Although in workshop drawings, line-shading is rarely employed, yet where a design rather than the particular details of construction is to be shown, line-shading is a valuable accessory. Figure 295, for example, is intended to show an arrangeme... Read more of Examples In Line-shading And Drawings For Line-shaded Engravings at How to Draw.caInformational Site Network Informational
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Or Mineral Grey As It Is Often Improperly Spelt Is Obtainable From

the lapis lazuli, after the blue and ash have been worked out. So
derived, it is a refuse article, worthless if the stone has been
skilfully exhausted of its ultramarine. As this is now generally the
case, the best mineral gray is no longer a waste product, but a lower
species of ash, a pale whitish blue with a grey cast. Possessing the
permanence of ultramarine, it may be regarded in colour as a very weak
variety of that blue, diluted with a large quantity of white slightly
tinged by black. A pigment peculiar to oil painting, it is admirably
adapted to that gray semi-neutrality, the prevalence of which in nature
has been just remarked. For misty mornings, cloudy skies, and the like,
this gray will be found useful.


is formed by compounding black and blue, black and purple, black and
olive, &c.; and is likewise produced by adding blue in excess to madder
brown, sepia, &c., transparent mixtures which are much employed. It
should be borne in mind that the semi-neutrals, like the secondaries and
tertiaries, may be so compounded as to be permanent, semi-stable, or
fugitive. The due remembrance of this cannot be too strongly insisted
upon, seeing that in every picture the browns and grays are of frequent
occurrence. These it is that lend such charm to the whole, flowing, as
it were, like a quiet under-current of colour beneath the troubled
surface of more decided hues. In the work of every true artist--between
whom and the mere painter there is as much difference as between the
poet and the poetaster--there is sentiment as well as colour, whether
the subject be an exciting battle-scene or a bit of still life. This
sentiment, as strongly felt as the colour is clearly seen, is imparted
in no small degree by the skilful use of semi-neutrality, the
compounding of which, as time goes on, will therefore affect a picture
for good or for evil.

Subjoined is an analysis of the three semi-neutrals, which serves partly
to show in what great variety they may be obtained by admixture.

Brown = Black + Yellow }
" = " + Orange } + Red, Purple, &c.
" = " + Citrine}
" = 2 Yellow + Red + Blue
" = 2 Orange + Green + Purple
" = 2 Citrine + Russet + Olive
Marrone = Black + Red
" = " + Purple-red
" = " + Russet
" = 2 Red }
" = 2 Purple-red} + Dark Brown or Black
" = 2 Russet }
Gray = Black + Blue }
" = " + Purple-blue} + 2 White
" = " + Olive }
" = 2 Blue }
" = 2 Purple-blue} + Light Brown, or Black + 2 White
" = 2 Olive }

In the last division, the White has been added to remind the reader that
grays are coloured greys, not coloured blacks; and are therefore faint
of hue. This paleness, however, need not necessarily be produced by
admixture with white: it can be gained by means of thin washes. As a
pigment, gray may be to all appearance black in bulk.


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