Having once started the wash, carry it on continuously, without allowing it to dry; any mistakes can be remedied after the wash is com pleted, but the wash should never be interrupted to rectify mistakes. Lighten the wash by the gradual addition of clean water; be careful to take the color from the top of the dish, to avoid getting the sediment. Always take about the same amount on the brush, and do not allow the brush to become too dry before adding more, as this will dry much quicker on the paper, and the addition of more will cause a streaked or mottled effect.
Having reached the bottom of the drawing, take up any standing water or color with a blotter, as it will make a bad appearance if this is all allowed to stand and dry. The board should be tilted slightly, so that the wash will have a tendency to move downward; and it should be left in this position until the color is dry. Do not attempt to patch or add color to any portion of the drawing that has commenced to dry.
Having put into a saucer enough of the ink for the drawing, apply the brush to the surface of the ink, soaking up a brushful. If the draw ing is of any considerable size, a wide, flat brush of camel's hair can be used to better advantage than a pointed brush. The pointed brush, how ever, will be the one most used on ordinary-sized drawings.
With the brush filled with the ink, apply to the upper edge of the drawing, carrying it across the top and gradually working it down ward, adding more ink as the brush becomes drier. Since all work is darker at the top and gradually shades lighter, as the wash is carried down the sheet, add a little clean water each time, until, at the bottom or last application of the brush, it should contain almost clear water. This shading from darker at the top to lighter at the bottom is a conventional way of rendering plans.
Plate H (lower figure), shows a plan rendered in this way, the darker effect being obtained by a series of light washes and not by a single wash.
The brush is held in much the same way as a pencil, the hand being entirely free from the paper, or perhaps at times resting on the little finger.
In case of any blotches or other objection able portions, these can be remedied with a little care. Take the sponge and clip it into clear water. Sop the portion thoroughly, allowing enough time for the water to soak into the color; then apply a clean blotter, and soak up the water. Be very careful not to rub the blotter over the surface. If very carefully done, the trouble can be remedied, and the drawing will scarcely show the spot.
Be careful, in all work, not to allow dust or hairs from the brushes to remain on the draw ing. These may be removed with a toothpick, by slightly moistening the end of the toothpick in the mouth and carefully lifting the objects off the drawing. For lines that have overrun after the wash has become dry, take the bristle brush, moisten it in clean water, and rub gently over the color outside the line. When the water has soaked into the color, use the blotter. The trouble can be remedied by one or two such treatments.
The methods of procedure described above concern the application of flat washes.
It will take considerable practice to render well. The beginner is advised to make several , sheets of sti6h, work>as described above, before attempting a pitth Use the washes on the elevations ,to show shadows, or the por tions in shadie' See Plate II (upper figure), which showgan elevation rendered in the conventional Water-colors are applied or "floated on'ri$ the Same manner as the India ink washes member that in the use of colors you to be very careful to have a dish and a brush for each color, as the least particle of color in the clear water will sometimes change the color of some other dish if the two are used. Clean color boxes, brushes, and water are the first requisites of good rendering in color.
Colors may be obtained either in tubes, sim ilar to oil paints, or in pans, which are small dishes of color. These should all be kept in a water-color box. There are usually two palettes or lids to this box, on which the colors may be mixed. If there is to be any quantity of color used, these palettes will not be large enough, and the dishes should be used.
In the use of either color or India ink, apply enough color to give the drawing some char acter; make it "snap;" do not commit the oft repeated offense of having your drawing look "sickly" or have a washed-out appearance. Attack the problem of rendering, with determi nation; put on the colors as colors, and not as if you were afraid of spoiling something.
Red, blue, and yellow are. commonly called the three primary colors, and in combination will give the intervening tints or colors of the prism. This blue and yellow will give green; red and yellow will give orange, and red and blue will give violet or purple, the tints varying according as one or the other color predominates in the combination.