DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0249
PORTRAIT.
235
and broken with the colours of the ground : for bodies back in the ground ought to painted with
colours allied to those of the ground itself.
As it must happen from man}7 causes thafethe folds cannot be made in the first painting, the
masses of light and shadow should be left broad and well united together, on which the finishing
work may be easily executed. The colours of the landscape, in back-grounds, ought also to be
broken and softened with those of the other parts near to and connected with them, in order to
bring them into keeping, to make all the parts of the ground combine in one piece, and prevent
the several parts from starting out of the picture,, or harshly cutting the work by their sharp
extremities and outlines.
The sky should be broken with the flesh and lead tints. The murrey tint is also of great use in
representing the grounds of distant objects; and the umbre and dark-shade in the near grounds.
The greens ought to be laid more full and strong than they are intended to remain, as they usually
fade. When the whole work is completed, the softener ought to be employed lightly, to mellow
the tints and give the last finishing to the piece.
Of Painting Draperies.
In order to represent draperies, for example satins, the proper way is to make out the whole,
or the first lay, with three colours only, viz. the lights, the middle-tint, and the shade-tint. The
lights are at first made of the colour of the high lights, to be afterwards changed as may be
necessary; the middle tint ought to be nearly of the general colour of the drapery, but in a
medium between the high-tints and the shade-tint; this last should be sufficiently dark to answer
the general hue of all the shadows, and hence it has its name.
The lights ought to be of a warmish cast; the middle tint to consist of kindly working colours,
which will mix of a clear, tender, coldish hue. The shade-tint must be composed of those
colours which form the middle-tint, but less enlightened ; and it will also mix of a tender clean
colour. With these three colours the whole is made out; and on their disposition depends the
beauty of the folds, shape, attitude, and principal lights and shades; and this part of the work
ought to be properly executed, before any of the reflected or finishing tints are added.
The reflects of drapery, such as satins, are produced by the stuff, and are lighter than the
shadows on which they are formed. Being produced by the light, they will of course have a
light warm colour, blended with the local colour on which they fall.
The usual method of managing the colours of the first lay is, that the high lights be applied
with abundance of stiff colour, and afterwards worked and softened to suit the middle tint.
W here the light changes by slow gradations, as happens in the large parts of drapery, the best
way is to lay the middle tint first at their extremities, with a tool that will drive it well, and leave
it sparingly, that the lights may mix and lie on it the better. The next step is to make out all the
parts of the shadows with the shade-tint; after which comes the middle-tint, to fill up and answer
the purpose of second lights and gradations: the whole of this part of the process to be very
nicely executed, without touching any of the high lights.
The reflects and finishing tints are generally the opposites of the first lay ; and should therefore
be laid with the greatest caution, lest they destroy the colours on which they are applied;
touohing them delicately and without softening. Should by accident this part be overdone, the
proper
235
and broken with the colours of the ground : for bodies back in the ground ought to painted with
colours allied to those of the ground itself.
As it must happen from man}7 causes thafethe folds cannot be made in the first painting, the
masses of light and shadow should be left broad and well united together, on which the finishing
work may be easily executed. The colours of the landscape, in back-grounds, ought also to be
broken and softened with those of the other parts near to and connected with them, in order to
bring them into keeping, to make all the parts of the ground combine in one piece, and prevent
the several parts from starting out of the picture,, or harshly cutting the work by their sharp
extremities and outlines.
The sky should be broken with the flesh and lead tints. The murrey tint is also of great use in
representing the grounds of distant objects; and the umbre and dark-shade in the near grounds.
The greens ought to be laid more full and strong than they are intended to remain, as they usually
fade. When the whole work is completed, the softener ought to be employed lightly, to mellow
the tints and give the last finishing to the piece.
Of Painting Draperies.
In order to represent draperies, for example satins, the proper way is to make out the whole,
or the first lay, with three colours only, viz. the lights, the middle-tint, and the shade-tint. The
lights are at first made of the colour of the high lights, to be afterwards changed as may be
necessary; the middle tint ought to be nearly of the general colour of the drapery, but in a
medium between the high-tints and the shade-tint; this last should be sufficiently dark to answer
the general hue of all the shadows, and hence it has its name.
The lights ought to be of a warmish cast; the middle tint to consist of kindly working colours,
which will mix of a clear, tender, coldish hue. The shade-tint must be composed of those
colours which form the middle-tint, but less enlightened ; and it will also mix of a tender clean
colour. With these three colours the whole is made out; and on their disposition depends the
beauty of the folds, shape, attitude, and principal lights and shades; and this part of the work
ought to be properly executed, before any of the reflected or finishing tints are added.
The reflects of drapery, such as satins, are produced by the stuff, and are lighter than the
shadows on which they are formed. Being produced by the light, they will of course have a
light warm colour, blended with the local colour on which they fall.
The usual method of managing the colours of the first lay is, that the high lights be applied
with abundance of stiff colour, and afterwards worked and softened to suit the middle tint.
W here the light changes by slow gradations, as happens in the large parts of drapery, the best
way is to lay the middle tint first at their extremities, with a tool that will drive it well, and leave
it sparingly, that the lights may mix and lie on it the better. The next step is to make out all the
parts of the shadows with the shade-tint; after which comes the middle-tint, to fill up and answer
the purpose of second lights and gradations: the whole of this part of the process to be very
nicely executed, without touching any of the high lights.
The reflects and finishing tints are generally the opposites of the first lay ; and should therefore
be laid with the greatest caution, lest they destroy the colours on which they are applied;
touohing them delicately and without softening. Should by accident this part be overdone, the
proper