Fig. 8. Angles at which paint-brush is held during a long stroke; a. Beginning. b. Middle of stroke. c. End.
there, in order to remove excess paint before being applied again to the surface. Even after this precaution more paint occasionally remains on the brush than is needed; in such a case the excess is removed by touching with the tip of the brush various larger areas which will later be covered with paint.
The width of the lines drawn is largely dependent upon personal variation, although the type of design also governs their width to some extent. Exceedingly fine lines, for example, would obviously look out of proportion in a bold design upon a large olla. The lines vary in width from one-thirtieth to one-tenth of an inch; the great majority are between one-fifteenth and one-twentieth. Lines one-eighth or one-quarter of an inch wide are in reality double, that is, they actually consist of two lines painted so close together that they touch along their entire length. Still wider lines are made by two parallel lines, with the space between filled up. Some potters simply make the line once, retouching it only in small sections which most plainly require such treatment. Others go over each line at least twice in order to insure a constant width.
PLATE 23
Decorating large ollas. Note the unsupported arm of the painter and the length of the brush. On the bench in front is the paint-cup with stirring-stick and extra brushes (Antonita Roybal).
From the point of view of technique, the lines upon the exteriors of small vessels, such as constricted-mouthed bowls, may be divided into two groups—the long enclosing lines and those within panels. In forming the enclosing lines, especially the long horizontal ones, the vessel is turned while the brush remains almost stationary. There are two methods of forming such long horizontal lines, which of necessity are made of a series of relatively short strokes. In one case the growth of the line is in the same direction as the strokes, that is, each stroke begins at the point at which the previous stroke ended. In this method the vessel is turned counterclockwise. In the other case the growth of the line is opposite to the direction of the stroke, that is, each stroke is begun a short distance beyond the end of the line and is drawn to meet the beginning of the previous stroke, the vessel being turned clockwise. In either case the fingers of the left hand, which hold the pot by the interior of the lip, are spread far apart in order to insure the constant and regular motion of the vessel. When the lines within a panel are being drawn, the procedure is just the reverse. The bowl remains stationary while the brush is drawn across it. Occasionally lines which are nearly horizontal are drawn first in one direction, then in the other. In some cases, when long diagonal or curved lines are being made, the vessel is turned very slightly counterclockwise.
Large vessels, such as ollas, remain stationary while the brush is being drawn across the surface, and are turned only when a new area is to be worked upon. Lines within panels are usually made with a single stroke of the brush, for it is seldom that a diagonal or curved line within a panel is more than four or five inches long. In large open designs the long lines, both straight and curved, are often drawn in two parts. Crosshatching is made by two sets of parallel lines crossing each other. Dotting is done with the tip of the brush touched lightly to the surface. Spaces are filled with a heavier brush by means of many short strokes. As a rule the strokes begin at the upper right hand corner of the area and proceed downward. In filling spaces, as in drawing lines, some women go over their work only once, others apply two or three coats in order to insure even distribution of the paint.