DOI Page / Citation link:
https://doi.org/10.11588/diglit.19571#0108
94 THE ARTIST'S ASSISTANT.
oils, are a nut oil boiled with litharge and fandarach ;
others with Ipirit of wine, maftich. and gumlacca.
The next operation is to draw the dehgn on the
canvas ; and afterwards to prime the work, which
is done by laying a lay of white all over it, except
on the lines of the draught, which muft be kept
vifible. Then if the piclure be a hiftorv piece, or
a portrait/ the painter begins by the face or faces ;
which, together with all the other naked parts to be
pronounced in the picture, are called carnations.
The carnations are made with white and carmine ;
and brown, blue and yellow for the fhadows ; ac-
cording to the complexion the painter defigns to
give to the figure or figures he is to reprefent.
The application of colours in painting, is con-
fidered either with regard to the kinds of painting,
in works of various colours, or in thole of one
finale colour.
Firft, in the larger pieces, the colours are rather
laid on full, lo as they may be impreilcd or incor-
porated together, which them hold the more
firmly.
Or elfe the more agreeable ones, which dry too
hard and too haftily, are mixed with a little colour,
and the cleared of the oil. But in both cafes, the
colours are to be laid on ftronrr at firft ; it beincx cafy
to weaken thole which are to be thruft back, and to
heighten the others ;. the touches to be bold, by the
conduft of.a free and fteady pencil ; that the work
may appear the moft finifhed at a proper diftance,
and the figures animated with life and fpirit.
For glazed colours, care muft be taken, that the
under colour be painted ftrong, and that it be a
bedy colour, and laid fmocth.
In
oils, are a nut oil boiled with litharge and fandarach ;
others with Ipirit of wine, maftich. and gumlacca.
The next operation is to draw the dehgn on the
canvas ; and afterwards to prime the work, which
is done by laying a lay of white all over it, except
on the lines of the draught, which muft be kept
vifible. Then if the piclure be a hiftorv piece, or
a portrait/ the painter begins by the face or faces ;
which, together with all the other naked parts to be
pronounced in the picture, are called carnations.
The carnations are made with white and carmine ;
and brown, blue and yellow for the fhadows ; ac-
cording to the complexion the painter defigns to
give to the figure or figures he is to reprefent.
The application of colours in painting, is con-
fidered either with regard to the kinds of painting,
in works of various colours, or in thole of one
finale colour.
Firft, in the larger pieces, the colours are rather
laid on full, lo as they may be impreilcd or incor-
porated together, which them hold the more
firmly.
Or elfe the more agreeable ones, which dry too
hard and too haftily, are mixed with a little colour,
and the cleared of the oil. But in both cafes, the
colours are to be laid on ftronrr at firft ; it beincx cafy
to weaken thole which are to be thruft back, and to
heighten the others ;. the touches to be bold, by the
conduft of.a free and fteady pencil ; that the work
may appear the moft finifhed at a proper diftance,
and the figures animated with life and fpirit.
For glazed colours, care muft be taken, that the
under colour be painted ftrong, and that it be a
bedy colour, and laid fmocth.
In