The works of John Ruskin . ibute gradation. But the point I wish to insist on is that you mustarn to gradate, and to lay an even tint, of the depth>u want, in one wash, without retouching. All final skill in painting depends upon your being)le to lay the colour right at once. These two shields nre to be gradated with one wash? Venetian red. Their outlines are then to be drawn asequently over and over with the brush as you like, butie surfaces not retouched. Your master will show you,. a few minutes, once for all, how to lay a gradatedtit, beginning with water, and adding colour as you gol,
The works of John Ruskin . ibute gradation. But the point I wish to insist on is that you mustarn to gradate, and to lay an even tint, of the depth>u want, in one wash, without retouching. All final skill in painting depends upon your being)le to lay the colour right at once. These two shields nre to be gradated with one wash? Venetian red. Their outlines are then to be drawn asequently over and over with the brush as you like, butie surfaces not retouched. Your master will show you,. a few minutes, once for all, how to lay a gradatedtit, beginning with water, and adding colour as you gol, and in all the exercises following you will find mylief endeavour is to do them with single washes, re-aching only when different colours are to be used. 16. For instance, the entire background of the shieldom Westminster, R. 10, is laid with one wash of lamp-!ack, never stopping all the way, and carrying it down thejposite sides by touching first on one and then at the;her. It gets too light at the bottom, because I had. V v--- u i>o-(d- - a- RUDIMENTARY SERIES : INSTRUCTIONS 249 not mixed colour enough to begin with; but I would notretouch. At the upper corner, indeed, I had to alter theshape of the shield, and retouch clumsily; but never mindconfessing having bungled for want of skill; be only-ashamed of having bungled for want of attention, orhaving tried to conceal want of skill by any false process. Again, the hollow of the cup, R. 61, is done withabsolutely one wash of cobalt and light-red, with a littleyellow tinting that came handy, adding some lampblackin the shadow while all was wet. You may see the edgeof the cut left with a pure cutting-line by the flat wash. Again, every green leaf in the study of rose, R. 238,is done with one wash. The use of that study is entirelyfor practice in flat tints of this kind. I was forced toretouch the petals of the flowers, because there were dif-ferent colours in them; but you may easily see that everyleaf has only one edge to it
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