are laid on, or “impasted,” with a full pencil and a stiff color. In the lights of the foreground, and of parts not intended to be remote or to “retire,” the impasting should be bold and free; while in the more brilliant lights it cannot well be too solid. The palette knife has always been a favorite instrument of this “impasting,” or laying on of color, capable as it is of producing an agreeable brightness on, and of giving an appropriate flatness to, the pigment. A clear and appropriate tint, skillfully swept across a sky by these means, often produce a brilliant and charming effect which is surprising.

SCRUMBLING, the opposite process to that of glazing, is done by going lightly over the work with an opaque tint, generally produced by an admixture of white. For this purpose a hog-hair brush is used, charged with color but sparingly, and with it the tints are drawn very thinly, and somewhat loosely, over the previous painting, which should, as in the case of glazing, be dry and firm.

The judicious combination of glazing and scrumbling will produce richness, brilliancy and transparency.

HANDLING. By “handling” is meant the mechanical use of the pencil or brush, exhibiting the artist’s power of adopting certain modes and processes in the expression and representation of the different textures of objects, such as foliage, wood, water, etc.

LIGHT. The position of a painter at his easel should be such that his work may receive the light from his left, falling upon it only from the upper part of the window of his room, the lower part being darkened by a piece of green baize. A light proceeding from the north is the best, it being most uniform through the day.

The first thing to be done in painting a landscape is to select a canvas of moderate size, let the design be drawn upon it with a firm and well defined outline. This being done, tint the lower part of the canvas in a clear, warm tone with a mixture of Yellow Ochre and Venetian Red, or with a pale hue of Burnt Sienna, in water colors, mixed with a little ox-gall to make it adhere to the oil ground.

The upper, or sky part of the canvas, being left clear, commence the work lightly about where the horizon will appear, and gradually strengthen the tint as you descend. The sketch being laid in, the painting of the picture may now be commenced.

Have near your easel a slab of ground glass, on which you can prepare your tints to a proper consistency or hue. A set of tints, of the hue of the sky, and for the distances, is now mixed, and you commence with the blue of the sky, working downwards, and securing a proper gradation of color; then follow the distances, mountains, &c. This being done, the work is left to dry. The mode of applying the color to the canvas is chiefly by touches, or pats of the brush in succession, from left to right. The color should be tempered with a proper quantity of vehicle, that it may work crisply, and above all, that it may be laid sparingly upon the canvas.

Short hair brushes are best adapted to painting with little color. In laying on, or “impasting” the lights, the brushes should be rather longer than those used for general painting—such a brush will yield the color more readily. Unless the colors be allowed to harden between the first and second painting, also between the second and third, they will be liable to be rubbed off by the application of the oils and glazing used in the after painting.

When the first painting is dry, the picture should have a damp cloth passed over its surface. Being then wiped dry, let it be rubbed over with a small portion of poppy oil, for this makes the after painting unite with the first. It is a mere moistening of the surface that is required—no excess of oil to remain. All that is not necessary should be removed by the moderate application of a piece of silk or linen.

In the second painting we advance by giving more attention to the details of various objects; their drawing, light and shade, reflected hues, and various tints in coloring are more elaborately made out; the relative distances of objects from the eye are most carefully preserved, and the shadows, which are yet painted thinly and transparently, are carefully united, with half-tints, so as to produce a roundness.

The third, or finished painting, is commenced by wiping and oiling the picture in the manner before described as necessary for the second painting. We then proceed to complete the details of form and color, which were brought forward in the former painting, employing for this purpose delicate touches of glazing and scrambling alternately, not to conceal, but improve and render as perfect as possible what has already been done. Sharp, vigorous touches where the markings of the details require them. These touches must be made with freedom and decision, or they fail in producing the desired effect. They should be of a warm tone, not cold—not grey. In this stage of the work do not attempt too much at one sitting. It is best to allow the colors to dry gently, and to repeat the operation when necessary.

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.

MATERIALS USED.

Many of the pigments which change color by the action of impure air, and are, therefore, useless in water-color painting, may, nevertheless, be safely used in oil painting; for this reason: In water color the powder colors are mixed with only just enough of some binding cement (called a _vehicle_), such as gum, size, sugar, etc., to prevent their being easily rubbed off the paper, and are, therefore, freely exposed to the action of the atmosphere, or of the colors with which they may be mixed; but in oil colors the powder colors are ground up in oil, so prepared as to oxidise rapidly in the air into a kind of impermeable leathery resin, which, completely enveloping each particle of color, effectually protects it, not only from the action of impure air, but also of neighboring particles of different colors. And it thus happens that pigments may be used in oils with tolerable safety which in water color might turn black in a few days. Indeed, the white which we invariably use in oils—flake white—is certainly one of the most unstable of colors in water colors; and nearly the same may be said of the chrome yellow, Naples yellow, emerald green, etc.

The colors named below will be found a useful set:

Flake White, Ultramarine, Prussian Blue, Yellow Ochre, Carmine (in Powder)* Indian Red, Lamp Black* Cappagh Brown, Raw Sienna, Cadmium Yellow* Rose Madder* Emerald Green* Cobalt Blue, Madder Brown* Burnt Sienna, Pale Cadmium Yellow* Indian Yellow*

The colors marked with an asterisk do not dry quickly, except when mixed with much flake-white. To these it is necessary to add a very little _drier_—a mixture of sugar of lead and boiled oil.

BRUSHES.—After the colors, the brushes are the most important part of the artist’s materials. Flat hog’s-hair brushes are the most useful for general purposes. These should have polished handles, and the hairs should not straggle at the point, but keep together, so as to form a straight, thin edge. The small sizes are most convenient when made very short and very thin in the hair, it being difficult to make the long-haired ones keep together at the point. For fine touches, sable brushes are the most convenient, some flat and some round; the former thin and short-haired, the latter coming to a fine point.

Badger’s-hair softeners are used, as their name implies, to soften broad tints in skies, etc., but require the greatest caution in their use, or they will certainly produce a disagreeable “woolliness,” or smudginess. They are made with the hair radiating, or spreading out, towards the point, and are used by dabbing or jobbing them lightly over the work, and should always be used clean and dry.

The brushes should always be cleaned as soon as they are done with for the day. The easiest way is to rinse them in a little spirits of turpentine, and, after drying them on a rag, wash them out clean by rubbing them in the palm of the hand with thick soap and water, and then rinsing them in clean water, and allowing them to dry with the hair in its proper position. It happens sometimes that, leaving off in a hurry, one has no time to wash out the brushes carefully. In that case they may be laid by for a few days, dirty as they are, with their ends under water. The paint will keep under water without drying.

CANVAS.—This is the best material for painting upon. It is sold ready stretched on frames, and is kept of all sizes at the artists’ color warehouses.

PREPARED PAPER is perhaps the most convenient material for the beginner, occupying so very little space when the picture is dry. It must be fastened, when in use, to a board by means of drawing-pins. It is also kept bound up into blocks, like those used for water-color sketching, and this is, perhaps, the most convenient form in which to buy it, though not the cheapest.

MILLBOARDS seem to me to possess no advantage over paper, and are very heavy, and liable to break at the corners.

PANELS are heavy and rather bulky, but are peculiarly well adapted for works requiring high finish.

PALETTES are usually made of mahogany or satin wood. The latter are the best, the colors being better seen on the lighter colored wood. The rectangular shape is the most convenient, and packs best into the lid of a color-box. A wooden palette should have plenty of raw linseed oil rubbed into it before being used, and be allowed to dry. This will prevent the colors sinking into the wood and staining.

A DIPPER is a small tin cup made to fix by sliding on to the palette, to contain oil, turpentine, varnish, or any other vehicle used.

THE REST STICK is used to rest the right hand upon, while painting those parts of the picture that require great steadiness and care. It should be as stiff and as light as possible, and is held in the same hand as the palette.

PALETTE-KNIVES are necessary implements for mixing and manipulating the colors on the palette. It is convenient to have two of different stiffness.

EASELS are inconvenient usually in proportion to their cheapness. They should be tolerably firm and heavy, and should allow the picture to be raised easily and quickly.

VEHICLE is the diluent used to temper and thin the colors for the purpose of bringing them to a proper state. Linseed oil, rendered drying by boiling with certain metallic oxides, is the vehicle generally used. Drying oil should dry quite free from stickiness in two or three days, in ordinary weather. Copal varnish is also an excellent vehicle, but dries so rapidly that it will not do where the colors require considerable manipulation with the brush—as in skies and broad tints generally. Colors used with varnish will require frequent thinning with spirit of turpentine. Megilp is a most pleasant vehicle to use; so pleasant, indeed, that one is apt to use far too much of it. It is made by mixing strong mastic varnish with drying oil.

The beginner should bear in mind that all oils and varnishes have a strong tendency to turn dark brown with age, and should therefore learn to use _as little as possible_; indeed, the colors, as generally sold, are ground with sufficient oil for use with a hog’s-hair brush; and it is only where greater freedom is required, and when using sable brushes, that an addition of vehicle is of use. It is absolutely necessary, however, in the process called “glazing,” which is where a transparent color is rubbed thinly over parts of the picture, the general tone or color of which it is desirable to modify. And in this case, too, as little vehicle as possible should be employed.

MIXED TINTS.

The following are given as examples of some of the tints that may be obtained by mixture of the more important colors.

_Rose Madder and Cobalt._ With these colors a variety of delicate tints of great purity and permanence may be produced; of general use in distances, skies, water, etc.

_Yellow Ochre, Rose Madder, and Cobalt._ Being made up of the three primaries, are duller or greyer, but will produce a greater variety. Of use in distances, middle distance, etc.

_Vandyke Brown and Cobalt_, _Brown Madder and Cobalt_. Of use in the same cases as the last. Good for middle distance foliage.

_Yellow Ochre and Orange Vermilion._ Of great use in obtaining warm, sunny effects in distances, skies, clouds, and for brilliant tints in foregrounds. Will give beautiful flesh tints with Chinese white.

_Yellow Ochre and Prussian Blue._ Pleasant, cool, greyish-greens may be produced with these colors; especially useful in middle distance trees. May be saddened with black or Vandyke brown.

_Rose Madder and Prussian Blue._ A variety of useful and permanent sober greys and purples may be thus obtained. Of great use in cloudy skies and distances, etc.

_Vandyke Brown and Prussian Blue._ Useful in the same cases as yellow ochre and Prussian blue.

_Vandyke Brown and Yellow Ochre._ Gives good tints for earth, etc., in foregrounds.

_Vandyke Brown and Gamboge_, _Vandyke Brown, Gamboge, and Prussian Blue_. Give colors of the greatest use for foreground and middle distance foliage.

_Burnt Sienna and Carmine_, _Gamboge and Burnt Sienna_. Warm, rich, transparent colors. Of use in autumnal foliage, and for bright tints in foregrounds, such as the shading of draperies, etc., and cattle, birds, and flowers; in fact, in all cases where very rich transparent color is required.

_Burnt Sienna, Gamboge, and Prussian Blue._ Of the greatest use for foreground and middle distance foliage.

_Burnt Sienna and Yellow Ochre._ Useful for the same purposes as Vandyke brown and yellow ochre.

_Raw Sienna, Carmine, and Prussian Blue._ With these three colors an immense number of beautiful transparent greys and browns may be obtained, useful in all kinds of foreground shadows.

_Burnt Sienna and Cobalt._ For distant and middle distant foliage.

_Carmine and Prussian Blue_, _Carmine and French Ultramarine_. Whenever brilliant and transparent purples of great depth are required in foregrounds.

_Indian Red and Cobalt_, _Indian Red and Prussian Blue_. Useful in the same cases as rose madder and Prussian blue.

_Raw Sienna, Madder Lake, and Cobalt._ Give quiet, semitransparent greys for middle distances, cloudy skies, etc.

_Carmine and Gamboge._ For transparent deep oranges and reds in foregrounds.

_Emerald Green and Gamboge._ May be sparingly used where very bright greens are required in foreground foliage.

_Orange Vermilion and Cadmium Yellow._ Safe colors to use for all very vivid oranges.

_Lamp Black and Cobalt_, _Lamp Black and Gamboge_. Illustrate the use of lamp black in saddening other colors. The most beautiful greys may be thus obtained. Of universal use, whether for foregrounds, distances, or skies.

THE OIL-PHOTO MINIATURE.

CALLED BY SOME

CAMEO-OIL.

IMPROVED METHOD.