DOI Page / Citation link:
https://doi.org/10.11588/diglit.19954#0010
10
PAPER.
in water-colours, it will be necessary to advert to the
materials employed, namely, the paper, brushes, and
colours.
PAPEE.
The paper for painting portraits should be thick, and
moderately rough. If too thin, it will not bear rubbing
out; if too fine and smooth, the colours will be apt to
work off; if too rough, it will be impossible to work the
flesh up to a fine surface. The paper which many artists
prefer, is Whatman's extra double-elephant, the size of
which is forty inches by twenty-six inches. This paper
is sufficiently rough to afford a good hold to the colours,
and sufficiently smooth to ensure a good surface. The
student should be aware that there is a right and wrong
side to paper, and that as knots and other defects are
more apparent on the wrong side, all drawings should be
made on the right side. It is easy to distinguish the
right side from the wrong of a whole sheet of paper, by
holding it up to the light, and looking at the maker's
name, which reads properly on the right side, but back-
wards on the wrong. When the paper has been cut,
so that the maker's name is no longer visible, it should be
held in an oblique direction between the spectator and
the light, when the right side may be known by certain
little knots and protuberances on the surface; and the
PAPER.
in water-colours, it will be necessary to advert to the
materials employed, namely, the paper, brushes, and
colours.
PAPEE.
The paper for painting portraits should be thick, and
moderately rough. If too thin, it will not bear rubbing
out; if too fine and smooth, the colours will be apt to
work off; if too rough, it will be impossible to work the
flesh up to a fine surface. The paper which many artists
prefer, is Whatman's extra double-elephant, the size of
which is forty inches by twenty-six inches. This paper
is sufficiently rough to afford a good hold to the colours,
and sufficiently smooth to ensure a good surface. The
student should be aware that there is a right and wrong
side to paper, and that as knots and other defects are
more apparent on the wrong side, all drawings should be
made on the right side. It is easy to distinguish the
right side from the wrong of a whole sheet of paper, by
holding it up to the light, and looking at the maker's
name, which reads properly on the right side, but back-
wards on the wrong. When the paper has been cut,
so that the maker's name is no longer visible, it should be
held in an oblique direction between the spectator and
the light, when the right side may be known by certain
little knots and protuberances on the surface; and the