the next step called ( a dry-bruch technique). Unthinned on to the canvas to establish the various light eveas of the image. By varying the pressure on the brush, the artist could vary the effect to achieved - from a solid white, apaque line of plane to the lightest of transparent touches. Similarly the dark areas of the hair were strengthened with RAW UMBER. But most of the shadows are the background colour showing through. Once this first coat was dry, the artist used a dry brush barely touching the canvas to go over the entire painting with white (with underpainting allow each layer to dry or colours will be muddy)
Once the artist satisfied with the highlights and shadows he had established he began to put on thin layers of colour, first thinned with mixture of 9 parts turpentine to 1 part oil. Wiping away most of the first layers with a rag (scumbling) served to keep the colours from obscuring the highlights and shadows; to preserve or elaborate detail, move white or white or earth tone was added. And after each stage, a very thin layer of white was dry-brushed over the painting to give brilliance to the colour and luminous quality to the image.
Painting textures (Hari or cloth) required careful observations of the play of light and shadows. Hair is soft and silky, it was depicted (draw or paint) here with a flat bristle brush and unthinned paint with special attention to loose strands of hair around (forehead, ears and neck). Soft materials (cloth...) have fuzzy outlines, hard materials have sharp outline. Background colours were choosen to give a feeling of spaciouness to set off the figure.
