DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0251
PORTRAIT.
237
hue, the best tint is composed of the shade-tint with some brown ochre, to be sparingly laid on
with light soft touches, lest they become dull and heavy. Should this however be overdone, the
work may be recovered by means of the original colour.
Sometimes a little blue has been used in painting the first tint of white satin ; and blue-black
has also been employed but soon laid aside; because the middle tint, composed of black and
white, was so very cold that no other colour but blue could give a colder tint. The lead or shade-
tint is also frequently mixed with a little Indian red, which prevents the white satins from having
the appearance of pewter.
- • Blue Satin.
The best composition for imitating this stuff is Prussian blue and fine white. The best ground
is made with white for the lights, and black and white for the shadows.
The first lay of colour for a blue is divided into three tints. The middle tint ought to be made
of a fine azure, then the colours should be mixed to a middle degree between that and white, for
the lights. The shade-tint is to be made dark enough for all the shadows. The broad lights are
laid on with plenty of colour, and managed to their due form with the middle tint, before any
other colours are laid on. It must be remembered that the less the colours are mixed, the better
they will stand and show : for the lights of blue satin require as much care in managing them as
those of the white.
The next step is to follow with the rest of the middle tint, making out the shadows, which
should be strengthened and mingled with some of their own colour and ivory black, to give them
a mellow tender hue.
The reflects of blue satin are formed like those of white, with ochre and some of the lights,
which ought to be completely clone at one painting. Should it be necessary to make any
alteration in the shadows, it may be done when they are dry, with some of their own colours.
The best Prussian blue for this purpose is that which, before it is ground, is of a beautiful
azure colour; and the sooner it is used, after it is ground,-the better it will work and appear.
Velvets.
Velvets may be painted at once, by making out the first lay with the middle and shade-tints,
on which are to be laid the high lights, touching them gently, and finishing the shadows like
those of satin ; but glazing produces the neatest resemblance to velvet, when prepared on such a
dead colouring or ground as when dry will bring forward the glazing colour to the greatest
perfection. This glazing colour ought to be of a pure transparent quality, and used with oil
alone ; so that on whatever ground it is done the under colours may distinctly appear through it.
The most useful ground for blue velvet is composed of white with ivory black; the high lights
being done with whites which, with the middle and shade-tints, make out the first lay. The middle
tint must be made somewhat lighter than it would otherwise be, on account of the glazing, which
always darkens the colours under it. Sometimes it is requisite to cover all but the high lights
with a thin glazing; not with a great quantity of oil in the colour, but laid on very sparingly,
taking care that none touch the high lights; and if this should accidentally happen, the thin
glazing must be wiped off instantly with a clean rag. Then the highest lights ought to be
3 i' improved
237
hue, the best tint is composed of the shade-tint with some brown ochre, to be sparingly laid on
with light soft touches, lest they become dull and heavy. Should this however be overdone, the
work may be recovered by means of the original colour.
Sometimes a little blue has been used in painting the first tint of white satin ; and blue-black
has also been employed but soon laid aside; because the middle tint, composed of black and
white, was so very cold that no other colour but blue could give a colder tint. The lead or shade-
tint is also frequently mixed with a little Indian red, which prevents the white satins from having
the appearance of pewter.
- • Blue Satin.
The best composition for imitating this stuff is Prussian blue and fine white. The best ground
is made with white for the lights, and black and white for the shadows.
The first lay of colour for a blue is divided into three tints. The middle tint ought to be made
of a fine azure, then the colours should be mixed to a middle degree between that and white, for
the lights. The shade-tint is to be made dark enough for all the shadows. The broad lights are
laid on with plenty of colour, and managed to their due form with the middle tint, before any
other colours are laid on. It must be remembered that the less the colours are mixed, the better
they will stand and show : for the lights of blue satin require as much care in managing them as
those of the white.
The next step is to follow with the rest of the middle tint, making out the shadows, which
should be strengthened and mingled with some of their own colour and ivory black, to give them
a mellow tender hue.
The reflects of blue satin are formed like those of white, with ochre and some of the lights,
which ought to be completely clone at one painting. Should it be necessary to make any
alteration in the shadows, it may be done when they are dry, with some of their own colours.
The best Prussian blue for this purpose is that which, before it is ground, is of a beautiful
azure colour; and the sooner it is used, after it is ground,-the better it will work and appear.
Velvets.
Velvets may be painted at once, by making out the first lay with the middle and shade-tints,
on which are to be laid the high lights, touching them gently, and finishing the shadows like
those of satin ; but glazing produces the neatest resemblance to velvet, when prepared on such a
dead colouring or ground as when dry will bring forward the glazing colour to the greatest
perfection. This glazing colour ought to be of a pure transparent quality, and used with oil
alone ; so that on whatever ground it is done the under colours may distinctly appear through it.
The most useful ground for blue velvet is composed of white with ivory black; the high lights
being done with whites which, with the middle and shade-tints, make out the first lay. The middle
tint must be made somewhat lighter than it would otherwise be, on account of the glazing, which
always darkens the colours under it. Sometimes it is requisite to cover all but the high lights
with a thin glazing; not with a great quantity of oil in the colour, but laid on very sparingly,
taking care that none touch the high lights; and if this should accidentally happen, the thin
glazing must be wiped off instantly with a clean rag. Then the highest lights ought to be
3 i' improved