DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19955#0054
52
STIPPLING.
no more satisfactorily, and then put it by for a week, when
your fresh eye will probably detect several points that may
be improved, but which your jaded vision before over-
looked.
STIPPLING.
The surface of ivory is so hard that the tints are not
absorbed as on paper; consequently, the difficulty of wash-
ing one tint over another is greater, and the interstices or
inequalities of the tints, not being so even as on paper,
require filling up to make them so. This is the sole object
of that dotting, technically termed " stippling," which so
many mistake for the end instead of the means * Stippling,
I repeat, is the means, not the end, and, as a means, it is
inseparable from miniature painting; but it must be used
as an assistance to, not a substitute for, the real object;
namely, expression, colour, and roundness. I will now
describe the principle of stippling.
Every wash of colour is more or less uneven; that is,
some parts are darker than others, some spots lighter.
* Some tyros begin by " stippling in" their colour-—an inter-
minable labour, resulting in a feeble, sickly picture; and not
knowing why, they believe that the end, erroneously called " finish-
ing," is attained. The truth is, that a roughly-worked miniature
may be very highly-finished, as far as expression, colour, and round-
ness—the real points of a picture, are concerned.
STIPPLING.
no more satisfactorily, and then put it by for a week, when
your fresh eye will probably detect several points that may
be improved, but which your jaded vision before over-
looked.
STIPPLING.
The surface of ivory is so hard that the tints are not
absorbed as on paper; consequently, the difficulty of wash-
ing one tint over another is greater, and the interstices or
inequalities of the tints, not being so even as on paper,
require filling up to make them so. This is the sole object
of that dotting, technically termed " stippling," which so
many mistake for the end instead of the means * Stippling,
I repeat, is the means, not the end, and, as a means, it is
inseparable from miniature painting; but it must be used
as an assistance to, not a substitute for, the real object;
namely, expression, colour, and roundness. I will now
describe the principle of stippling.
Every wash of colour is more or less uneven; that is,
some parts are darker than others, some spots lighter.
* Some tyros begin by " stippling in" their colour-—an inter-
minable labour, resulting in a feeble, sickly picture; and not
knowing why, they believe that the end, erroneously called " finish-
ing," is attained. The truth is, that a roughly-worked miniature
may be very highly-finished, as far as expression, colour, and round-
ness—the real points of a picture, are concerned.