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7

           Dead Colouring
   It is not possible to produce an even tint in dead colouring on Canvass of a very light or very dark Colour-- It is therefore best only to study the general effects with a slight scumbling of the preparatory Colours, which should not be rough.  It will afterwards be easy to paint solid colours, which should not be rough.  It will afterwards be easy  to paint solid colours on this, [[strikeout]] be [[?]] it will receive more paint [[strikeout]]  previous to any glazing and finishing.  Instead of preferring a dry Canvass, merely because it will receive more paint, which cannot be blended and moulded into the requisite texture, consuming much time in the endeavor to do what is too difficult, it is better to make a correct drawing, to confirm it with Lead pencil or [[strikeout]] red [[/strikeout]] pale Indian ink, and the, preparatory to painting, to oil the Canvass over with drying oil, wiping off what is superfluous.  On such a preparation the brush passes freely with but little colour, and the entire effect may be quickly produced and the drawing corrected; both of which  are objects of more importance in the beginning of a Portrait than the first possession of a solid mass of Colour, which [[strikeout]] could  [[/strikeout]]might be less true and could be procured [[strikeout]]  in more time, and with greater, and more unpleasant effort [[/strikeout]] with more leisure and less effort.  This process is most conveniently accomplished when a previous Study from the life is first made, on Canvass or paper in one or more sittings, and transferred by tracing-- thus allowing time for a correct drawing [[strikeout]] before the next sitting, which is to commence the colouring from life.  [[/strikeout]] and dead colouring before the sittings are resumed.  An absorbent Canvass is preferred when the Artist desires to load his Picture with Colour at the first painting [[strikeout]] colouring sitting  [[/strikeout]] -- this might always be well if the sitter presented, at the first, the best appearance; which, however, can never be decided without [[strikeout]] more  [[/strikeout]] frequent observation and study.  
   Though a Head may be finished in one Colouring, [[strikeout]] especially  [[/strikeout]] in a long Summer's day, it is not so durable as when executed with several successive coats.  Bright effects can only be produced by repeated coats of paint in the lights, and glazings in the darks,  producing the requisite degree of solid Impasto in one, and the appearance of transparency in the other.
    A dead Colouring which is to obtain the forms, the general hue, the light and shade, and to make a favourable ground whereon to paint, should not be too bright in Colour-- a soft mezzo-tine should prevail until the last tones and touches are made.       Bardwell