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Below is the © copyrighted syllabus for the latest edition
SYLLABUS:
Classical Drawing X 427.23 W9647
UCLA Extension
Winter Quarter 2012. January 21 – March 31 (10 meetings)
Saturdays 10:00am – 1:00pm
Room 321, 1010 Westwood Blvd. Los Angeles
Instructor: Thomas Garner (www.tomgarner.com) thgarner@belairmail.net

Blackboard Downloadable material: available on Black Board under Assignments and Techniques

Course Description
Drawing is the foundation of all art making. The aim of this beginning course is to link up with the classical academic tradition. From the first workshops of the Renaissance through the grand academies of the 19th century, Western Art has followed a rigorously disciplined path towards idealized, realistic representation as the fundamental building block of artistic expression. The student will work from traditional art plaster casts, first with basic forms, and then with more complex human forms to gain a sense of the essentials: line, value, and form. And the student will do copies of great masters to learn from their eyes how to instill life, mood and emotion into a composition. The course will cover the various aspects of sight sizing, comparative and relational measuring to obtain accurate representation working with various materials.

Course Prerequisites
This is a beginning course. There are no particular prerequisites apart from the will to learn.

Course Objectives and Expectations
In a traditional academic or atelier setting the drawing curriculum was typically an intensive, full-time, three-year course. In ten weeks we can hope to touch on a lot of technical aspects of drawing but there is simply not enough time for practice to make perfect. Drawing is a discipline that takes time to master. Therefore our best objective for this course is to introduce the fundamental building blocks of classical drawing in the hope of inspiring the student to put forth the effort necessary to master that discipline.

Classicism refers to that body of timeless principles of ideal forms of beauty and proportion. This course takes a deliberately historical approach to drawing in the belief that connecting with the masters is the best way to learn.

There are two basic polls to drawing that might be called optical and structural. Both are essential and both depend upon the most important lessen of all: observation. Realistic representation depends on our ability to learn how to see, measure and memorize. We have to overcome our common visual habits and train ourselves to keenly scrutinize the world we perceive.

The “optical” mode refers to drawing your subject exactly as you see it, the way a camera takes a picture with all the right forms and proportions. This is the first step where we learn to draw what we actually see and not what we think we see. The mind tends to play tricks on us by readjusting proportions and straightening things out. We have to learn how to take control of our perceptive faculties so that we can take control of our art.

The “structural” mode is a later stage where the artist is able to construct a figure with little or no reference to a model. Here the artist brings to bare his experience, his practice of observation, memory and technique and his knowledge of anatomy and perspective. At this point the artist has the tools to truly express himself.

This course will focus on the first stage. In class we will work from plaster casts to gain a sense for working from a three dimensional object without the distractions of color or the movement of a live model. For homework we will be working from a famous 19th century academic drawing course and later do some master copies.

We will introduce the three main measuring techniques: comparative, sight-sizing, and relational measuring. We will work on line quality and shading. We will work in only in graphite pencil and in vine charcoal, however I would encourage the student experiment the array of mediums that are available.

Calendar (see separate calendar)
The course calendar roughly outlines the exercises we will be working on but the actual workload will depend upon the general background level of the class and the effort each individual wishes to invest. Effort is the key word I am looking for in the students’ performance. These projects may be difficult and so I am more interested in work that is carried forward with a clear understanding of the principles than in a finished product.

Attendance
Attendance is essential. If you don’t come, what’s the point? Students are expected to be on time (ready to draw at the beginning of the session), present and participating in each lesson. Only one unexcused absence is admissible (missed class work must be completed at home). Two will lower your grade, and three will put you at risk of failing the class.

Grades
Grades will be assessed according to the following criteria:
20% Attendance
20% Complete assignments, showing application of knowledge gained in class
20% Showing effort, consideration, and commitment to projects
20% Participation in class discussions and critiques
20% Progress of technical skill made throughout the quarter

A and B students must do more then the minimum homework every week.

A – Excellent. Work shows clear attention to objectives, creativity, demonstrates a superior effort and willingness to take thoughtful risks and personal challenges.

B – Above average. Work shows clear attention to objectives, demonstrates effort, and interest.

C – Average. Work demonstrates enough effort to complete project.

D – Below average. Work obviously results from little effort of attention to the project guidelines.

F – Failure.

Materials list for Classical Drawing

Required materials (for classwork) (*items for charcoal)
Set of drawing graphite pencils from 4H to 6B (Staedtler Mars Lumograph)
*Vine charcoal sticks (soft, medium, and hard)
*White charcoal pencil
Pencil sharpener, cutter knife, and sandpaper sharpener
*Soft round or filbert paint brushes (small, medium, and large) for blending charcoal.
Kneaded eraser
Clip drawing board (24” X 26” c.)
Drawing paper pad (Strathmore 300 series medium surface 14” X 17” or larger to preference.)
*Charcoal drawing paper pad (Strathmore 500 series assorted tints 14” X 17” or larger to preference.)
*Glassine paper for protecting drawings
Tracing paper 11”x14” or larger
*Small chamois
Narrow knitting needle or wooden dowel for measuring
12” ruler
Plumb line
White artists tape
An ashtray for pencil and charcoal filings.
*A maulstick.
*Spray fixative (reworkable)

Optional (for homework)
Easel
Spot lamp

Suggested reading
1) Charles Bargue and Jean-Léon Gérôme by Gerald Ackerman, Drawing Course. Paris: Art Creation Realisation, 2007.
2) Juliette Aristides, Classical Drawing Atelier. New York: Watson-Guptill, 2006
3) Juliette Aristides, Lessons in Classical Drawing. New York: Watson-Guptill, 2011
4) Robert Beverly Hale, Drawing Lessons from the Great Masters, New York: Watson-Guptill, 1989
5) George Bridgman, Bridgman’s Complete Guide to Drawing from Life. New York: Sterling, 2009
6) Anthony Ryder, The Artist’s Complete Guide to Figure Drawing. Watson-Guptill, 2000
7) Harold Speed. The Practice and Science of Drawing. New York: Dover Publications
John Gadspy Chapman, The American Drawing Book. New York: A. S. Barnes & Co. 1873
9) John Ruskin, The Elements of Drawing. New York: Dover Publications
10) Cennino d’Andrea Cennini, “Il Libro dell’Arte” (The Craftsman’s Handbook), c. 1398, Dover Pub.

The homework in this course will be taken from Charles Bargue’s Drawing Course mentioned above. It gives an excellent sense for the historical tradition we are trying to link up with. The editor, Gerald Ackerman is one the of world’s foremost experts on Gérôme as well as a well known exponent of the Classical Realism movement here in Los Angeles. I highly recommend the book but it may be available only on-line. However all the pages for our exercises will be downloadable from the course Blackboard page.

I also highly recommend the two books by Juliette Aristides who is a major exponent of the Classical Atelier movement. She introduces classical drawing through very contemporary eyes.

Glossary
These are very brief, one-liner, definitions of words used in this course. They are in no way complete definitions and you are encouraged to ask for any further clarifications of these and other terms not included here.

Aerial or Atmospheric Perspective: where objects that are further away are given the illusion of depth by rendering them lighter, and with less line and value contrast; when using color, making them duller and with cooler tints.
Baroque: period in art history, roughly the 17th century, characterized by dramatic theatrical movement and lighting.
Block-in: straight simplified sketch lines to layout the main forms.
Brio: Italian to draw with vigor and energy.
Cast Shadow: is the shadow cast onto an adjacent surface by a form in a composition.
Chiaroscuro: Italian for the high contrast of lights and darks.
Classical: a set of timeless ideals about beauty, harmony, and proportion of forms generally rooted in the Greco-Roman tradition, characterized by closed, rational forms.
Classical Realism: refers to an artistic movement in late 20th century painting that places a high value upon skill and beauty, combining elements of 19th century neoclassicism and realism.
Comparative Measuring: a method of visual measuring in which one element of the subject is measured against other elements.
Composition: where the subjects of a picture are organized according to the rules of proportion, hierarchy, balance, repetition, rhythm and movement.
Counterpoint: the shifting of weight of a figure.
Core Shadow: (also called Shadow Edge or Shadow Accent) the darkest strip of shadow usually butted against the middletones and gradating into the reflected light shadows.
Envelope: is a guide form that encloses the furthest extents of a drawn figure.
Grisaille: French for painting with grays, for under-painting in values.
High Light: the brightest whitest spot reflected off a curved surface.
Illusionism: believable pictorial space employing mathematical perspective.
Key: the overall tonal value of a drawing, high key for bright and low key for dark.
Line of Motion: a line drawn to indicate the general thrust of a figure.
Local Tone: the actual tone of an object excluding high lights and shadows.
Lost and Found Edges: variation of darkness and lightness of edges, sometimes going behind adjacent forms and reappearing.
Mass: basic forms, usually based on simplified geometric forms such as the cube, cylinder, sphere, and the combination form of the egg.
Massing: the blocking-in of forms to achieve an organized composition.
Middle Tone or midtone is the midway tonal areas between lights and darks
Modeling: to give a rounded appearance to an object by applying lights and darks.
Monochromatic: having one hue or color plus white.
Naturalism: idealized realism derived from observation of nature.
Negative Space: the area surrounding a positive shape.
Picture Plane: the imaginary window the picture looks out from.
Overlapping Planes: where one form obscures another.
Planar Analysis: a structural description of form in which complex curves are reduced to generalized planes.
Realism: is like naturalism but without idealization, often describing social conditions.
Reductive Drawing: also called highlight rendering, where the drawing surface is first veiled with a dark tone and the drawing is done by erasing the highlights.
Reflected Light: a weak ambient light illuminating shadows, not from the main light source, and is often light bouncing off nearby surfaces.
Relational Measuring: a method of measuring in which key elements of a subject are locked into a structural or anatomical relation to all the other elements.
Renaissance: is roughly the 15th through early 16th centuries, artistic revolution characterized by the revival of classical ideals, illusionism and serene naturalism.
Romanticism: historically the period of the early 19th century and characterized by strong, irrational emotion and is often given as the polar opposite of Classicism.
Sfumato: Italian for gradation or blending.
Shade: the darkening of or adding black to a given color. (See tint.)
Sighting: taking visual measurements of a subject.
Sight-Sizing: a method of visual measuring in which the subject is placed in strict relation to the drawing surface such that at a given point of view both appear exactly the same size and allows for great accuracy.
Sprezzatura: Italian for nonchalance, making a painting look like it was easy and not overworked.
Termination Line: the edge between darks and lights.
Tint: the lightening of or adding white to a given color. (See shade.)
Tone: the value of a color moving between light and dark.
Toned Paper: is paper that is darker than pure white usually with slight tones of color. It allows you to use light chalks to bring up the highlights.
Tooth: the texture of a ground surface.
Trompe l’oeil: French for trick the eye, an illusionistic extension of the viewer’s space.
Value: the relative darkness or lightness of a tone, that which gives a sense of volume or roundness to a drawn subject.
Velatura: Italian for a thinly applied, transparent or translucent coat of paint.
Wash: a quickly applied coat of watered down ink.

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Below is the © copyrighted syllabus for the latest edition

SYLLABUS:
Classical Oil Painting in the Style of the Venetian Masters X 428.2 W3683
UCLA Extension
Spring Quarter 2010. April 2 – June 18 (11 meetings)
Saturdays 10:00am – 1:00pm
Room 318/321, 1010 Westwood Blvd. Los Angeles.
Instructor: Thomas Garner (www.tomgarner.com) thgarner@belairmail.net

Downloadable material:
www.tomgarner.com/transfer/theMasters.pdf
www.tomgarner.com/transfer/selfportrait.pdf
www.tomgarner.com/transfer/amore.pdf
www.tomgarner.com/transfer/flora.pdf
www.tomgarner.com/transfer/venus.pdf
www.tomgarner.com/transfer/getty.pdf
www.tomgarner.com/transfer/syllabusSpr11.doc
www.tomgarner.com/transfer/calendarSpr11.doc
www.www.tomgarner.com/transfer/palette.pdf

Course Description
This studio course explores the oil painting techniques of the late Renaissance, with particular focus on the bottega of the Venetian Masters of Color. Students are guided through a series of exercises designed to help them create a highly finished “masterpiece.” Working from both reproductions and a live model, students first touch on canvas preparation, imprimatura and under painting; then learn brushwork, impastos, scumbling and glazing, sfumato and chiaroscuro, and the use of warm tones and cool tints to create refined form. Finally, students learn the effects of bitumen and varnishes to obtain the same rich, deep textures characteristic of the originals. Discussion covers materials, composition, and lighting; art history and anecdotal information about the artists.

Course Prerequisites
Beginning drawing
Beginning oil painting (and preferably intermediate oil painting)

Course Objectives and Expectations
Eleven weeks is not much time, considering the masters spent months if not more on a single canvas and that after years of apprenticeship. It is a long, slow process that can give splendid results but it is hardly adapt for an eleven-week course. Nevertheless we will keep a brisk pace and do our best to emulate their “system” of painting.

There will be a series of specific overlapping class and homework assignments designed to teach the technical skills and develop an individual feel for the medium. All the exercises will be challenging and require a certain degree of commitment but the results will hopefully be rewarding.

The course calendar roughly outlines these exercises but the actual workload will depend upon the general background level of the class and the effort each individual wishes to invest. Effort is the key word I am looking for in the students’ performance. These projects are difficult and so I am more interested in work that is carried forward with a clear understanding of the principles than in a finished product.

Attendance
Attendance is essential. If you don’t come, what’s the point? Students are expected to be on time (ready to paint at the beginning of the session), present and participating in each lesson. Only one unexcused absence is admissible (missed class work must be completed at home). Two will lower your grade, and three will put you at risk of failing the class.

A – Excellent. Work shows clear attention to objectives, creativity, demonstrates a superior effort and willingness to take thoughtful risks and personal challenges.

B – Above average. Work shows clear attention to objectives, demonstrates effort, and interest.

C – Average. Work demonstrates enough effort to complete project.

D – Below average. Work obviously results from little effort of attention to the project guidelines.

F – Failure.

Materials list for Classical Oil Painting in the Style of the Venetian Masters

Color list (necessary)
Ivory Black
Lead white (alt. Zinc White and Titanium white) (large tube)
Burnt umber
Burnt Sienna
Yellow Ochre (large tube for creating grounds)
Vermilion (alt. Cadmium Red Light)
Ultramarine Blue Light
Cerulean Blue
Alizarin Crimson

Optional (colors for a more complete palette but not essential for this course)
Cadmium Yellow Light
Venetian red
Raw umber
Bitumen (asphaltum) (Rembrandt brand)
Naples Yellow
Terre Verde (green earth)
Permanent Green (Phthalo Green Blue)
Cobalt Blue

FYI, the following is a partial list of original colors used by the Venetian masters with their approximate equivalents today. Most of their colors were toxic, fugitive, or fabulously expensive and are no longer available today.

Earths (umbers siennas ochres etc.)
Vermilion (cinnabar) (cadmium red light)
Red lead (minium) (scarlet)
Ceruse (flake white, silver white)
Lead tin yellow (massicot or giallorino) (py41naples yellow)
Ultramarine (lapis lazuli) (imitation ultramarine blue)
Azurite (pb35-36 cerulean)
Red lake (madder lake) (alizarin crimson pr83)
Yellow lake (undefined transparent medium yellow)
Copper green (verde rame) (malachite) (undefined greenish ultramarine)
Smalt, (cobalt blue pb29)
Carbon blacks (ivory black)
Orpiment (arsenic yellow) (cadmium yellow)
Realgar (arsenic reddish orange) (cadmium red light)

There are some on-line sources that are bringing back some of these rare historical colors. Natural Pigments (http://naturalpigments.com) has a good selection and interesting commentary on these colors. Please be advised that many of these colors are made from heavy metals and may be toxic. Other sources are Robert Doark and Studio Products

(Mediums) necessary
Odorless Turpenoid: (not turpenoid natural)
Refined Linseed Oil: (better Cold-pressed Linseed oil)
Gamblin Neo Megilp and Galkyd: (good non-toxic imitations of the original medium and is widely available.
Drier: (one of these: Japan drier, siccatif de cortrai blanc, cobalt drier)

(Optional Mediums) not necessary for the course but interesting to explore
Liquin gel and Liquin: (alternative to the Gamblin products)
Maroger’s Medium: (this is closest to the original but is toxic and hard to use, available only on-line: studioproducts.com) Studio Product also has rare historical colors.
Velazquez Medium: (this is an excellent calcite medium with a “long” enamel-like consistency for highlight touches. Available only on-line from naturalpigments.com.)
Venetian Medium: (this is a leaded crystal glass medium that is great for glazing transparent shadows because of the glass. Available on-line from naturalpigments.com.)
Venice Turpentine: (Alt. Canada balsam) (this medium gives high viscosity or a “long” consistancy to other mediums.)
Standoil: (this medium is to give density when creating your own medium.)

Varnish (you won’t need this right away)
Dammar varnish: (dammar is for giving the final varnish to your painting when it is very dry, weeks or months from now. Some artists use is to create their own mediums.)

Brushes etc
Assorted (good quality) bristle or synthetic bristle filberts and flats from #2 thru #12 (observe that the hairs tend to curve inward at the tip). I recommend Escoda o Signet for natural bristle brushes. Or Da Vinci, Blick, or Princeton for synthetic bristle brushes. Synthetics have become pretty good lately and have the advantage of lasting a lot longer.
1” short handled bristle brush for varnishing
Wood medium size Palette
Small palette knife
Double palette cup

Canvases (try to get fine weave canvases)
3 or 4 practice canvases or canvas boards 16” x 20”
1 – 16” x 20” canvas (for black mirror portrait).
1 – 22” x 28” canvas (for Amore or Flora) or 18” x 30” (for Venus).
1 – 22” x 28” canvas for final project (or any reasonable size you like).
Gesso: (acrylic is fine.) (Most store-bought canvases need an extra coat or two of gesso to make them smooth enough for our type of painting. Lightly sandpaper between coats.) (Rabbit glue and gypsum is also available for those interested in the original process. Ask me about it, if you are interested.)

Clean up (recommended)
Silicoil brush cleaning tank and fluid
Artist’s soap
Lint-free rags and/paper towels
Couple of extra jars for pouring out turpenoid.

Other
Black mirror (get a normal 8” x 10” picture frame, behind the glass place black paper.)
Easel and spot lamp (for home use)
Charcoal sticks, Pencil, eraser, ruler, masking tape, etc.

Suggested reading
1) Joseph Sheppard, How to Paint like the Old Masters. 1979 Watson Guptill
2) Sir Charles Lock Eastlake, Methods and Materials of Painting. 2Vol. 1847 Dover Pub.
3) Ralph Mayer, Artist’s Handbook of Materials and techniques. 1940 Viking
4) Max Doerner, The Materials of the Artists, 1934 Harcourt
5) Giorgio Vasari, The Lives of the Artists and On Techniques c. 1550 Many Publishers
6) Cennino d’Andrea Cennini, “Il Libro dell’Arte” (The Craftsman’s Handbook), c. 1398, Dover Pub.
7) Benvenuto Cellini. The Autobiography of Benvenuto Cellini c. 1566 (Penguin Classics)
Susan Vreeland, The Passion of Artemisia 2002, Penguin
9) Virgil Elliot, Traditional Oil Painting 2007 Watson-Guptill
10) Juliette Aristides, Classical Drawing Atelier 2006 Watson-Guptill
11) Juliette Aristides, Classical Painting Atelier 2008 Watson-Guptill

This course will be largely based upon Eastlake’s Methods and Materials of Painting. It is not required reading but the student should be aware of it’s importance as an historical document. It is very long and at times tedious reading but very rich in details. Above all it was published shortly prior to the explosion of Impressionism and is thus unfettered by modernist ideas and is an excellent representation of the Western academic tradition up to that point. Be aware, as with any dated material, that in the face of new research and science, not all the information provided therein is one hundred per cent reliable.

Joseph Sheppard’s book is a reasonably good handbook guide to our area of interest. He studied for many years under Jacque Maroger who was a distinguished scholar of the old Masters and whose name is virtually synonymous with the medium supposedly used by the Masters.

Alla prima Italian for painting done wet on wet or painted in one sitting. Direct painting.
Balsam tree sap used in making viscous painting mediums
Baroque period in art history, roughly the 17th century, characterized by dark, dramatic theatrical movement and lighting
Binder The vehicle or medium that mixes with pigment to make paint.
Bole Reddish brown clay pigment paint used for ground color, pr102.
Bottega The Italian word for atelier or artist’s workshop.
Bright a short flat brush
Brightness The relative purity of a hue, its saturation.
Brio to paint with vigor and energy
Broken color lower layers of paint show through gaps in thick impasto higher layers.
Chiaroscuro Italian for the high contrast of lights and darks.
Dead coloring initial laying-in of basic color masses of a painting.
Direct Painting like alla prima but specifically working in full color from the beginning usually wet on wet. Most painting today is direct as opposed to the layered painting taught in this course (See glazing and scumbling.)
Dryer a substance that makes the paint dry faster.
Drying oil an oil that dries over time such as linseed oil, poppy oil, safflower oil, etc.
Fat over lean to avoid cracking, always apply oily paint over solvent thinned paint.
Filbert a flat rounded brush
Fresco murals painted on wet plaster so it is absorbed into the wall itself.
Fugitive color that fades over time.
Genre types of subjects in painting, more specifically, scenes of everyday life.
Gesso ground paint used for preparing canvas before painting.
Glazing application of transparent paint over a dry layer, usually dark and transparent paint over lighter areas. Glazing tends to warm up colors. (See Scumbling.)
Grisaille French for painting with grays, for under-painting in values.
Ground the surface you are painting on. Canvas, panel, etc
Halfpaste an opaque mix of color and medium scumbled in a semi-transparent way.
Halftone or midtone the midway point between lights and darks.
Illusionism believable pictorial space employing mathematical perspective.
Impasto the thick, pasty application of paint.
Imprimatura Italian for ground preparation with a transparent glaze usually in earth colors allowing light to reflect off the gesso ground and give an overall tone to the painting.
Key the overall tonal value of a painting. High key for bright and low key for dark.
Lay-in boxing in the general colors or values of a painting
Lightfastness the opposite of fugitive
Local color the actual color of an object apart from lights, shadows, and reflections.
Long paint an enamel or honey-like consistency given with viscous mediums where the paint smoothes out leaving little sign of brush strokes. (See short paint.) Calcite, standoil, and other viscous mediums make paint “long”.
Matt not glossy
Medium fluids used to change the consistency of paints including solvents, oils, resins, balsams, emulsions, etc.
Midtone (see halftone.)
Modeling to give a rounded appearance to an object by applying lights and darks.
Monochromatic having one hue or color plus white.
Naturalism idealized realism derived from observation of nature.
Oiling out spreading oily medium over a dry area before painting another layer.
Picture plane the imaginary window the picture looks out from.
Pouncing old method of transferring a drawing (cartoon) to the painting surface by dusting charcoal through pinholes in the paper.
Primary colors red, yellow, and blue, hues that can’t be created by mixing.
Primer any mixture of paint to create a ground.
Quattrocento Italian for 1400s used to talk about the Renaissance. Cinquecento is 1500s.
Realism like naturalism but without idealization, often describing social conditions.
Renaissance roughly the 15th through early 16th centuries, artistic revolution characterized by the revival of classical ideals, illusionism and serene naturalism.
Resin a derivative of conifer tree sap used in making varnishes. Dammar, Mastic, Amber, Copal, alkyd (artificial), etc.
Retouching Varnish a light temporary varnish.
Saturation a pure intense hue without gray.
Scumble Like glazing but with thinly applied opaque or semi-opaque color (halfpaste) over wet or dry, often giving broken coloring, creating a foggy atmospheric effect. Scumbling tends to cool colors. (See Glazing.)
Secondary colors green, orange and violet mixed from two primary colors.
Sfumato Italian for gradation or blending.
Shade the darkening of or adding black to a given color. (See tint.)
Short paint virtually all modern out-of-the-tube oil paints have a short consistency where the peaks and troughs of the brush strokes remain visible. (See Long paint.) Walnut oil, safflower oil, and other industrial additives increase the “shortness” of paints.
Sprezzatura Italian for nonchalance, making a painting look like it was easy and not overworked.
Standoil a heavily thickened and viscous linseed oil usually used for creating mediums.
Tempera paint made from egg emulsion and pigment, the main paint used before oils.
Tint the lightening of or adding white to a given color. (See shade.)
Tone the value of a color moving between light and dark.
Tooth the texture of a ground surface.
Toptone the solid and unmixed appearance of a color straight from the tube, (see undertone).
Trompe l’oeil French for trick the eye, an illusionistic extension of the viewer’s space.
Undertone translucent appearance of a color spread over a light or white surface.
Value the darkness and lightness of a tone. That which gives a sense of volume or roundness to a drawn or painted subject.
Varnish a resinous substance used in medium and final protection of a painting.
Velatura Italian for a thinly applied, transparent or translucent coat of paint.
Wash a quickly applied coat of paint that is thinned with turpentine to a watercolor-like consistency.