DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0129
THE ARTIST'S ASSISTANT. 115
ventive to that inconveniency. If a flower hap-
pens to be of fo deep a colour as not to admit of
any pure white in the light eft of the parts, a fort
of priming of white fhould be laid on, after which,
when dry, begin with the ground colour of the
flower, proceeding gradually with the fhades as in
the above directions, which, with lively flowers
peculiarly chofen from nature for the purpofe, we
hope will be fufhcient to initiate our ingenious and
fair ftudents in this moft delightful amufement.
PAINTING with CRAYONS.
"^^/"HETHER the painter works with oil colours,
water colours, or crayons, the grand object of
his purfuit is ftill the fame : ajuft imitation of nature.
But each fpecies has its peculiar rules and methods.
Painting with cravons requires, in many refpects, a
treatment different from painting in oil colours ;
becaufe all colours ufed dry are, in their nature, of
a much warmer complexion than when wet with
oils, or any other binding fluid. Let this be prov-
ed by matter of fact:—Mr. Cotes painted a portrait
of Sir William Chambers, which is in Lord Bef-
borough's collection. An ingenious foreigner had
difcovered a method of fixing crayon pictures, fo that
they would not rub or receive an injury if any ac-
cident happened to the glafs. The fociety for the
encouragement of arts had before offered a pre-
mium to any one who fhould difcover fo valuable a
ferret, for which premium he made application.
P 2 Mr,
ventive to that inconveniency. If a flower hap-
pens to be of fo deep a colour as not to admit of
any pure white in the light eft of the parts, a fort
of priming of white fhould be laid on, after which,
when dry, begin with the ground colour of the
flower, proceeding gradually with the fhades as in
the above directions, which, with lively flowers
peculiarly chofen from nature for the purpofe, we
hope will be fufhcient to initiate our ingenious and
fair ftudents in this moft delightful amufement.
PAINTING with CRAYONS.
"^^/"HETHER the painter works with oil colours,
water colours, or crayons, the grand object of
his purfuit is ftill the fame : ajuft imitation of nature.
But each fpecies has its peculiar rules and methods.
Painting with cravons requires, in many refpects, a
treatment different from painting in oil colours ;
becaufe all colours ufed dry are, in their nature, of
a much warmer complexion than when wet with
oils, or any other binding fluid. Let this be prov-
ed by matter of fact:—Mr. Cotes painted a portrait
of Sir William Chambers, which is in Lord Bef-
borough's collection. An ingenious foreigner had
difcovered a method of fixing crayon pictures, fo that
they would not rub or receive an injury if any ac-
cident happened to the glafs. The fociety for the
encouragement of arts had before offered a pre-
mium to any one who fhould difcover fo valuable a
ferret, for which premium he made application.
P 2 Mr,