DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19954#0039
FIRST PAINTING.
39
partly hatched. Then put in the bine shadow under the
lower hp with Cobalt.
The Hps are next to be coloured with Vermillion and
Pint Madder. This colour should be stippled on, and
the lights in the lips may either be left or taken out
afterwards. The whole of the face (except the eyes) is
then to be washed over with a light tint of Venetian Red.
While this is drying, outline with Sepia the principal
divisions and locks of the hair, beginning with the darkest
and most decided forms, until the whole of the hair
is well made out with touches of proper strength. White
linen next the skin may then be outlined with a tint
of Cobalt and Sepia, and all other objects are to be
outlined with their real colours, beginning as before with
the decided tones and touches which give form to the
object.
We have then an accurate and coloured outline, in which
the principal shadows are indicated. It is in vain to attempt
to complete the picture with shadows and colour, if these
prehminary steps are defective. If this part of the work
be well executed, the resemblance and general effect are
secured at the commencement of the work.
The Venetian Red tint on the face being now dry, hatch
the whole face with the same colour, using it thin and
flowing, but not too wet, and beginning on the forehead,
and directing the short strokes as nearly as possible in such
39
partly hatched. Then put in the bine shadow under the
lower hp with Cobalt.
The Hps are next to be coloured with Vermillion and
Pint Madder. This colour should be stippled on, and
the lights in the lips may either be left or taken out
afterwards. The whole of the face (except the eyes) is
then to be washed over with a light tint of Venetian Red.
While this is drying, outline with Sepia the principal
divisions and locks of the hair, beginning with the darkest
and most decided forms, until the whole of the hair
is well made out with touches of proper strength. White
linen next the skin may then be outlined with a tint
of Cobalt and Sepia, and all other objects are to be
outlined with their real colours, beginning as before with
the decided tones and touches which give form to the
object.
We have then an accurate and coloured outline, in which
the principal shadows are indicated. It is in vain to attempt
to complete the picture with shadows and colour, if these
prehminary steps are defective. If this part of the work
be well executed, the resemblance and general effect are
secured at the commencement of the work.
The Venetian Red tint on the face being now dry, hatch
the whole face with the same colour, using it thin and
flowing, but not too wet, and beginning on the forehead,
and directing the short strokes as nearly as possible in such