e advised to
do in the case of a line drawing, only, in that case, the drawing proper
was to be done with a point, and in this case the drawing proper is to
be done with a brush full of paint. Fix the charcoal #well# with a spray
diffuser and the usual solution of white shellac in spirits of wine.

Taking raw umber and white (oil paint), mix up a tone that you think
equal to the half tones of the cast before you. Extreme care should be
taken in matching this tone. Now scumble this with a big brush equally
over the whole canvas (or whatever you are making your study on). Don't
use much medium, but if it is too stiff to go on thinly enough, put a
little oil with it, but no turpentine. By scumbling is meant rubbing the
colour into the canvas, working the brush from side to side rapidly, and
laying just the #thinnest solid tone# that will cover the surface. If
this is properly done, and your drawing was well fixed, you will just be
able to see it through the paint. Now mix up a tone equal to the highest
lights on the cast, and map out simply the shapes of the light masses on
your study, leaving the scumbled tone for the half tones. Note
carefully where the light masses come sharply against the half tones and
where they merge softly into them.

You will find that the scumbled tone of your ground will mix with the
tone of the lights with which you are painting, and darken it somewhat.
This will enable you to get the amount of variety you want in the tone
of the lights. The thicker you paint the lighter will be the tone, while
the thinner paint will be more affected by the original half tone, and
will consequently be darker. When this is done, mix up a tone equal to
the darkest shadow, and proceed to map out the shadows in the same way
as you did the lights; noting carefully where they come sharply against
the half tone and where they are lost. In the case of the shadows the
thicker you paint the darker will be the tone; and the thinner, the
lighter.

When the lights and shadows have been mapped out, if this has been done
with any accuracy, your work should be well advanced. And it now remains
to correct and refine it here and there, as you feel it wants it. Place
your work alongside the cast, and walk back to correct it. Faults that
are not apparent when close, are easily seen at a little distance.

I don't suggest that this is the right or only way of painting, but I do
suggest that exercises of this description will teac