24. Drawing the ceiling. The final impression of the picture as a whole will depend greatly on the role of the ceiling that takes quite a large area of the scene. The colors should be decided upon after thorough consideration of the over-all sectional, formation.
25. Half of the vaulted area should be filled with the fresco. The light tones of typical frescos should be used.
26. Ceiling decorations. Paint with the use of a grooved ruler and a countenance brush.
27. Completion of the ceiling. The indirect lighting surrounds the vaulted ceiling twice. As the fresco will become a painting within a painting, a certain amount of vagueness is necessary.
28. The top part of the pillar. Redraw this part with the use of the grooved ruler. Where the focus is not clear, the nature of the ruler's direction should be care fully decided upon.
29. Gold-plated decorations. A change in color and light is used to emphasize and express the gold look. This is a direct change from white highlights to black shadow. The face of the pillar should be carefully drawn by hand with gothic lettering. The colors to be chosen are chartreuse (N), raw umber (N), burnt sienna (T) and transparent sepia.
30. The completed pillar.
31. Place the shade around the window frames. The circle areas should be drawn by hand using the finger-tips and wrist as the axis. Pay attention to the q!Jantity of paint used and the control of the brush tip.
32. Make the graduations of the frame-work by brush.
33. Undercoating the wooden floor. Paint the floor with bright colors such as yellow ocre (N) and raw sienna (W). As these colors will remain as the reflections on the floor, care should be taken to ensure that they are too dark.
34. Drawing the wood grain. The tip of the countenance should be seperated and the wood grain drawn in with the use or a grooved ruler.
25. Half of the vaulted area should be filled with the fresco. The light tones of typical frescos should be used.
26. Ceiling decorations. Paint with the use of a grooved ruler and a countenance brush.
27. Completion of the ceiling. The indirect lighting surrounds the vaulted ceiling twice. As the fresco will become a painting within a painting, a certain amount of vagueness is necessary.
28. The top part of the pillar. Redraw this part with the use of the grooved ruler. Where the focus is not clear, the nature of the ruler's direction should be care fully decided upon.
29. Gold-plated decorations. A change in color and light is used to emphasize and express the gold look. This is a direct change from white highlights to black shadow. The face of the pillar should be carefully drawn by hand with gothic lettering. The colors to be chosen are chartreuse (N), raw umber (N), burnt sienna (T) and transparent sepia.
30. The completed pillar.
31. Place the shade around the window frames. The circle areas should be drawn by hand using the finger-tips and wrist as the axis. Pay attention to the q!Jantity of paint used and the control of the brush tip.
32. Make the graduations of the frame-work by brush.
33. Undercoating the wooden floor. Paint the floor with bright colors such as yellow ocre (N) and raw sienna (W). As these colors will remain as the reflections on the floor, care should be taken to ensure that they are too dark.
34. Drawing the wood grain. The tip of the countenance should be seperated and the wood grain drawn in with the use or a grooved ruler.
=to be continued=
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