PAINTING.
By Arthur Richardson, Pupil of Bougereau, Paris.
Let beginners have real objects to draw from, or any plaster casts of ornaments which can be made sufficiently interesting. An H.B. pencil is the best to use at first, which may be changed for a B. or B.B. as more shading is required, until the pupil is ready for the more vigorous qualities of charcoal. Use the charcoal in stick on a rather rough paper, with bread for correction and picking out lights; in fact, use the bread as if it were a white paint. It is better to substitute charcoal for chalk and stump as it is quicker in execution. For complete representation, oil colour gives the fullest range of light and shade possible.
Pupils should not spend time in elaborating and finishing, from which little knowledge is gained; it is better spent in mastering new difficulties than in making tidy an old drawing.
Let it be clearly grasped before beginning what sort of a drawing is going to be made, and how the result is to be reached. One can generally explain better by working on the pupil’s own drawing, but one must encourage unaided effort. Each new study should present fresh difficulties: one must insist on precision, especially in the drawing and placing of shadows and bright lights. Learners should try to get every touch right at first, and never knowingly paint or shade an incorrect tone.
Perspective should be taught from real objects; a few simple rules are sufficient: rules must be used to assist the eye in getting directions right, not to take the place of looking to see how lines actually do go. Though geometric models give all necessary problems in drawing (till we come to study from the human figure), yet they are less interesting than other things.
Let the first study for complete shading or painting be something that has an evident brightest light and a fairly dark bit of shadow. A big jug partly glazed is a capital subject. If the darkest and lightest spots are got right first, the intermediate tones will come easily. So long as colour is made harmonious, treat it as of secondary importance to correct tone. Choose colours partly for tonic possibilities, say red, blue and yellow, two of each, one dark and one light, rather bright than otherwise. Groups of objects, or still life, are perhaps the most interesting subjects till the pupil is ready to draw from life. Drapery, a curtain or long cloak, thrown over the back of a chair makes a good study.
A knowledge of the proportions of the skeleton is most useful when drawing from life; more especially if only a draped model can be given.
A certain amount of drawing from the antique is necessary before beginning from the human figure, which is the best and highest study both for drawing, tone and colour.