A guide to figure painting in water-colours : with illustrations and brushwork . dered. In Figure drawings, dragging is often usedto give texture to draperies and accessories. SCUMBLING. Scumbling is also performed with a nearly dry brush,but the colour need not be used in so thick a state. Thebrush is held almost upright and pressed upon the paperso as to spread out the hairs like a fan. It is then workedto and fro, and leaves a powdery film of colour. Reference to the Plate that prefaces these pages willrender much more intelligible the explanations that havebeen attempted of the complex var
A guide to figure painting in water-colours : with illustrations and brushwork . dered. In Figure drawings, dragging is often usedto give texture to draperies and accessories. SCUMBLING. Scumbling is also performed with a nearly dry brush,but the colour need not be used in so thick a state. Thebrush is held almost upright and pressed upon the paperso as to spread out the hairs like a fan. It is then workedto and fro, and leaves a powdery film of colour. Reference to the Plate that prefaces these pages willrender much more intelligible the explanations that havebeen attempted of the complex varieties of execution. It should be borne in mind that brush-work, and mostmanipulative processes, may be so modified by differentpersons, or by the same person at different times, as to beoften scarcely recognizable as essentially the same. Theworks of the early miniature painters, and even of thoseartists in Water-Colours, who subsequently first developedand improved their Art, but little resemble in effect thedrawings of the present day. Yet it is certainly true in FZATH PIG- 5 . • m WATEE-COLOURS, 33 a, sense, that, as Mr. Redgrave observes, the variousmethods of our modern painters in Water-Colours were wellknown to their predecessors of the 17th and 18th cen-turies. The stippling and hatching in the early andlater works of Mr. W. Hunt may also be instanced, asdiffering greatly in kind and effect, and as, at bothperiods, unlike the delicate work indicated by the sameterms, which was introduced by Turner in his landscapes. Command over merely technical resources cannot beattained, except after many failures, and no opportunityfor practice should be neglected by the student. There now remain to be considered the several me-thods of removing colour, of which sponging out naturallysuggests itself first. When a large alteration is to be made, if the paper canbe kept under a continuous flow of w^ater whilst the spongeis used, it may be most effectually washed, with the leas
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectwatercolorpainting
