![Transcription Center logo](/themes/custom/tc_theme/assets/image/logo.png)
This transcription has been completed. Contact us with corrections.
Painter is well supplied with many Red pigments, not one of these combined with white can fully answer his purpose-- He is therefore obliged to mix a variety of tints, and vary them to accord with the complexions of his models [[strikethrough]] Sitters [[/strikethrough]], and with some difficulty to intermingle them in the correct formation of the features. The first painting or dead colouring of a Face demands so much attention to the drawing, that but little is allowed for the study of colour. Perhaps the most simple tints for flesh are made with Burnt Siena + White, modified with Vermillion + Lake, in the lights; + Raw [[strikethrough]] Raw [[?]] [[/strikethrough]] + Umber + [[strikethrough]] Vermillion [[/strikethrough]] Indian Red in the shadows. A head may be very well painted in with white, Light Red + Black. A very soft + beautiful dead colouring may be made with with White + Roman Oker for the lights, and the shadows [[?]] gray tints with Black, Roman Red and White, [[strikethrough]] modified with the greenish tint made with Naples yellow + black. [[/strikethrough]] A head dead coloured with [[?]] tints will not be apt to be made too red, because the Roman Red is too dark to be used but wiht a good deal of white. To avoid too heavy a red + too much Black, the light tints will be preferred, which will produce a delicate Mezzo-tint effect, in efforts to secure the position + drawing of the features. All the tints should harmonize + work well together, without [[strikethrough]] [[dirt?]] [[/strikethrough]] fouling each other, when worked lighter or darker. The language usually employed, such colours work kindly together," well expresses this this harmonious mingling of tints; which is much promoted by using pigments of equal density, furnishing a solid base upon which subsequent refinements may be easily made. Beginning a Portrait. Young artists are apt to affect great expertness in beginning a Portrait, being unwilling to appear before their Sitters in any degree deficient or embarassed; and therefore commence the Magnic of their Colouring, after making a hasty + slight chalk drawing on their Canvass. This often flatters the Artist himself + surprises his Sitters as an evidence of his genius; but sitting after sitting follows, and alteration upon alteration, often without satisfaction to either party-- owing to an injudicious