La Forma del Dibujo Natural - Parte 2

You will see that the paint does not spread but stays where you put it. This is, of course, a little too dry because the paint probably stands up on the paper and the hairs of the brush spread, but it will give you an idea of how dryness enables you to control the paint. Now try this. Make a mixture of burnt sienna and black with a, very IittIe water in your water-color pan, Wash your brush and wipe it quite dry on the paint rag. Then dip the brush into the mixture and you will find again that you can control the brush better because there is no excess water in it. By working in this way you shouId be able to handle the brush just as easily as a crayon.

WheP you continue the same water-color drawing on a second day, first take a clean d m p brush (not too wet) and lighten the parks of the figure that are nearest to you by working the brush into the paint. (Keep cleaning the brush as you do this; otherwise, the paint you take o f goes on again.) f This will have two good effects. It will dampen the drawing, which had gotten completely dry, so that it will take the paint more easily, and it will keep the drawing from getting so dark that you cannot continue to model. In other words, just as you use the dark color t o push back the forms that go back, you can use this washing out or Iightening of the color to pull toward you the forms which are nearer you. Since the manila paper will stand a great deal of washing and many layers of paint, you can continue working in this way almost indefinitely -or until you feel that you have actualIy reconstructed the entire figure with a 1 its details. 1 This control of the brush will not come all at once, but it wiIl come. In Schedule 10 1 have asked you to devote two hours each t~ two modelled drawings, I you find that you cannot yet continue satisfactorily with one f drawing for two hours, do not let that worry you. Simply make one-hour studies using different views of the pose or different parks of the figure. If you fee1 that