i^S^o paint the style of Boucher (Cupids) you begin by trans' K ferring your design on tlie china.
-JJl Then you sketch with flesh No. 1 the lines of the face, and the fingers and toes. When this sketch is dry, the reflected lights are marked with yellow-brown, mixed with ivory yellow.
The local tint of flesh color is laid 011 immediately after, the same as in the preceding lesson; the dabbling evens the two colors placed side by side, and blends them one into the other. Let it dry, then heighten by half a tone the extremities of the hands, feet, knees, etc. Sketch 111 the hair and accessories, the clouds and background, while the local tint is drying.
Retouching. When the first painting has lost nearly all its moisture, return to it again; work the shadows by stippling some brown No 17, mixed with sepia, yellow ochre, light grey, and a touch of blue-green for the transparent parts. Where the flesh is brown, the reflected lights are made with yellow ochre throughout, and the scale of browns is more used. A touch of violet of iron warms up the shadows, and approaches nearer to Vandyke brown in oils.
Flowtrs. To paint flowers well it is necessary that the drawing should be exceedingly correct and sober in its fines, for the tints having to be very light and very pure, too many pencil marks would injure the painting. The little details of the petals are done with the brush, without previous tracing. Tlie pencil must only mark the leaf's contour aud central vein ; the direction of the brash strokes is enough to indicate the smaller veins.
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