None
Mixed Washes 143 " Washes, Compound Tone by 144 Indoor Conditions 137 Indoor and Outdoor Scale in Plan 107 Ink, Cnre of Stick of 28 " Chinese 27 " Cooling or Warming 17, 18 " Diluting 17 " Higgins' 17, 103, 104 " India 27, 28, 32 " Keeping 28 " Preventing the Evaporation of 28 " Straining 28 INDEX 151 Page Ink, Toning the 17 Inking in of Plan 105 " " Shadows 24 Inner Vision 24 Interest concentrated in Plan 113 Intermediate or Subordinate Planes 5S " Step between India Ink Rendering and Pure Color 83 Israels 136 J Joining Sheets (of paper) 5 Joint Lines 21 Juxtaposition of Varied Tones 89 K Keeping Ink 28 Keeping the Wash evenly wet 38, 73 Key 136 " High and Low 136 " Preservation of 83, 84 L Larger Scale, Studies at 13 Law of Contrast iit Laying Sky Washes 36, 37 "Legitimate" Methods 142 Letarouilly's Edifices de Rome Moderne 107 "Lifting" of Color 87, 91 Light and Dark in Plans, Concentration of 1 1 1 " Edges in Details 97 " Lines 100 " Reflected 58 " (Color), Quality of 31, 136 " (Value), Quantity of 31, 136 " to Dark, Building up from. 36 " " " or Vice Versa, Grading a Wash from 37 Lightening up 17 Lights and Darks, Principal 65 Lightweight Pigments 116 Line and its Quality, The 18 " "Biting in" a 18, 75 " "Consuming" the 19 " Following a 38 " Hair 103 " Drawings, Shade- 21 " Watertable no " Working 12 Lines, Broad and Soft 20, 100, 106 " Cold and Warm loi " Crossing 103 " Dark 19 " for shadows, Construction 24 " Joint 21 " Light 19, lOD " Piquage by 79 " Speed in Drawing 18 152 INDEX Page Lines, Thick i8 " Thin i8 " Window (in plans) 103, 104 " Wiry 18, 106 " vs. Planes 19 Loading the Brush 38 Local Color 52 Long, Birch Burdette, Working Palette of 130 Low Key or Pitch 136 Luminosity 41 Luminous Washes 41 M McGoodwin's Shades and Shadows 25 McKnight, Dodge 140 Main Cornice Shadows 86 Manipulation of Color 142 Speed of 84 Maris 140 Meagreness 105, 109 Medaille des Concours 100 Mending Edges 40 Method of Laying a Sky Wash, Alternate 43 " The Glazing 90 Methods, "Legitimate" 142 " in Sketching 140 " of Grading Small Washes , 71 Metal Work and Windows, Piquage of 79 Minor Plane Values 65 " Planes in Cornice Shadows (Diagram) 55, 67 Mixed vs. Individual Washes 143 Modillion Shadows, Grading 69 Monochrome and Monotone, Definition of 31 Monotone 31, 83 " and Monochrome, Definitions of 31 Mounted Paper 137 Mounting of Paper 5, 7 Mother Wash, The 32» 85 Murphy, Herman 140 o Old dry colors, Beware of 123 " seasoned paper best 27 Opaque Pigments 116 Openings, Warm or Cold Tones in 87, 88 Opposing Cold and Warm Tones 84 Ornament, Shadows of 75 Outdoor and Indoor Scale in Plan 107 " Conditions I37 Outlining Poche 103, 104 P Pace in Running Washes ^23 Paint, Beginning to ^4^ INDEX 153 Page Painting on Glass i37i ^38 " Scrubbing the Paper in Sketching or 142 Pale Lines ^9 Palette, Establishing a Working 126 " Folding 136 " of Author 26 « " Paul P. Cret 129 " " Otto R. Eggers 129, 130 " " Jules Guerin 129 " " Frank Hazcll 131 " " Birch Burdette Long 130 " " Hubert G. Ripley 131 " Setting the 138 Pan Colors 116 Paper, Antiquarian 4 " Blotting 28 " Charcoal I39 " Cloth-backed 6 " Eggshell 4 " English Crayon i39 " for Sketches i39 " Harding I39 " Joining Sheets of 5 " Lightweight 4 " Mounted i37 " Mounting of 5> 7 " Old seasoned, Best 7 " Preserving the Surface of 14 " Protecting the 14 •' Roll 4, 5 " Selection of 7 " Steinbach 4 " Thin 4 " Tinted Crayon i39 " Torchon i39 " Transfer 16 " Use of Alum for re-calendering the 23 " Whatman Cold Pressed 4 '» " Hot " 4 " " Extra Rough i39 " " Roll 4 " " Rough 139 " " Smooth 139 Parrish, Maxfield "5i i40 Parthenon 84 Passing Plane Washes 54 Paste, Higgins' 5 Pattern 102 Pen Shadows, Ruling- 75 Pencil, Blaisdell 81 Penciling in '4 " a Plan 103 Pens, Alteneder's Ruling 20 " Coarsening and Sharpening Freehand 20 " Crow-quill 20 " Freehand 20 " Gillot's 20 " Ruling 20, 75 154 INDEX Page Penumbra 98 Permanence of Pigments 117 Perspective Foregrounds 46 Perspective in Plan, Trees in 111 Perspectives 90 Photographs, Aerial (footnote) 100 Pigments as Toning Agents 29 " Carbonaceous 123 " Deposing 116 " Heavy 116 " Lightweight 116 " Opaque 116 " Permanence of 117 " Properties of 84, 116 " Settling out of heavy 118 " Transparent 89, 116 Piquage 17, 32, 62, 70, 78, 97 " and Back Shadows 76 " by Lines 79 " in Color 89 " of Brickwork 79 " " Stonework 78 " " Windows and Metal Work 79 " Texture by 79 " Use of the Rubber in 80 Piquer 17. 89 Pitch 138 Pitches of Platforms, etc., Whites in 12 Plan, Concentration of Interest in a 113 " Crossing Lines in 103 " Freedom in Drawing of lOi " Furnishing a 106 " Indoor and Outdoor Scale in 107 " Inking in of a 103 " in Rendering, Simplification of 109 " Penciling in of a 103 " Preliminary Study of Values in a 109 " Shadows 112 " Subtlety of Handling in 108 " The Greys of a 105 " Third Dimension in 102 " Trees in Perspective in a 1 1 1 " Use of Washes in Furnishing a 107 " Washes in no Plans, Accuracy in 100, 101 " Block 113 " Concentration of Light and Dark in 1 1 1 " Gradation of 1 10 " Meagreness in 105 " Rendering of 100 " Window Lines in 104 Plane Values 52, 57 " Minor 6s " Washes, Grading of 62 " " Passing 54 Planes in Line, Value of 17 " Intermediate or Subordinate 58 " Minor, in Cornice Shadows (Diagram) 55, 67 INDEX 155 Page Planes, Relative Illumination of S5 " vs. Lines 19 Planning out Washes 33 Plantations in Plans 108, 109 Platforms, etc., Whites in Pitches of 12 Poche loi, 102 " Brilliant or Dull 104, 105 " Demi- loi " Outlining 103, 104 Pocher 105 " Proper Time to 105 Point of the Brush 142 " " View and Choice of Subject 135 Powders, Color 128 Preliminary Steps 3 " Study of Values in Plans 109 Preservation of Key 83, 84 Preserving Brilliancy 44 " the Surface of Paper 14 Preventing the Evaporation of Ink 28 Primary Colors 89, 124 Principal Darks and Lights 65 Problem in Reflected Light, etc., Sections as 93 Program, Importance of xiii Properties of Pigments 84, 116 Propylaea 84 Protect Drawing, Shield to 14 Protecting the Paper 14 Puddles 10 Pure Monotone 31 Q Quality of Light (Color) 3I1 ^36 Quantity of Light (Value) 3I) ^i^ Quality of Tone 85 " The Line and its 18 Quarter Color, Half and Three-quarter Color, Drawings in 83 R Rays, Spectrum 124 Realism vs. Convention 46 Re-calendering the Paper 23, 24 Red Sable Brushes 25, 26 Reflected Light 58 " Lights, Sections a problem in 93 " Shades 77 " Shadows 63 Relative Illumination of Planes 55 Removing Blots 5^ Rendering Details 94 " Plans 100 " Sections 93 " Simplification of plan in 109 Repairing Defects 4' Reversal of gradations for balance 62 Reversing Values for Contrast 53 IS6 INDEX Page Ripley, Hubert G 81, 84, 135 " " " Working Palette of 131 Roll Paper 4, 5 Ross, Denman 31, 85 Rough Whatman Paper 139 Rubber Cement 47 Rubber, Use of the 80 Rubbers, Green and Ruby 2Z Rubbing on 15 Rubbing up or Grinding India Ink 28 Ruby Rubber > 22 Ruling-Pen Shado^Ts 75 " Pens 20 Runbacks or Fans 5, 6, 29, 30, 50, 143 Running Washes containing much Color 87 " " Pace in 123 " " too wet 39 S Sanguine 16 Sargent, John S 133, 140 "Sauce" io8 Saucer, Color {godet) 29 " Slate Grinding 28, 104 Scale, Indoor and Outdoor, in Plan 107 " in Treatment 103 " Simplification of Drawing at Small 13 " Studies at Larger 13 " Treatment in Relation to 103 Scrubbing the Paper in Sketching or Painting 143 Seats or Stools, Sketching 137 Secondary Colors 89 Sections, Problem in Reflected Light 89 " Rendering of , 93 Selecting a Brush 26 Selection of Paper 7 Sequence, Spectrum 126, 138 Setting the Palette 138 Settling-out of Heavy Pigments 118 Shade-line Drawings 21 Shades and Shadows 65 " " " Column 73 " " " McGoodwin's 25 " Back 77 " Gradation of Cyma 96 " Reflected 77 Shadows, Back 63, 69 " " and Piquage 7^ " Casting 24 Cloud "3 " Colonnade 70 " Complicated 24 " Construction Lines for 24 " Cornice 66 " Grading Modillion 69 *' Inking in 24 " Main Cornice 86 " Minor Planes in Cornice 55> 67 INDEX 157 Page Shadows of Ceiling Solids 93 " " Ornament 75 Plan 112 " Reflected 63 " Ruling Pen 75 " Sharp Gradation in Cornice 68 Small 75 Sharp Gradation in Cornice Shadow 68 Sharpening Freehand Pens 20 Sheets (of paper), Joining 5 Shield to Protect Drawing i^^ Shrubs and Trees, Accessory 88 Side of the Brush 142 Silhouettes 22 Simplification of Drawing at Small Scale 13 " " Plan in Rendering. ., 109 Sketches, Paper for 139 Sketching, Aims in 133 Free ■.'.133 " Methods in 140 " or Painting, Scrubbing the Paper in 142 " Textures in 142 Skies, Air Brush 47 " Atomizer 47 " Sprayed 47 Sky Tones 35 " vs. "Background" 35 " Wash, Alternate Method of Laying a 43 " Washes 85, 86 " " Laying 36, 37 Slate Grinding Saucer 28, 104 Small Scale, Simplification of Drawing at 13 " Shadows 75 " Washes, Methods of Grading 71 Smith, F. Hopkinson 140 Smooth Whatman Paper 139 Soft Lines 20, 100, 106 Solids, Shadows of Ceiling 93 Spectrum Rays 1 24 " Sequence 126, 138 Speed in Drawing Lines 18 " (or Pace) in Running Washes 123. " of Manipulation 84 Sponge, Face 23 " for the Field 141, 142 " " Foliage, LTse of 112 Sponging down Washes 96, 99 " off 23 Spots, Eliminating 41, 42 Spray, Alcohol 49 " Washes, Templates for 47 Sprayed Skies 47 Spraying on in Full Color 144 Steinbach Paper 4 Steps, Gradation of 70 Stevenson, Robert Louis 140 Stick of Ink, Care of. 28 Stippling 42 158 INDEX Page Stone, Weathering of 97 Stonework, Piquage of 78 Straight-edge, Use of S Straining Ink 28 Streaks, Eliminating 41, 42 Strips, Tick 12 Studies at Larger Scale 13 " to final paper, Transferring 12 Study of Plan Values, Preliminary 108, 109 Subject and Point of View, Choice of 135 " Analysis of 141 Subtlety of Handling in Plan 108 Subordinate or Intermediate Planes 58 Surface of Paper, Preserving the 14 Surfaces, Illumination of Curved 57 T Temperament 114 Templates for Spray Washes 47 Tertiary Colors 89 Texture by Piquage 79 Textures 81, 113 " in Details 99 " " Sketching 142 Thick Lines 18 Thin Lines 18 Thin and Lightweight Paper 4 Third Dimension in Plan 102 Tick Strips i2 Tilting the Drawing Board 50 Time to Pocher, Proper 105 Tinted Crayon Paper 139 Tone, Quality of 85 " of Circulation 105 " Unified with Air Brush or Atomizer 113 " Value of 85 Tones in Openings, Warm or Cold 87, 88 " Juxtaposition of Varied 89 " Opposing Cold and Warm 84 " Sky 35 Toning Agents, Pigments as 29 " the Ink 17 Torchon Paper , 139 Transfer Paper 16 Transferring Studies to Final Paper 12 Transparent Pigments 89, 116 " Washes 41 Treatment in Relation to Scale 103 Tree Forms in Plan, Use of Sponge in 112 Tree Masses and Entourage Generally 108 Trees 103 " and Shrubs, Accessory 88 " in Perspective in Plan m Tube Colors 116 u Uniformity 34 Unifying Tone with Air Brush or Atomizer 113 INDEX 159 Page Unifying Washes t-.-.v 89 Use of Alum 23 " " Black 131 " " Blotters 28, 29 " " Casserole 23 «• " Electric Fan 10, 23 *• " the Rubber in Piquage 80 " " Sponge for Foliage "2 " " Straight-edge 5 *' " Washes in Furnishing Plan 107 V Valley Forge Memorial 98 Value of Tone 85 Values 31 " Building up 96 " " " Plane 57 " for contrast, Reversing 53 " of Minor Planes 65 " " Planes 52 " " Planes in Line 17 " Preliminary Study of Plan 109 Varied Tones, Juxtaposition of 89 View and Choice of Subject, Point of 13 S Villa Medici 94 Viollet-Ie-Duc 18 W Walcott, William .• I33i ^¥> Ware, Professor William R 8 Warm and Cold Lines 101 " " " Tones, Opposing 84 " " " Backgrounds 83 " " Vice Versa, Grading from Cold to 88 Warming Ink *7» ^8 Wash, Alternate Method of Laying a Sky 43 " cut to the end. ^ 1 'Aavaan# "^OAHvaaii-i^ EUNIVER% ^lOSANCEier^ i 3 laoNvsoi'^ *^/ja3AiNfl-3WV ' filAPRl? 1995 EUmVER% A;^lOSANCE^r. ^ t s = inwyil^ %JflAIN(l-3V^ IIBRARYQ<r - . -^I'UBRARYQ FCAUFO)?^ aOFCAUFOR wivaan^ ^^AavaaiH vi 0 3 4iyy ^^ ^OFeAUFO^-^ vvlOSANCEl£ji> 3 '^/S3AINa-3\^^ ^lOSANCElfx^ fig .^^S. >■ "ffrt O ^I'UBRARYOr ^0FCAIIF0% ^OF-O >• ■^■^ ^ vmsmih o o 130NVS01^ "^/^aaAiNrt^wv^ ^^lUBKAKYCJc ^iJOJIlVDJO'^ <^3DNVS(n^ ^lOSANCElfx^ %a3AiNmv^ ^lOSAKCEl^^ o UDNVSOl^ "^eMNd^vs^ ^OFCAtlFORj^ ^OFCAUFOP^ >&Aavaanii^ ^^Aavaan'# /jmeunivers/a *%13DNVS01'^ v^lOSANCEl^^ O 6 %a3AlNn-3VlV^ :UBRARYQ^, -^^JJUBRARY^?^ OJIIVDJO'^ \^i\m'l^ ,5MEUNIVER% avIOSANCEIHT;. ^lUBRARYQc ,. ^^HIBRARYQr ^<!fOJIlV3 JO'^ %OJI1V3JO^ ^ 5 i^: I v^lOSANCEl% c= f ft U . c« § 1 ir-^ ^ >'<?A}iva8n# ^WtUNlVERJ/A %)jnV3J0=^ ^TiiJONVSm^ o > %a3AiNn-3VkV* L 007 1 ^OF-CAllFOff^ ^.OFCAllFORi^ ^\WEUKIVERSy^ 84 126 6 ^lOSANCEie;^ ^^ ,OFCAllF0/?.)j>^ ^OJIIVDJO^ AA 001 208 885 2 ^MiwnifP o ^^ = ^ % ^OFCAllFOi?^ ^^\U•UNIVER5•/^ ^TilJDNVSOV^ ^lOSANCElfj^ -< ^OFCAUFOi?^ ^<?Aavaaii#' ^OFCAUFO/?^ > «5MEUNIVER% Or K <riijouvsoi^ c ■ ^lOSANCEier^ o " ^ ^>^lllBRARY6Jc, ^llIBRARYQc ■^/^aJAiNn-iwv^ '^<!/ojnv3jo'^ ^<!/ojiivdjo^ .5MEUNIVFRS/A ^J^JDNVSOl^ ^lOSANCEl^^ o 5,^^iUBRARYGr .>^ "^MAINrtJWV^ ^^yOJITVDJO^ \ ^lOSANCFlfj)>. o > so ^OFfAUFOftj^ ^OFCAllFOfiU;, ^^WEUNIVERJ/zi ^lOSANCElfj-^ ^CAavaaii^^ '^i'iiaDNvsoi^ ^OfCAUFO% ^C o oe I '^^Aavaaii-^'J^ ^/> ^^lUBRARYQ^ ^•OF'CAllFO/?^ .^WEUNIVFRy/A ^mm-'iow iWEUNIVER%. i3 ^^AavaanT^ <riuoNvsoi^ ^lOSANCFl^^ o "^aaAiNni^vv^ ^lOSANCElfx^ = .< ■^MAiNniViV^ ^l-UBRARYOc. ^^lUBRARYd?/- ^OFCAIIFOM^ ^OFCAIIFO/?^ ^5MEUNIVERS/4 ^ ■y o i o u. 3? 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