DOI Page / Citation link:
https://doi.org/10.11588/diglit.19751#0141
IN WATER-COLOURS.
87
therefore be discontinued, and the colour only laid on in
very faint minute specks called stippling, (described in
Lesson XVIII,) till the neck, face, and arm, be per-
fectly flat, soft, and even, and of the same strength
as the copy : this, however, can only be obtained by
using the colour excessively faint, so that the touch, when
laid on, can scarcely be seen. The first lint of the hair
must now be laid on with your umber alone, after which
the flat shade on the neck, under the eyebrow where the
hair comes, against the face, and on the arm, must be
stippled in with indigo ; in the deepest parts of the
shade, such as under the eyebrow and behind the neck,
a little raw umber may be laid on with a little carmine
worked over it in order to prevent the tint being too
cold, as it otherwise would, if the requisite depth were
obtained by working it with indigo alone ; the red of the
cheek and lips must be next stippled in with carmine,
after which the eyebrow and eyelash, together with
the dark shade under the nostril and in the ear, is
touched in a mixture of carmine and burnt umber; the
eye itself is done with pure Prussian blue, and the hair
finished with burnt umber, when nothing remains to be
finished but the drapery.
The bestshadingtint for the white drapery which covers
the neck, as well as the white part of the sleeves, is sepia,
or the tint marked No.'22 : the gown is laid in with a
strong tint of Prussian blue, and is shaded with indigo
O 7 O
rubbed in strong gum-watef # ; the red border is done
o o ’
* Gum-water is made by dissolving an ounce of gum arabic
in about the quantity of a small tumbler of water ; when mixed
87
therefore be discontinued, and the colour only laid on in
very faint minute specks called stippling, (described in
Lesson XVIII,) till the neck, face, and arm, be per-
fectly flat, soft, and even, and of the same strength
as the copy : this, however, can only be obtained by
using the colour excessively faint, so that the touch, when
laid on, can scarcely be seen. The first lint of the hair
must now be laid on with your umber alone, after which
the flat shade on the neck, under the eyebrow where the
hair comes, against the face, and on the arm, must be
stippled in with indigo ; in the deepest parts of the
shade, such as under the eyebrow and behind the neck,
a little raw umber may be laid on with a little carmine
worked over it in order to prevent the tint being too
cold, as it otherwise would, if the requisite depth were
obtained by working it with indigo alone ; the red of the
cheek and lips must be next stippled in with carmine,
after which the eyebrow and eyelash, together with
the dark shade under the nostril and in the ear, is
touched in a mixture of carmine and burnt umber; the
eye itself is done with pure Prussian blue, and the hair
finished with burnt umber, when nothing remains to be
finished but the drapery.
The bestshadingtint for the white drapery which covers
the neck, as well as the white part of the sleeves, is sepia,
or the tint marked No.'22 : the gown is laid in with a
strong tint of Prussian blue, and is shaded with indigo
O 7 O
rubbed in strong gum-watef # ; the red border is done
o o ’
* Gum-water is made by dissolving an ounce of gum arabic
in about the quantity of a small tumbler of water ; when mixed