Waves breaking close to the shore will be warm in color, owing to the sand and seaweed underneath.
In the representation of mountains the greatest attention should be paid to accuracy of outline and to the irregularities of form, color, and shade in the general contour. The outlines present themselves at such different angles, and some will be in shade while others will be in brilliant light or half-light.
To produce the effect of ruggedness on distant mountain sides, a brush with dry color may be dragged over the surface.
Mountains may be put in with light red, and this should then be washed over with cobalt. The shadows should be worked with a deeper tint of cobalt.
Mists or Clouds in the landscape greatly assist the artist in producing aerial effects.
In painting clouds bring up the form sharply and decisively with the side of the brush. This operation is of essential importance.
Plenty of color should always be kept in the brush, and care taken to preserve the purity of the tints. When the drawing is commenced cadmium or rose madder may be washed very lightly over the entire paper, omitting very white clouds or snow. Clouds differ very much in form according to the character of the landscape, whether flat, hilly, wooded, or mountainous.
To indicate the direction of the wind, keep the edges of the clouds ragged on one side.
Sharpness of form in painting skies is needed to prevent the appearance of woolliness, and when the use of a brush with water is not sufficient to produce granulation and atmosphere, the paper may be rubbed very carefully with a piece of the finest glass-paper, this removes a little of the surface. Color afterwards applied will flow freely, and the clouds will not appear to have hard edges. The highest lights may be taken out with a sharp knife.
