DOI Page / Citation link:
https://doi.org/10.11588/diglit.19954#0040
40
SECOND PAIXTIXG.
a manner as to give to this part the round appearance which
it has in nature. Having hatched once over the face, cross
the hatching by going over it again; but take care that
the strokes are but little crossed, and especially not at right
angles. It is to be understood now, once for all, that in
painting flesh, all the colours, with the exception of the
first wash of Yenetian Red, are to be hatched in the
manner recommended (p. 33), and not washed. Some
portraits, especially those of men, require a light tint of
Indian lied to be hatched over the lower part of the face
upon the Venetian Eed.
SECOND PAINTING.
Proceed now to put in the shadow on the forehead with
Indian Eed, keeping strictly to the form. Then the dark
shadow in the socket of the eye with the shadow tint of
Indian Eed and Cobalt, working on the edges of the
shadow with pure Cobalt, and preserving accurately the
form of the shadows. Mark the edge of the upper eyelid
with Indian Eed.
Eemember, as a general rule, that the edges of all
shadows must be grey. In order to be satisfied that this
rule is founded on nature, lay a piece of card or a pencil on
white paper, and observe the dark shadow with the grey
SECOND PAIXTIXG.
a manner as to give to this part the round appearance which
it has in nature. Having hatched once over the face, cross
the hatching by going over it again; but take care that
the strokes are but little crossed, and especially not at right
angles. It is to be understood now, once for all, that in
painting flesh, all the colours, with the exception of the
first wash of Yenetian Red, are to be hatched in the
manner recommended (p. 33), and not washed. Some
portraits, especially those of men, require a light tint of
Indian lied to be hatched over the lower part of the face
upon the Venetian Eed.
SECOND PAINTING.
Proceed now to put in the shadow on the forehead with
Indian Eed, keeping strictly to the form. Then the dark
shadow in the socket of the eye with the shadow tint of
Indian Eed and Cobalt, working on the edges of the
shadow with pure Cobalt, and preserving accurately the
form of the shadows. Mark the edge of the upper eyelid
with Indian Eed.
Eemember, as a general rule, that the edges of all
shadows must be grey. In order to be satisfied that this
rule is founded on nature, lay a piece of card or a pencil on
white paper, and observe the dark shadow with the grey