To obviate this,—to save the student's time, that he may devote the more to the attainment of his pursuit,—that he may be enabled to tint a drawing in half an hour, when he would have spent three in making a good tint or two (presuming his capability to do it at all),—induced the Author of this work, at a considerable outlay of time and expense, to form a Box of Tints, in permanent cakes, ready at once for use, and all the necessary purposes of landscape or other painting, and for sketching from nature without inconvenience or difficulty.
As water-colour painting has experienced so much revolution of late, arising from its extensive capabilities,—the best drawings, or rather water-colour paintings, being produced by the balance of opaque and transparent colours,—those tints and mixtures that are found most useful in oil-painting, and most wanting in water, has engaged his particular attention.
He has confided the making them solely to Mr. Charles Smith, of Marylebone-street, Piccadilly. The tints are expressed on the cakes in numbers, which have reference to the coloured plates. In addition to which the following colours are those mostly used:—
Indigo; to which may be added cobalt and French blue. Indian red. Venetian red. Purple lake. Madder lake. Vermilion. Burnt sienna. Raw sienna. Yellow ochre. Gamboge, Brown pink. Raw umber. Vandyke brown. Ivory black.
REFERENCE TO THE PLATES ON COLOUR.
[Plate 7.]—The sky is laid with tint No. 10;—the walls and foreground are covered down with No. 1, varied here and there with burnt sienna;—the tiles and roof with No. 4;—tints 6, 7 and 8 are mixed together, varied and floated over for the cool greys;—the figure, Indigo and No. 10; vermilion, ochre and burnt sienna. The greens are composed of indigo, gamboge and burnt sienna, with brown pink. The gallery is tint No. 6, floated over Vandyke brown. Cobalt and Vandyke brown in the hollows.
[Plate 8.]—The sky is done with No. 9, and thin cobalt floated over: the horizon with No. 4, varied with Venetian red: the orange brought down into the trees, and worked together with gamboge; the shadowed parts of which are put in with No. 7—repeated in the bases of the clouds. No. 9 is worked into the cool greys of the middle space. The greens are varied with indigo, burnt sienna, gamboge and brown pink;—the brightest lights with yellow ochre: foreground with No. 5.
[Plate 9.]—The sky French blue and madder-lake;—distance with No. 1, heightened here and there with ochre;—middle space worked in with 9 and 8—the greys with No. 7. Cobalt in the hollows; warmed, in parts, with No. 4. Boats done with No. 9, strengthened with Vandyke brown;—the water slightly washed with No. 5, varied with the same and indigo;—steps and railing with Nos. 1 and 5.
[Plate 10.]—The sky is washed with indigo and madder-lake, kept grey towards the horizon;—the distant buildings with Nos. 7, 8;—No. 7 is mixed with burnt sienna for the greys of the trees: the greens are composed of indigo, burnt sienna, raw sienna, Venetian red, and gamboge;—the gravel with No. 5, a little burnt sienna, and white;—the shadows with No. 7;—figures with positive colours;—foreground slightly washed with No. 1, varied with No. 5;—the pedestal with No. 5, varied at the base with Nos. 6 and 9.
[Plate 11.]—The sky, indigo and madder lake: the clouds varied with Nos. 8 and 9, and floated over with cobalt: the warm lights with yellow ochre and burnt sienna;—horizon with cobalt and indigo;—the sands with No. 1, shaded with 2 and 6;—the mill with No. 1, lightly floated over with No. 6, and touched in parts with No. 3;—the foreground brought down with brown pink;—the mill, on the left, painted into with Vandyke brown, Indian-red, and No. 5; the lights with No. 4, and roof with No. 3; the sail, Indian red and Vandyke brown; figures, cobalt and vermilion, subdued with No. 6.