MODERN METHODS Fresco is so essentially plein-air in its effects that it should be the medium in which modern thought in Art should express itself best. " Preparation of Colours
"
We
subject
;
have now arrived at the last division of our it is fully as important technically as the
preparation of the wall namely, the preparation of the colours. To anyone accustomed to palette and tubes of paint, the question of colours will not appear so very vital, but you who are accustomed to preparing powder ;
colours for tempera
some
detail
work
will
understand
if I
go into
on the point.
" In the first place, we must make a small study in colour of the design, yet large enough to show gradations of tone. In preparing the design, keep in view the object for which it is being made, so that the scheme Legros' shall be suited to fresco, not to oil painting. favourite saying, la belle et sainte simplicite,^ ought to '
reign here
if
anywhere
;
and
as
much
plein-air effect of
compatible with the subject. Then, with the study hung up over the grinding slab and a full range of powder colours in glass bottles (so as to recognize each at a glance) within reach, set to work to determine what shades will be required, distinguishing between those which can be produced by more or less thinning and blending on the wall surface, and those which have their own individuality. I have found them divide into two classes, namely, the pure or unmixed colours, such as black, Venetian, light and Indian reds, ochres, etc., of which are indispensable in each day's paintmg these, having always a supply in your bottles, you have a standard of colour to which they are bound to return when they are dry. The second class contains the mixed colours. These will, of course, produce unkno^vn light as
is
;
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