DOI Page / Citation link:
https://doi.org/10.11588/diglit.18956#0176
86
bird. The comb before mentioned may be used with great effect on
this subject, particularly on the ruff round the neck; if touches of
bright king's yellow were painted in rows round the neck, then rows of
lake, and these again bordered with touches of Vandyke brown, a rich
and brilliant succession of colours would appear, though it would re-
quire great labour to pencil upon it to give it a feathery effect; but if
the colours are suffered to get dry and hard, a thin glaze of burnt sienna
may be scumbled over the whole, and after it is suffered to lie on for
a short time, the comb, if properly applied in short wavy touches, will
scrape off the burnt sienna in thin bright lines ; the comb must be
taken over all the colours, and will produce a most brilliant effect:
the same means may be employed on other parts. After the comb has
been used, the badger-hair softener should be applied to take off the
wiry appearance of the comb. Some artists use gold leaf in the
most brilliant parts of the plumage; the comb used over this gives a
magnificent effect. The student will observe, that many artists have
a variety of methods of heightening the effect of their pictures, which
they avoid mentioning to others. The use of the comb and painting
over gold leaf are not generally known, and mention is made of them
here for the assistance of the student who may wish to practise this
species of painting, without supposing that a sine picture could not
be produced without them.
The method of painting Lesson IX. has already been so fully
described, that there is but little left to remark on the four succeeding
bird. The comb before mentioned may be used with great effect on
this subject, particularly on the ruff round the neck; if touches of
bright king's yellow were painted in rows round the neck, then rows of
lake, and these again bordered with touches of Vandyke brown, a rich
and brilliant succession of colours would appear, though it would re-
quire great labour to pencil upon it to give it a feathery effect; but if
the colours are suffered to get dry and hard, a thin glaze of burnt sienna
may be scumbled over the whole, and after it is suffered to lie on for
a short time, the comb, if properly applied in short wavy touches, will
scrape off the burnt sienna in thin bright lines ; the comb must be
taken over all the colours, and will produce a most brilliant effect:
the same means may be employed on other parts. After the comb has
been used, the badger-hair softener should be applied to take off the
wiry appearance of the comb. Some artists use gold leaf in the
most brilliant parts of the plumage; the comb used over this gives a
magnificent effect. The student will observe, that many artists have
a variety of methods of heightening the effect of their pictures, which
they avoid mentioning to others. The use of the comb and painting
over gold leaf are not generally known, and mention is made of them
here for the assistance of the student who may wish to practise this
species of painting, without supposing that a sine picture could not
be produced without them.
The method of painting Lesson IX. has already been so fully
described, that there is but little left to remark on the four succeeding