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Working neatly

Never put down, if you can, two colors one on top of the other. But
after you have made your design carefully, keep the space of shadows for
these alone, & also individually that of lights & highlights,
without layering one color all across & then highlighting or shading
on it. And in this way, you further your work, economize your colours
& work neatly. Which is the reason that, the colors not being
muddled nor mixed together, they do not die & you soften the colors
better, since they are not so thick.


Fatty oil

It is not good for working with colors because it makes them thick,
& as difficult to work as azur d’esmail. Therefore use the
clearest walnut oil that you can, & the
freshest.


Vermilion

One ought not to keep it in water when soakedground with oil for it loses its color. It is better
to choose whitish vermilion than dark & blackish. For
vermilion is usually mixed with a little lake, without
which it would hardly be different from minium. But the pale kind
one casts more vivacity than the dark one. It is not desiccative, &
for this reason one mixes in calcined cristallin.


Oil colors in water

Usually, after grinding them one puts afo piece of tin leaf on top, & one puts
them in water to prevent them from drying out. But this is more
appropriate for ceruse, lead white, minium &
massicot than for the others, for lake dies there &
loses its color, as does azure vermilion.


Double layer

Verdigris does not die, & thus does not need
to be layered twice. But lake & others, & especially
flesh color, the require two layers. Colors hardly change
when they are dry.


Yellow ochre



One needs a little of it in every flesh color.


Softening



One softens in the same way on oiled paper as on wood. But
it is easier to soften on canvas, because the softening must be
rougher on it.


Eye



Every eye must follow the circle of the compass & not be
flat & square.

