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Day, Charles William
The Art Of Miniature Painting: Comprising Instructions Necessary For The Acquirement Of That Art — London, 1853 [ersch.1854]

DOI Page / Citation link:
https://doi.org/10.11588/diglit.19955#0037
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hair;

35

HAIR.

The shades of hair are so various, that you must endeavour
to match its tints from nature, always keeping in mind., that
the lights on hair differ from the local colour; the lights on
brown hair, for instance, being of a purple hue. There is
nothing worse than to make the shadows of hair of the
same colour as the hair, but merely darker than the local
tint. I give a few general mixtures to be used with due
allowance as approximations.

Flaxen Hair. — This is produced by Roman ochre,
modified with sepia. The shadows of this hair are often
of a greenish hue, which sepia will give. These two
colours—(the sepia predominating)—will also make "piggy
hair."

Aubwrn Hair.—Lights made in neutral tint, with a
little lake; local colour, burnt umber; deepest shadows,
perhaps a little lake in addition.

Chesnut Hair.—The lights are somewhat purple; the
local tint is burnt umber, and lake modified by sepia; the
deepest shadows often partake of rather a purple hue.

Mouse-Coloured Hair.—This kind of hair occurs very
often; neutral tint and burnt umber make a very lovely-
mixture ; the shadows, sepia.

Bright Red Hair.—Be careful never to exaggerate this
kind of hair. Yenetian red, and lake modified by sepia,
if required, will form it; burnt terra sienna is sometimes
used. If more yellow be wanted, add a little Roman

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