Modeling and drawing are now done very loosely with a coarse, small, almost dry brush. Beating the paint into the plaster without disturbing the surface of the plaster. Don't be afraid of running over outline with local color. Color must be liquid, but must not run down in drops. Don't disturb ground with brush or whitish patches will develop. Don't torment the color.Following the period when one paints in the verdaccio, there comes a second plaster response quality when dozens of coats of clear colors are laid on the area with a small brush, building up the local color area. This building up of color goes on hour after hour of fine clean brush strokes played one against another, and then one on top of another—a hundred strokes to the minute, I was told by a man with a stopwatch who had timed me one day.In the evening there comes a third surface quality when the plaster is so thirsty that it drinks up every brushstroke, and literally quarts of thin watery paint is fed onto the plaster with small watercolor brushes. This forms that
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