rawing and painting that is sometimes made is a wrong one in so far as it conveys any idea of painting being disti

the same time that the student is progressing with line drawing, he should begin to accustom, him

ts), the half tones, and the shadows. And the habit of reducing things into a simple equation o

in Mass

ing up that are common in art schools will do. Place it in a strong light and shade, preferably by artificial light, as it is not so subtle, and therefore easier; the 111light c

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F THE SAME PAINTING FROM

he shape of spaces to

r shapes and the play of lost-and-foundness on their edges being observed. Gradations are

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F THE SAME PAINTING FROM

eing got in the same way as in the case of the lights, only here the t

, refinements being adde

about little else. Let this be a setting out of the ground upon which you will afterwards express the form, rather than a drawing-the same scaffolding, in fact, that you were advised to do in the case of a line drawing, only, in that

iff to go on thinly enough, put a little oil with it, but no turpentine. By scumbling is meant rubbing the colour into the canvas, working the brush from side to side rapidly, and laying just the thinnest solid tone that will cover the surface. If this is properly done, and your drawing was well fixed, you will just b

you paint the lighter will be the tone, while the thinner paint will be more affected by the original half tone, and will consequently be darker. When this is done, mix up a tone equal to the darkest shadow, and proceed to map out the sha

vanced. And it now remains to correct and refine it here and there, as you feel it wants it. Place your work alongside

now, never 113given as an exercise, the study of drawing at present being confined to paper and charcoal or chalk mediums. Drawing in charcoal is the nearest thing to this "paint drawing," it being a sort of mixed method, half line and half mass drawing. But although allied to painting, it is a very different thing from expressing form with paint, and no substitute for some elementary exercise with the brush. The use of charcoal

about until a further stage is reached. But there is no necessity for the half tone to be painted over the shadows. In working in colour the half tone or middle tone of the lights can be made, and a middle tone of the shadows, and these two first painted separately, the edges where they come together being carefully studied and finished. Afterwards the variety of t

rst touches the canvas when you are painting lights into a middle tone; and that as the amount of paint in the brush gets less, so the tone will be more affected by what you are painting into, and get darker. And in painting the shadows, the darkest part of your stroke will be where the brush first touches the canvas; and it will gradually lighten as the paint in your brush gets less and therefore more affected by the tone you are painting in

herefore to leave this until later on, when you are competent to attack problems of colour. Keep your early work both in monochrome and colour quite solid,

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AL BRUSH STROKES MADE W

ass C, full flat brush with round

he different qualities of each. These are only given as typical examples of the innumerable ways a brush

heir general usefulness. But a round brush with a round point is also made, and this is much more convenient for mass drawing. Where there is a sharp point the central hairs are much longer, and consequently when the brush is drawn along and pressed so that all the hairs are touching the canvas, the pressure in the centre, where the long hairs are situ

got out of them is limited, and the amount of paint they can carry so small that only short strokes can be made, they are not the best brush for general use. They are at times, when great refinement and delicacy are wanted, very useful, but are, on the whole, poor tools for the draughtsman in paint. Some variety can be got by using one or other of their sharp corners,

er, and has a square top with rounded corners. This brush carries plenty of paint, will lay an even tone, and, from the fact that the

capable of getting in and out of a variety of contours. They vary in shape, some being more pointed than others. The blunt-ended form is the best for general use. Either this class of brush or Class C

VI] a variety of touches have been made

le thinner than that usually put up by colourmen. To thin it, mix a little turpentine and linseed oil in equal

ves you a plane of tone with firm edges the width of your brush, getting gradually darker or lighter as your brus

y, leaving a gradated tone. A great deal of the modelling in round objects is to be expressed by this variety of handling. The danger is that its use is apt

only moderately full, such touches will not have any hard edges, but be of a light, feathery nature. It is a most useful manner of putting on paint when freshness of colour is wanted, as it prevents one tone being churned up wit

nes of shading are drawn in line work. In cases where the correction of intricate modelling is desired and where it would be very difficult to alter a part accurately by a deft stroke of the brush, this method is useful to employ. A dry brush can be drawn across the lines to

this description on pages 110 and 122. Unfortunately the photographs, which were taken from the same study at different stages during the painting, are not all alike, the first painting of the lights being to

you find you cannot manage this, use slower drying colours, say b

proceed in the same way with monochro

the lights and shadows as before. And if only a part of it is wrong, when it is quite dry rub a little, poppy oil thinned with turpentine over the work, as little as will serve to cover the surface. If it is found difficult to get it to cover, breathe on the canvas, the slightest moisture will

s a black glass should be used. This can easily be made by getting a small piece of glass-a photographic negative will do-and sticking some black paper on the back; turning it over the front to keep the raw edges of the glass from cutting the fingers. Or the glass can be painted on the back with b

but a species of mapping out, and as such it should be regarded. The only excuse for making the elaborate preparatory drawings on 121canvas students sometimes do, is that it enables them to learn the subject, so that when they come to paint it, they already know something about it. But the danger of making these preparatory drawings interesting is that the student fears to cover them up and lose an outline so carefully and lovingly wrought; and this always results in a poor painting. When you take up a brush to express yourself, it must be with no fear of hurting a careful drawing. Your drawing is going to be done with the brush, and only the general setting out of the masses will be of any use to you in the work of this initial stage. Never paint with the poor spirit of the student who fears to lose his drawing, or you w

half closing the eyes. This, by lowering the tone and wide

t. The relation of the different tones in this way-the values, as it is called-is an extremely important matter in painting. But it more properly belongs to t

ght for everywhere. As a carver in stone blocks out his work in square surfaces, the modelling of a figure or any complex surface that is being studied should be set out in planes of tone, painting in the first instance the larger ones, and then, to these, adding the smaller; when it will be seen that the roundnesses have, with a

as well left alone. But if we are to make a drawing that shall express something concrete, we must know something of its structure, whatever it is. In the case of the human figure it is impossible properly to understand its action and draw it in a way that shall give a powerful impression without a knowledge of the mechanics of its construction. But I hardly think the case for anat

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F THE SAME STUDY FROM THE

spaces occupied by diffe

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F THE SAME STUDY FROM THE

ed into it; variety being got by varying the thickness of the paint. The darks

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F THE SAME STUDY FROM THE

the shadows added; variety being got b

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F THE SAME STUDY FROM THE

he compl

drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atm

reshortened figure on the ground at the left of Tintoretto's "Finding of the Body of St. Mark," the foreshortened effect helped by the brush work swinging round can be seen (see illustration, 124page 236 [Transcribers Note: Plate XLIX]). The work of Henner in France is an extreme instance of the quality of softness and fl

k of atmosphere, is naturally often used in painting background

t is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c. Nevertheless, if this particular look of softness and fleshiness is desired, either the painting must be so thin or the tones so fused together that no brush strokes show, or a dry flat brush must afterwards be drawn lightly across whe

where a bone comes to the surface, in all these cases the brush work should follow down the forms. It is not necessary and is often inadvisable for the brush work to show a

all others the method for drapery studies. The lights are drawn with white, the toned paper being allowed to show through where a darker tone is needed, the white (either chalk or Chinese white) being put on thickly when a bright light is wanted and thinly where a quieter l

nes was very fond of this, and drawings with much decorative charm have been done this way. Th

ion into the drawing of your lights and shadows as possible; don't be satisfied with a smudge effect. Use the side of your white chalk