A manual of artistic colouring as applied to photographsThomas Piper, Photographic News Office, 32, Pasternoster Row, 1861 - 266 páginas |
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Términos y frases comunes
appear applied artistic background beautiful black lead blend bright brilliancy Brown madder brush burnt sienna burnt umber Cadmium yellow carmine character chiaroscuro Chinese white clean clouds cobalt cold colourist complexion contrast crayon dark darker delicate destroy ditto drapery effect faint flesh foliage French blue frequently gamboge give glazing gradation green greenish hair half-tints harmony hatching high lights Indian red Indian yellow indigo ivory Lamp black less light and shade light red lips madder brown madder lake madder pink Maxims mixed mixture Naples yellow nature opaque orange painters painting pale palette paper peculiar photographic colouring picture pigments portion portrait prepared preserve prussian blue pure purple madder qualities Raw sienna Raw umber reflected lights rose madder secured sepia shadows sitter smooth soft soften stipple strengthen surface tints tone touch transparent ultramarine Vandyke brown varnish Venetian red vermilion warm wash water colours yellow ochre
Pasajes populares
Página 242 - No tree in all the grove but has its charms, Though each its hue peculiar...
Página 59 - The predominant colours of the picture ought to be of a warm mellow kind, red or yellow; and no more cold colour should be introduced than will be just enough to serve as a ground or foil to set off and give value to the mellow colours, and never should itself be a principal; for this purpose a...
Página 40 - It was of advantage to the old school of Italian painters that they were under the necessity of making most of their colours themselves, or at least under the inspection of such as possessed chemical knowledge, which excluded all possibility of those adulterations to which the moderns are exposed.
Página 59 - ... favour of their colouring, is the account we have of some of their principal painters using but four colours only. I am convinced the fewer the colours the cleaner will be the effect of those colours, and that four are sufficient to make every combination required. Two colours mixed together will not preserve the brightness of either of them single, nor will three be as bright as two ; of this observation, simple as it is, an Artist, who wishes to colour bright, will know the value.
Página 64 - To preserve the colours fresh and clean in painting, it must be done by laying on more colours, and not by rubbing them in when they are once laid ; and, if it can be done, they should be laid just in their proper places at first, and not any more be touched; because the freshness of the colours is tarnished and lost by mixing and jumbling them together, for there are certain colours which destroy each other by the motion of the pencil when mixed to excess.
Página 63 - Whoever flatters himself that he can retain in his memory all the effects of Nature is deceived, for our memory is not so capacious : therefore consult Nature for everything.
Página 13 - Not fall precipitate from light to shade. This Nature dictates, and this taste pursues, Studious in gradual gloom her lights to lose; The various whole with soft'ning tints to fill, As if one single head employ'd her skill.
Página 65 - Paint your lights white ; place next to it yellow, then red, using dark red as it passes into shadow ; then, with a brush filled with cool grey, pass gently over the whole, until they are tempered and sweetened to the tone you wish.
Página 19 - Creation; but what a rough unsightly Sketch of Nature should we be entertained with, did all her Colouring disappear, and the several Distinctions of Light and Shade vanish?