Page:The practice of water-colour painting (IA cu31924014501971).pdf/242

painting is diminished because the white surface beneath is prevented from shining sufficiently through the colours laid upon it – but a little practice will soon enable the artist to judge how far he can go in the direction of richness and weight of colour without sacrificing the transparency of his work. He must not forget that it is decidedly difficult to lighten a tempera painting by washing or rubbing, when the pigments are once set, for the egg medium becomes when dry practically insoluble; so it is unwise to lay in his picture too vehemently at the beginning with the idea of washing it down to the right degree of tenderness later on, as he would an ordinary water-colour painting.

The other way in which tempera can be used – the more usual way, indeed – is much like working in oils. The pigments are mixed with white and laid solidly upon paper or canvas; and the lights are painted thickly instead of being left, as they have to be in the transparent method. Almost any kind of paper will serve, but perhaps the most agreeable to work on is a moderately