DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0143
THE ARTIST''s ASSISTANT. 129
time fo artfully blended into the cheek, as to ex-
prefs its projection, and yet no real line to be per-
ceptible upon a clofe examination ; in fome circum-
ftances it fhould be quite blended with the cheek,
which appears behind it, and determined entirely
with a flight touch of red chalk. The fhadow caufed
by the nofe is generally the darken: in the whole face,
partaking of no reflection from its furrounding parts.
Carmine and brown oker, carmine and black, and
fuch brilliant crayons will compofe it beft.
The ftudent having before prepared the lips with
the ftrongeft lake and carmine, &c. mull, with thefe
colours, make them compleatly correct, and, when
finifhing, introduce the ftrong vermillions, but with
great caution, as they are extremely predominant.
This, if properly touched, will give the lips an ap-
pearance equal, if not fuperior, to thofe executed in
oils, notwithftanding the feeming fuperiority the lat-
ter has, by means of glazing, * of which the former
is entirely deftitute.
When the ftudent paints the neck, he fhould
avoid expreffmg the mufcles too ftrong in the ftem,
nor fhould the bones appear too evident on the cheft,
as both have an unpleafmg effect, denoting a violent
agitation of the body, a circumftance feldom ne-
ceffary to exprefs in portrait painting. The moft
ncceffary part to be expreffed, and which fhould
ever be obferved (even in the moft delicate fubjects)
is a ftrong marking juft above the place where the
collar bones unite, and if the head is much thrown
* The method with which painters in oils exprefs tranfparency
in the Hps is, by painting them firft. with light vermillion teints,
and, when dry, touching them over with pure lake,
R. over
time fo artfully blended into the cheek, as to ex-
prefs its projection, and yet no real line to be per-
ceptible upon a clofe examination ; in fome circum-
ftances it fhould be quite blended with the cheek,
which appears behind it, and determined entirely
with a flight touch of red chalk. The fhadow caufed
by the nofe is generally the darken: in the whole face,
partaking of no reflection from its furrounding parts.
Carmine and brown oker, carmine and black, and
fuch brilliant crayons will compofe it beft.
The ftudent having before prepared the lips with
the ftrongeft lake and carmine, &c. mull, with thefe
colours, make them compleatly correct, and, when
finifhing, introduce the ftrong vermillions, but with
great caution, as they are extremely predominant.
This, if properly touched, will give the lips an ap-
pearance equal, if not fuperior, to thofe executed in
oils, notwithftanding the feeming fuperiority the lat-
ter has, by means of glazing, * of which the former
is entirely deftitute.
When the ftudent paints the neck, he fhould
avoid expreffmg the mufcles too ftrong in the ftem,
nor fhould the bones appear too evident on the cheft,
as both have an unpleafmg effect, denoting a violent
agitation of the body, a circumftance feldom ne-
ceffary to exprefs in portrait painting. The moft
ncceffary part to be expreffed, and which fhould
ever be obferved (even in the moft delicate fubjects)
is a ftrong marking juft above the place where the
collar bones unite, and if the head is much thrown
* The method with which painters in oils exprefs tranfparency
in the Hps is, by painting them firft. with light vermillion teints,
and, when dry, touching them over with pure lake,
R. over