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alterations artists blue tint Brown Madder Burnt Sienna calico Carmine clean brush dipped Cobalt compound tint copy corner dark shadow different tints directions for painting drawing drawing-paper face figure finish flesh colour flesh tint forehead frequently Gamboge give green tint hair hatching high lights Indian Red Indian Yellow Indigo ivory ring Lake layer of colour light and shade light tint lower marked method middle of side middle tints nail necessary nose observe ochre outline painter painting flesh PAINTING IN WATER-COLOURS PALETTE FOR PAINTING picture piece Pink Madder PORTRAIT PAINTING PRUSSIAN BLUE purple Red and Indian red ochre right side ROSE MADDER rubbing Rubens Sepia SETTING THE PALETTE shadow colour Sir Joshua Reynolds sitter stippled strained paper student taken out afterwards tissue-paper touches transparent Vandyke Brown Venetian Red Vermillion and Pink warm browns wash white draperies wrong side Yellow Ochre ZINC WHITE
Page 33 - Paint your lights white ; place next to it yellow, then red, using dark red as it passes into shadow ; then, with a brush filled with cool grey, pass gently over the whole, until they are tempered and sweetened to the tone you wish.
Page 18 - ... distant trees, for a general shadow tint for light backgrounds, and for the shade of white linen and white draperies. With Lake it forms a fine tint somewhat resembling Brown Madder, and with Lake and Indigo it makes an excellent black. It is transparent and permanent, and works well.