Page:The practice of water-colour painting (IA cu31924014501971).pdf/78

reach its full pitch of colour and tone at once. But even with this more deliberate procedure he is careful not to lose the freshness of his brushwork, and he watches the progress of his work carefully to prevent its becoming dull and inexpressive as a consequence of the labour he is putting into it.

The paper that he prefers for his small rapid sketches is a rather thin French one, machine-made, with a very slightly rough surface. It takes the colour well, and is agreeable to work upon, but as, owing to its thinness, it is apt to cockle when wet, it is not so suitable for work on a large scale. His larger sketches and his more important water-colour paintings are done upon Whatman paper, which having a harder surface does not absorb moisture so quickly. Mr. Ball occasionally uses Chinese white for putting in small lights, but more often he scrapes them out with a razor.

His palette is made up with aureolin, yellow ochre, raw sienna, burnt sienna, deep cadmium, Vandyke brown, raw umber, cobalt, Antwerp blue,