Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/396

388 {|
 * Red is||complementary to Green,
 * Blue|| Orange,
 * Yellow|| Purple.
 * }
 * Yellow|| Purple.
 * }

White placed by the side of any color heightens its intensity, while black similarly used reduces its power, gray renders it more powerful.

Never touch a color till it is thoroughly dry; whether this is the case may be ascertained by seeing if the paper glistens; should it do so, it is unfit to work upon.

Have plenty of color in the brush, and do not be afraid to carry it boldly up to the outline.

A little powdered cuttlefish bone may be advantageously used in skies or distances to produce a slightly hazy effect. It should be rubbed in with the finger, and speedily removes any irregularity of color.

The sun should never be allowed to shine on the paper when a sketch is being made, as the eye becomes dazzled and incapable of correctly judging the colors. The color also is too rapidly dried, giving a dirty effect. This is especially the case with large washes.

Depth of tone should be produced by repeated washes of color. If the artist attempts to produce it by a single wash, it will produce an effect of paintiness, hardness, and want of transparency.

While the sketch is in progress it should be frequently viewed from a distance. Many artists throw the drawing on the ground, or even view it upside down, so as to judge of the effect as a whole, with reference to the arrangement of light and shade, and without regard to the subjects portrayed.

Primary colors must be very sparingly introduced, and broken colors, composed of various pigments, duly combined, produce very agreeable results, though it must be remembered at the same time that the purest and freshest effects result from the combination of a small number of pigments.