The art of figure painting is somewhat difficult compared with the
other styles of china decoration, and has been made more so by the
introduction of many unnecessary colors and methods of applying them.
The beginner who has tried to follow these complicated methods has
become discouraged in this very interesting and valuable art of china
painting. Figure painting on china has been greatly admired and if a
simplified and understandable method were taught, it would become one
of the most popular styles of decoration.
Egyptian, Greek, Roman and Renaissance decorations of pottery are all
very beautiful, and in these we find figures as the motif, painted both
in conventional and in natural style. These decorations do not seem to
have been generally followed, although quite easy to produce. But in
this chapter we will consider flat figure painting. This being
supplementary, it will be found to be the easiest way to produce
figures in their natural colors.
In this work, the first requisite is to have the drawing on the china
absolutely correct. This can be traced from a drawing on paper on to
the vase and special attention should be paid to having clean cut,
perfect lines.
In handling the subject of flesh tones we will speak first of the face,
and by the use of the same process, all flesh colorings, even full
nudes can be painted.
Having drawn the features as lightly as possible, outline them with
flesh shadow very lightly. Then proceed to the shadows of the face.
These must be done very smoothly with the same color. On the edge of
the shadow add a little flesh gray toward the lighter part of the face.
This neutral tone, between the light and shadow, is seen on a person
with a good clear complexion. These colors should not be mixed but
blended well and carefully. The gray should be a pure tone although
very light, as the figure will be spoiled if it is too heavy, for in
firing it will be inclined to turn green. Outline the lips faintly with
flesh tint and in the same way apply the color desired for the eyes and
hair. To be explicit we would say that flesh shadows and flesh gray
only are used to paint a face—and the lights left white. All the work
must be done while the colors are fresh, and done smoothly so that they
will be well blended. If these details have been carefully observed—the
article is ready for firing.
To prepare the decoration for a second firing wash the face all over
with a light coat of flesh-soft-tint and then touch the shadows with
flesh shadow, while the wash used is still moist.
The gray tone should not be used a second time as the first application
will show through the flesh tint as a soft warm gray. Retouch and
strengthen wherever it is found necessary, and cover the lips with a
touch of flesh-soft-tint. Remove all the little high lights, and the
article is ready for a second firing. Pay attention to this suggestion.
For first firing always use flesh shadow and flesh gray and for second
firing use flesh shadow and flesh-soft-tint.
For third firing, shadows should be touched up with flesh shadow; touch
up the cheeks with a light application of flesh-soft-tint, and use the
same color to shade the lips. Hair, eyes, etc., may be now finished and
the piece fired.
It is plain from this short explanation that a method of figure
painting could not be more simple and productive of good results. The
student is not apt to become confused when only these flesh colors are
used.
Flesh gray mixed with flesh-soft-tint makes a darker tone, suitable for
shadows of the eyes, etc. Flesh shadows may be added to the above
mixture. With a little practice it will be found that by this method of
figure painting satisfactory results are obtained in a very short time.
The following suggestions should be observed when painting hair for
faces of light complexion: Apply a wash of flesh shadow, for shaded
parts only, for first firing, leaving the lights pure white; for second
firing, a wash of yellow brown should be applied over both light and
dark parts and the shadows retouched. Dark hair is painted in the same
manner, using hair black softened slightly by adding one-sixth part
banding blue. Flesh gray is used for painting gray eyes, and finishing
brown for dark eyes. Chestnut colored hair is painted with hair brown
or finishing brown. The various colors for painting hair as treated
above may be mixed with other colors to suit the preferences of the
artist.
It is well to remind the decorator here that the one great fault that
the artist has to guard against is, using too strong a red for faces.
Use flesh tones and light grays sparingly and bear in mind, never use
yellow as it produces a disagreeable effect. Nude figures are painted
according to the same methods as explained for painting faces.
Brunettes require stronger shadows and grays, but the flesh-soft-tint
is used for both light and dark complexions.
[Illustration]
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[Illustration]