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The Elements of Drawing by John Ruskin On First Practice Sketching from Nature On Color and Composition ON color AND COMPOSITION Against one thing, however, I must steadily caution you. All kinds of color are equally illegitimate, if you think they will allow you to alter at your pleasure, or blunder at your ease. There is no vehicle or method of color which admits of alteration or repentance; you must be right at once, or never; and you might as well hope to catch a rifle bullet in your hand, and put it straight, when it was going wrong, as to recover a tint once spoiled. The secret of all good color in oil, water, or anything else, lies primarily in that sentence spoken to me by Mulready: "Know what you have to do." The process may be a long one, perhaps: you may have to ground with one color; to touch it with fragments of a second; to crumble a third into the interstices; a fourth into the interstices of the third; to glaze the whole with a fifth; and to reinforce in points with a sixth: but whether you have one, or ten, or twenty processes to go through, you must go straight through them knowingly and foreseeingly all the way; and if you get the thing once wrong, there is no hope for you but in washing or scraping boldly down to the white ground, and beginning again. The drawing in body-color will tend to teach you all this, more than any other method, and above all it will prevent you from falling into the pestilent habit of sponging to get texture; a trick which has nearly ruined our modern water-color school of art. There are sometimes places in which a skilful artist will roughen his paper a little to get certain conditions of dusty color with more ease than he could otherwise; and sometimes a skilfully rased piece of paper will, in the midst of transparent tints, answer nearly the purpose of chalky * But not shiny or greasy. Bristol board, or hot-pressed imperial, or grey paper that feels slightly adhesive to the hand, is best. Coarse, gritty, and sandy papers are fit only for blotters and blunderers; no good draughtsman would lay a line on them. Turner worked much on a thin tough paper, dead in surface; rolling up his sketches in tight bundles that would go deep into his pockets. body-color in representing the surfaces of rocks or building. But artifices of this kind are always treacherous in a tyro's hands, tempting him to trust in them: and you had better always work on white or grey paper as smooth as silk;* and never disturb the surface of your color or paper, except finally to scratch out the very highest lights if you are using transparent colors. I have said above that body-color drawing will teach you the use of color better than working with merely transparent tints; but this is not because the process is an easier one, but because it is a more complete one, and also because it involves some working with transparent tints in the best way. You are not to think that because you use body-color you may make any kind of mess that you like, and yet get out of it. But you are to avail yourself of the characters of your material, which enable you most nearly to imitate the processes of Nature. Thus, suppose you have a red rocky cliff to sketch, with blue clouds floating over it. You paint your cliff first firmly, then take your blue, mixing it to such a tint (and here is a great part of the skill needed) that when it is laid over the red, in the thickness required for the effect of the mist, the warm rock-color showing through the blue cloud-color, may bring it to exactly the hue you want (your upper tint, therefore, must be mixed colder than you want it); then you lay it on, varying it as you strike it, getting the forms of the mist at once, and, if it be rightly done, with exquisite quality of color, from the warm tint's showing through and between the particles of the other. When it is dry, you may add a little color to retouch the edges where they want shape, or heighten the lights where they want roundness, or put another tone over the whole: but you can take none away. If you touch or disturb the surface, or by any untoward accident mix the under and upper colors together, all is lost irrecoverably. Begin your drawing from the ground again if you like, or throw it into the fire if you like. But do not waste time in trying to mend it. Continue to 24 Essential Colors

Get all the animals listed on this site in an easily printable format. Also learn how to draw mice, monkeys, butterflies and a phoenix. Instant download. $7. Learn to draw a new animal every week. Enter your email address below and we'll send you a free drawing lesson every week. Email: The Elements of Drawing by John Ruskin On First Practice Exercise One: Shading Exercise Two: Outlines Exercise Three: Gradation Exercise Four: Pencil Drawing Exercise Five: Drawing Letters Exercise Six: Drawing Trees Exercise Seven: Watercolor Practice Exercise Eight: Drawing Stones Exercise Nine: More Watercolor Practice Exercise Ten: Sketching from Nature Sketching Trees Sketching Trees 2 First Sketches Painting Practice Drawing from Photographs How to Draw Quickly Drawing Shadows What To Draw How to Draw Plants How to Draw Plants 2 Three Laws of Drawing Light and Shade Drawing Water Drawing Clouds Color Materials Using the Right Color 24 Essential Colors Mixing Colors Using Colors Color Techniques Color Gradation Watercolor Tints Using Black and White Compound Colors Warm and Cool Colors Draw with Care Composition The Law of Principality Law of Repetition Law of Continuity The Law of Curvature Law of Radiation The Law of Contrast The Law of Interchange The Law of Consistency The Law of Harmony