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Updated: May 12, 2025


She sang grotesquely as she brushed her teeth and scumbled her face with cold-cream, rubbed it in and rubbed it out again. She was so glad to be a mere girl in her own flesh and not much else that she went about the room crooning to herself.

My father was taken like this, I've heard tell, in the service of old Squire Philip; and he put his nag at it, and scumbled through. But first you get up your wind, old chap." Marmaduke seemed to know what was expected of him; for he turned round, retreated a few steps, and then stood panting. Then Jordas dismounted, as well as he could with his windward leg nearly frozen.

Now mix up a tone equal to the highest lights on the cast, and map out simply the shapes of the light masses on your study, leaving the scumbled tone for the half tones. You will find that the scumbled tone of your ground will mix with the tone of the lights with which you are painting, and darken it somewhat. This will enable you to get the amount of variety you want in the tone of the lights.

For the skittish skies skewed and skedaddled and skulked and skipped and scrubbed and screwed and screamed and scrawled and scooped and scrabbled and scrambled and scambled and scumbled and scraped and scrunched and scudded and scuttled and scuffled and skimped and scattered in such scandalous scampishness that the scornful scholars scoffed. Quiz quit.

And if one wants a touch that shall be distinct, as would be the case in painting the shiny light on a glazed pot, a very full brush would be used. But generally speaking, get your effects with as little paint as possible. Thinner paint is easier to refine and manipulate. There will be no fear of its not being solid if you are painting into a solidly scumbled middle tone.

In drawing a figure in violent action it might, for instance, be essential to the drawing, whereas in drawing a figure at rest or a portrait, it would certainly be out of place. No. 1. No. 2. A middle tone having been scumbled over the whole, the lights are painted into it; variety being got by varying the thickness of the paint. No. 3. No. 4.

A middle tone having been scumbled over the whole, the lights are now painted. Their shapes and the play of lost-and-foundness on their edges being observed. No. 3. The same as the last, with the addition of the darks; variety being got in the same way as in the case of the lights, only here the thinner part is lighter, whereas in the case of the lights it was darker. No. 4.

If the artist says to us, "I scumbled in the background solid, using bitumen as an undertone, then I dragged over my high lights and painted my cool color right into it," it is as meaningless to most of us as if another bread-winner had said, "I use a Singer with a straight shuttle and No. 60 cotton." What we want to know is whether she made the shirt.

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