_Cultivated Land._--Cultivated land is represented by a flat-tint of burnt sienna.
_Uncultivated Land._--Uncultivated land or brushwood is represented by a double tint of green, as for grass-land, and burnt sienna, as for cultivated land, laid on in the manner already described for the double tint. As this is the only double tint used, it may be made, if thought desirable, with alternate green and crimson lake.
_Buildings._--Buildings, including all structures of masonry, as bridges, locks, walls, and such like, are coloured with crimson lake, and shadowed with a neutral tint composed of indigo, burnt sienna, and a little lake, as given above for forest land.
_Roads and Streets._--Roads and streets, and generally all those portions of a drawing not particularly described, are tinted with yellow ochre.
_Fences._--Hedges are represented by green dots, varied in size for bushes; stone or brick walls, by a line ruled in red; and wooden fences by lines of neutral tint, either ruled or drawn in by hand, according as the line is to be straight or otherwise. In every case the shadow must be put in.
In determining the intensity of the various tints employed on a topographical drawing, care must be taken that everything be “in keeping.” A cardinal rule of art is that nothing shall unduly obtrude itself; and in a coloured plan, _spottiness_, as it is called, should be studiously avoided. Forest, brushwood, and cultivated land, should be represented by tints of about equal intensity, and the same equality may be observed for grass-land, marsh, water, and sand, but the intensity should be less than in the former case. Tints that are of small extent may be a little exaggerated in intensity for the purpose of giving them greater distinctness, especially when the object represented is a building. Gardens and orchards require a little exaggeration in depth of tint, to distinguish them from the surrounding country; but care must be taken not to make the distinction too marked. It will generally be found conducive to a maintenance of “keeping,” to lay the lightest tints on first.
In mechanical and architectural drawings, shade lines must be considered rather as embellishments than constituent parts of the drawing. They are, however, frequently employed; and as their incorrect use may deceive the eye with respect to the intention of the designer, it becomes an important matter to know when to apply them with propriety.