Paint Mixing Instructions(2) (Texas MS) Dante Gabriel Rossetti 1 © Harry Ransom Humanities Research Center, the University of Texas at Austin <author>DGR</author> <msprod> <date compdate="1867 1862">1867? 1862?</date> <type>corrected copy</type> <assign/> <collation>1 leaf</collation> <note>Notes on both sides</note> </msprod> <provenance> <location>Harry Ransom Research Center, U. of Texas</location> <recnum>Ms File (Rossetti, DG) Works "Lay in with violet carmine"</recnum> <archivehist/> </provenance> <physicaldesc> <paper> <lineation/> <stock>smooth white unlined</stock> </paper> <size> <actual>7 1/16 x 8 5/8 in.</actual> <original/> </size> </physicaldesc> </citnstruct> </sourcedesc> </filedesc> <encodingdesc/> <profiledesc> <addressee/> <source> <listcitn> <citnliterary> <bibl/> <note/> </citnliterary> </listcitn> </source> <commentaries> <head>Commentary</head> <section type="intro"> <head>Introduction</head> <p>This is a set of instructions for a studio assistant, probably set out in 1867 for his new assistant Treffrey Dunn, though it may date from late 1862 or early 1863 as instructions for his first assistant, William Knewstub. It describes a “palette for flesh”. See the <xref doc="a.6p-1867texms.rad">other related set</xref> done about the same time, also at Texas.</p> </section> </commentaries> </profiledesc> </ramheader> <text> <body> <page n="[1r]" image="a.6p-1867texms2.1.tif"/> <div0 anchor="1" n="1" type="art notes"> <div1 anchor="1.1" n="1" type="note" id="a.6p-1867.texms2" title="Paint Mixing Instructions(2)" workcode="6p-1867"> <p>Lay in with violet carmine,<lb/> modelling the thing completely<lb/> & forcibly but taking care not<lb/> to get it dark or heavy.<lb/> Main flesh tint—mixture<lb/> of Orange Vermilion & Shoutian<lb/> Yellow <add>with white</add>. <add>For Grays, chiefly Malachite & white<lb/> also Raw Umber & white.</add> <lb/> The two mixtures — 1. Cobalt<lb/> & Vermilion — 2. Violet<lb/> Carmine & Indian Red —a <lb/> good deal used throughout,<lb/> the former in lighter, the<lb/> latter in deeper tints.—<lb/> <del>particularly in</del> <lb/> The hair to be begun with<lb/> <del>the deeper tint above after<lb/> the first</del> Indian Red put in<lb/> lightly over the Violet Carmine,<lb/> & then the lights touched on<lb/> </p> <epage/> <page n="[1v]" image="a.6p-1867texms2.2.tif"/> <p>Solidly, where strongest, with<lb/> white, but not at all so<lb/> as to model the whole to<lb/> a pasty body colour. After<lb/> this, drag Yellow Ochre<lb/> freely and drily with a <lb/> hog-hair brush. After this<lb/> it will be well to leave the<lb/> hair till an advanced stage<lb/> of the drawing, at which time<lb/> it will require a very thin<lb/> & slight general wash of<lb/> B<hi rend="sup"> <hi rend="u">t</hi> </hi> Sienna. It should then<lb/> be worked up carefully with<lb/> the deep negatier purple<lb/> & with Yellow Ochre again,<lb/> using Raw Umber mixed with <lb/> white to subdue the colour<lb/> where too positive. Finally<lb/> a touch or two of deep<lb/> Naples Yellow may be needed,<lb/> but this very sparingly.<lb/> </p> </div1> </div0> <epage/> </body> </text> </ram>