The Painter in oil

Studies. - After this there must be studies made for the drawing of the single figures,
and for more exactness of line and action in the bringing of all together into the whole.
This work is usually done in charcoal, from the life, and sometimes on a piece of
drawing-paper stretched over the same canvas that the picture will be painted on, or
otherwise arranged, but of the same size. Often, however, this work, too, is done on a smaller
scale than that of the picture, especially when the picture is to be very large. This is based on
the preliminary sketch as composition, and is intended to carry that idea out more in full,
and perfect the drawing of the different figures, and to harmonize the composition. The
composition and relation of figures both as to size and position on the final canvas depend on
this study.
Corrections. - In making these studies and in transferring them to the canvas,
corrections are of course often necessary. The correction may or may not be satisfactory. To
avoid too great confusion from the number of corrections in the same place, they are not
made always directly on the study or canvas, but on a certain of tissue paper dropped over it.
The figure may be completely drawn, and is to be modified in whole or in part. The tissue
paper receives the new drawing, and the old drawing shows through it, and the effect of the
correction can be compared with that of the first idea. The study itself need not then be
changed until the alteration which is satisfactory is found, as the process may be repeated as
many times as necessary on the tissue paper, and the alterations finally embodied in the
completed study.
Figure Studies. - The studies for the various single figures are now made in the nude
from the model, generally a quarter or half life size -a careful, accurate light and shade
drawing of every figure in the picture, the model bring posed in the position determined on
in the study just spoken of. Sometimes further single studies are made with the same models
draped, and generally special studies of drapery are made as well; these studies are
afterwards used to place the figures in position on the canvas before the painting begins.
Transferring. - The composition study must now be transferred to the canvas, to give the
general arrangement and relative position, size, and action of the figures, etc. If the drawing
is the same size as the canvas it is done by tracing, if not, then it is “squared up.” In this stage
of the process mechanical exactness of proportion is the thing required, as well as the saving
of time; all things having been planned beforehand, and freedom of execution coming in
later. This establishes the proportions, the sizes, and positions of the several figures on the
final canvas. The drawing is not at this stage complete. The more general relations only are
the purpose of this.
Onto this preparation the studies drawn from the nude model are ‘squared up,’ and the
drawing corrected again from the nude model. This drawing is now covered with it s drapery,
which is drawn from the life in charcoal, or a frottée of some sort. At this stage the canvas
should represent, in monochrome, very justly, what the finished picture will be in
composition, drawing, and light and shade. If the frottée of various colors (as suggested in
the chapter on “Still Life”) has been used, the general color scheme will show also. This
completes the preliminary process of the picture, and when the painting is begun with a
frottée, this stage includes also the first painting.
”The Ébouch.” - An ébouch is a painting which, mainly with body color, blocks in
broadly and simply the main masses of a composition. Sometimes as ébouch is used as one
of the preliminary color studies for a picture, especially it there is some problem of drapery
massing to be determined, or other motive purely of color and mass. Or if there is some piece
of landscape detail such as a building or what not to come in, ébouches for it will be made to