. Fancy work for pleasure and profit. uted for those given. Place on the palette two shades of burnt sienna. For fine work use thefinest brush, and put in clearly and with a firm hand the deepest markingsof the eyes, nostrils, lips, ears and fingers. Then with a large brush washin the broad shadows, using the paler shade of the burnt sienna. Be care-ful not to touch the broad highlights. If the eyes are brown they may beput in with burnt sienna, also. This part of the work is called modeling,and after it is quite dry the local tone is washed over all the flesh, includingshadows, using again th
. Fancy work for pleasure and profit. uted for those given. Place on the palette two shades of burnt sienna. For fine work use thefinest brush, and put in clearly and with a firm hand the deepest markingsof the eyes, nostrils, lips, ears and fingers. Then with a large brush washin the broad shadows, using the paler shade of the burnt sienna. Be care-ful not to touch the broad highlights. If the eyes are brown they may beput in with burnt sienna, also. This part of the work is called modeling,and after it is quite dry the local tone is washed over all the flesh, includingshadows, using again the burnt sienna, but so much diluted as to merelytint the medium, which should be added to it without any water. For adark, sallow complexion, befitting an Othello or a Spanish knight, add atouch of yellow to the sienna. In applying this local wash it should bescrubbed into thw canvas until every thread is thoroughly colored. Theshadows must be counteracted with green made of indigo and yellow. JgS DAINTY WORK FOR PLEASURE AND LIGHT DRAPERY FOR PORTIERES. BRUSH AND PALETTE. 299 Make two shades of the green of about the same relative strength as thetwo shades of burnt sienna used for putting in the shadows. Before apply-ing the green, tint the cheeks with rose. Do not allow the greens to runbeyond the shadow color. If the red in drying works up too much, add more green; but if thegreen is too strong, work in more burnt sienna. The sharp markings must not be painted in until the previous washesare nearly dry, or the color will spread. When the first flesh painting is perfectly dry, and you must be sure aboutthis, add a touch of rose for the lower lip, model the highlights by scrapingvery gently with the rounded point of the knife or eraser. This gives thepicture artistic finish, and is effective, as the color still remains in the ribsof the canvas, while the knife removes only that color lying on the surface,giving a stippled effect. You are now ready for the second flesh
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectneedlework, bookyear1
