Using Colors in Drawing and Painting

On First Practice
Sketching from Nature
On Color and Composition

ON color AND COMPOSITION

Well, having ascertained thus your principal tints, you may proceed to fill up your sketch; in doing which observe these following particulars:
(1.) Many portions of your subject appeared through the aperture in the paper brighter than the paper, as sky, sun-lighted grass, etc. Leave these portions, for the present, white; and proceed with the parts of which you can match the tints.
(2.) As you tried your subject with the cardboard, you must have observed how many changes of hue took place over small spaces. In filling up your work, try to educate your eye to perceive these differences of hue without the help of the cardboard, and lay them deliberately, like a mosaic-worker, as separate colors, preparing each carefully on your palette, and laying it as if it were a patch of colored cloth, cut out, to be fitted neatly by its edge to the next patch; so that the fault of your work may be, not a slurred or misty look, but a patched bed-cover look, as if it had all been cut out with scissors. For instance, in drawing the trunk of a birch tree, there will be probably white high lights, then a pale rosy grey round them on the light side, then a (probably greenish) deeper grey on the dark side, varied by reflected colors, and, over all, rich black strips of bark and brown spots of moss. Lay first the rosy grey, leaving white for the high lights and for the spots of moss, and not touching the dark side. Then lay the grey for the dark side, fitting it well up to the rosy grey of the light, leaving also in this darker grey the white paper in the places for the black and brown moss; then prepare the moss colors separately for each spot, and lay each in the white place left for it. Not one grain of white, except that purposely left for the high lights, must be visible when the work is done, even through a magnifying-glass, so cunningly must you fit the edges to each other. Finally, take your background colors, and put them on each side of the tree trunk, fitting them carefully to its edge.

Fine work you would make of this, wouldn't you, if you had not learned to draw first, and could not now draw a good outline for the stem, much less terminate a color mass in the outline you wanted?
Your work will look very odd for some time, when you first begin to paint in this way, and before you can modify it, as I shall tell you presently how; but never mind; it is of the greatest possible importance that you should practise this separate laying on of the hues, for all good coloring finally depends on it. It is, indeed, often necessary, and sometimes desirable, to lay one color and form boldly over another: thus, in laying leaves on blue sky, it is impossible always in large pictures, or when pressed for time, to fill in the blue through the interstices of the leaves; and the great Venetians constantly lay their blue ground first, and then, having let it dry, strike the golden brown over it in the form of the leaf, leaving the under blue to shine through the gold, and subdue it to the olive-green they want. But in the most precious and perfect work each leaf is inlaid, and the blue worked round it; and, whether you use one or other mode of getting your result, it is equally necessary to be absolute and decisive in your laying the color. Either your ground must be laid firmly first, and then your upper color struck upon it in perfect form, for ever, thenceforward, unalterable; or else the two colors must be individually put in their places, and led up to each other till they meet at their appointed border, equally, thenceforward, unchangeable. Either process, you see, involves absolute decision.

Continue to Color Techniques

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