or varying thicknesses. This method will
lighten or darken a tone in varying degree, according to whether the
lines are thick, thin, or gradated--somewhat in the same way that lines
of shading are drawn in line work. In cases where the correction of
intricate modelling is desired and where it would be very difficult to
alter a part accurately by a deft stroke of the brush, this method is
useful to employ. A dry brush can be drawn across the lines to unite
them with the rest of the work afterwards. This method of painting has
lately been much used by those artists who have attempted painting in
separate, pure colours, after the so-called manner of Claude Monet,
although so mechanical a method is seldom used by that master.

As your power of drawing increases (from the line drawing you have been
doing), casts of hands and heads should be attempted in the same manner
as has been described. Illustrations are given of exercises of this
description on pages 110 and 122. Unfortunately the photographs, which
were taken from the same study at different stages during the painting,
are not all alike, the first painting of the lights being too darkly
printed in some cases. But they show how much can be expressed with the
one tone, when variety is got by using the middle tone to paint into.
The two tones used are noted in the right-hand lower corner.

Try to train yourself to do these studies at one sitting. But if you
find you cannot manage this, use slower drying colours, say bone brown
and zinc white, which will keep wet until the next day.

When you begin studying from the life, proceed in the same way with
monochrome studies painted into a middle tone.

And what are you to do if you find, when you have finished, that it is
all wrong? I should advise you to let it dry, and then scumble a middle
tone right over the whole thing, as you did at first, which will show
the old work through, and you can then correct your drawing and proceed
to paint the lights and shadows as before. And if only a part of it is
wrong, when it is quite dry rub a little, poppy oil thinned with
turpentine over the work, as little as will serve to cover the surface.
If it is found difficult to get it to cover, breathe on the canvas, the
slightest moisture will help it to bite. When this is done, wipe it off
with the palm of your hand or an old piece of clean linen. Now paint a
middle tone right over the part you wish to retouch, being careful about
join