You cannot, of course, work in a dull light, but you can slightly moderate it with a screen or curtain. Where there is a top light, this precaution is not necessary, for your study will be equally lighted with the model ; but with a side light, when you are working, as you probably will, nearer the window than your sitter is placed, some sort of screen is necessary.<< Previous page
It is well also to let the area of light be much smaller than obtains in most studios. It is the quality, not the quantity, of light that tells.
Now proceed to draw the cast in the manner I have endeavoured to impress upon you, in charcoal, and take some pains to place it well on the canvas. A good study is often spoilt by being badly placed. A few hints on the arrangement of your work will be found in a subsequent chapter, but as a general rule you might, when painting a head on the canvas of the size given, find the chin somewhere about the centre. When you are satisfied that the drawing is good, particularly in proportion, after having compared it throughout the various stages with the cast in your hand-glass, blow off all but the faintest indications of the line. You cannot expect to keep your picture clean and bright otherwise. Then with a sable brush go over the lines with a thin mixture of raw umber and turpentine.
Your palette need only be laid with Kremser or Flake White and Raw Umber. The study of a man in Chapter VI. was done in these two pigments. On the same lines proceed with your study. Use an oil-pot of the shape and size shown on page 84, containing some spirits of turpentine.
Mix up in fair quantities three tones—that of the background, the middle tint, and the general - tone of the shadow.
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