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58

General hue of Flesh.
 
Flesh is the most difficult of all substances to represent naturally; and, as it is the most important, deserves the greatest attention. It is a substance the surface of which cannot be represented by any simple mixtures or application of tints. It is neither red, blue nor yellow; neither orange, green nor purple; but partakes of all these [[strikethrough]] colours [[strikethrough]] hues, modified by different degrees and obliquities of light. It would be easy to make it like Roses or Lilies; like Ivory or linen; but it differs from all these, in being compounded of a variety of tints, & its beauty depends much upon these tints being [[underline]] inter-laced [[underline]], under their respective influences of light and shade transparency & reflection.
Colourless flesh or gristle colour, is not white, but tinged with black or blue, with a little yellow, & still less red; Burnt Umber & white approaches its hue. The general hue of Flesh is represented with [[strikethrough]] Red Oker (light Red) [[strikethrough]]Burnt Siena and white, varied with the gristle-colour, Vermillion tints, lake, blue & [[strikethrough]] vandycke [[strikethrough]] Indian Red.
We suffer under no [[strikethrough]] difficulty [[strikethrough]] deficiency of Pigments - On the contrary we are rather perplexed by their number & variety. Every one is occasionally useful, and its place must be determined by the complexion of the subject, & the taste & skill of the Artist. The greatest beauty of Flesh depends on the [[underline]] variety [[underline]] of tints that are compounded [[underline]] to produce one general hue [[underline]].

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Dead Colouring. (repeated from page 7.)
It is difficult to produce an even tint in dead colouring on canvass of a light colour; it is therefore best only to study the [[underline]] general [[underline]] effect by means of a slight [[underline]] scumbling [[underline]] of preparatory colour, which should not be rough. It will afterwards be easy to paint solid colour on this, previous to glazing & finishing.
Instead of preferring a dry canvass, merely because it will receive more paint, which cannot be blended & moulded into the requisite texture, consuming much time in the endeavour to do what is impossible, it is better to make a correct drawing; to confirm it with Lead pencil, or [[strikethrough]] diluted [[strikethrough]] pale Red
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