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47 Colour of Canvass.

The worst is black, as is too evident in some of the paintings by Da Vinci. The best for durability is White, or flesh or straw colour- The most agreable to paint on is a pearl gray, made with white, black & Red - or white slightly tinged with Burnt Umber. 

48 Judgment of Tints.

To ascertain when [[strikethrough]] you have mixed [[/strikethrough]] two colours are mixed [[strikethrough]] to be [[/strikethrough]] to be midway between them, as for instance Yellow Oker & Venetian Red - bring the mixed tint on the Palette Knife near or over each Original Colour, alternately. When over the Red it should look yellowish; when over the yellow it should look reddish; and when mixed with white, neither the reddish nor yellowish hue should predominate. In making such compound tints, it is important to be able to reproduce them with certainty. 

49 Retention of hue.

In the dead colouring, or at any other stage of the work, when any tone or hue is perceived as desireable to be retained, that part should be the first to be repainted of the same tone or hue, leaving it to be modified afterwards at pleasure; otherwise the eye may become estranged from the desired effect. 

50 Drapery. 

As a general rule, the shadows should be first painted, as they define the forms of the folds - then touching some of the principal lights, the Middle tint, or local colour, may be spread & united with the shadows and lights, and the lights renewed. 

51 Hair 

In painting Hair much beauty is obtained by defining the undulations in their prominencies or cavities, by a tranverse or oblique stroke of light or dark, & then crossing it with the same brush by strokes in the curving direction of the hairs. This makes the gloss more even and silky.

Transcription Notes:
*Black is underlined *Da Vinci is underlined *White is underlined *pearl gray is underlined *midway is underlined *retained is underlined *estranged is underlined