The Art of projection and complete magic lantern ... - Yesterday Image

;151sienna to impart warmth without causing the colour to look dull) ;as yougo into the shade on the right a little more blue will be needed todarken the tone. You must not dab here ; stroking is all that is neededyou do not want to obtain a perfectly y?^^' surface like a sky.We now come to the water, which is found tiresome painting in everybranch of the art. Mix with the blue a little crimson and yellow lake,fo give it depth and take off its rawness : having determined the strength(not intense), commence to colour, drawing the brush horizontallyfromright to left, getting the shade lighter just over the bank where the twofigures are : it will not signify covering the boats with the colour, it canbe removed after. All necessary stroking must be performed with amoderately broad point in a horizontal direction^ and on no account must\.\\& finger touch the water ; be careful not to smear the tower. Whenyou have finished the water, take out the colour which has been carriedover the sail of the boat on the left hand with some paper rolled up topoint ; also remove any colour which may have been smeared on thetower. The tower itself, and the bank on which it stands may becoloured a warm brown (burnt umber, crimson, and sienna, or siennaor Italian pink) ; be careful to keep to the outline, that you do notsmear the mountains at the back : the shady parts of the building andthat of the bank to the right, should be touched with a darker colour,the addition of a very little blue will make the same tint available forthis purpose. The end of the bank on which the tower stands at theextreme left should be touched with a bright yellow green.Those portions of the foreground in the light, should be painted inwith a brownish green in which yellow must predominate, and for thebushes and trees, a tint composed of yellow and burnt sienna in thelights (the former to predominate), and in the shades add more blue andsienna ;shade also the foreground with a darker green (not too violent),or blue in which also there must not be too much brown. Stroke allthese surfaces carefully but not to an absolute flatness. If possible donot paint over the figures ; if any colour has been carried on them itshould be removed ; a crimson cloak and white dress will answer wellfor the standing figure, and a blue dress and white bodice for the oneseated. Remember light is supposed to come from the left side of theview.Dry your work in the oven.Shading. Use the same tints, making them darker by varying thequantities of their constituents, being careful to preserve a warmth oftone. Use a brown-black for the hulls of the boats ;shade the sail ofthat nearest the shore with a light tint of umber and yellow ; add somea