DOI Page / Citation link:
https://doi.org/10.11588/diglit.19954#0034
METHOD OF PAINTING.
fibres of the flesh. Speaking generally, this will be hori-
zontal on the forehead, perpendicular on the nose, and
circular round the eyes and mouth and contour of the
face. The best way of avoiding these little blots, is
to use the colour rather dry, and to press firmly on the
brush at the beginning, and carry it on to the end of
the stroke, and not to begin lightly and end by a firm
pressure. Having hatched the strokes evenly one way,
cross them slightly with the same firm touch, and avoid
crossing them at right angles, or with lines that are too
oblique.
Tins method of hatching produces a very light and
mellow effect.
The hatching should be tolerably open, but not too
much so.
The effect of hatching on the shadows is to give depth,
and enable the spectator to look into them, an effect which
is never attained by fiat washes of colour.
There is one rule which cannot be too firmly impressed
on the student, namely, that in water-colour painting the
first colours should always be bright and pure, because
they may easily be lowered to the desired tone; but if their
purity is once sullied by admixture with other colours, their
brightness can never be recovered.
fibres of the flesh. Speaking generally, this will be hori-
zontal on the forehead, perpendicular on the nose, and
circular round the eyes and mouth and contour of the
face. The best way of avoiding these little blots, is
to use the colour rather dry, and to press firmly on the
brush at the beginning, and carry it on to the end of
the stroke, and not to begin lightly and end by a firm
pressure. Having hatched the strokes evenly one way,
cross them slightly with the same firm touch, and avoid
crossing them at right angles, or with lines that are too
oblique.
Tins method of hatching produces a very light and
mellow effect.
The hatching should be tolerably open, but not too
much so.
The effect of hatching on the shadows is to give depth,
and enable the spectator to look into them, an effect which
is never attained by fiat washes of colour.
There is one rule which cannot be too firmly impressed
on the student, namely, that in water-colour painting the
first colours should always be bright and pure, because
they may easily be lowered to the desired tone; but if their
purity is once sullied by admixture with other colours, their
brightness can never be recovered.