Notebook

Notebook, 1993-

MATERIALS & METHODS

Drawing

[From: Thompson, Daniel V., Jr., Research and Technical Adviser, The Courtauld Institute of Art, University of London. The Practice of Tempera Painting. New Haven: Yale University Press. 1936. Fourth Printing, 1946.}

Brush Drawing
When the drawing has been located with either of these instruments mix an extremely dilute wash of India ink, say one drop of ink in a tablespoonful of water. Then take a fair-sized sable brush, dip it in the mixture, and squeeze it almost dry. Work over the shading with this, paying particular attention to the edge that you establish between the middle tone, represented by the untouched ground, and the shadow, which you will develop further with the ink. Plan the modeling in such a way as to make the fullest possible use of the tinted paper ground. Carry the modeling of the shadows as far as you can with this first very dilute ink. Do not try to lay a wash with it; but draw with the brush merely damp, stroke by stroke, as if you were working with a hard pencil.

Then strengthen the ink mixture a little bit, and carry the modeling of the shadows a little further. Do not try to get the effect all at once. Do not be afraid that your drawing will be "niggling." There is plenty of time for brilliant handling later on, after the form has been found and developed a little. Keep the modeling soft at this stage, so that the shapes may be adjusted easily as the drawing proceeds. Let the form materialize gradually, like a figure approaching through mist. [pp. 46-47]

[Thompson, Daniel V., Jr., Research and Technical Adviser, The Courtauld Institute of Art, University of London. The Practice of Tempera Painting. New Haven: Yale University Press. 1936. Fourth Printing, 1946.]








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