| Scumbling techniques have been used by master | | | | is also useful to add a glowing effect to accentuate |
| painters since the 1600s to create smooth gradations, | | | | individual objects and skin tones. |
| modify a previously dried layer of paint and to add a | | | | An advantage of scumbling is that if it does not |
| sense of depth. This technique is accomplished by | | | | produce the desired effect the still wet top layer can |
| applying thin layers of light opaque colors over dark | | | | be removed with a clean cloth alone or with a solvent |
| layers of dried transparent paint. The final results gives | | | | like turpentine as needed. |
| a painting a surface that various in how much of the | | | | Famous painters and paintings that employ a scumbling |
| under painting is revealed. | | | | technique include: |
| An ultra thin layer of an opaque paint can soften an | | | | - Rembrandt and at least two of his famous paintings |
| area of a painting while giving it a misty, almost out of | | | | called “Artist Contemplating the Bust of Homer” |
| focus look that might be typical of background objects. | | | | and “Self Portrait”. Both of these were oil |
| Adding a thicker layer of paint to an area would | | | | paintings on canvas. |
| naturally give that object an appearance of being in | | | | - The French Master David Jacques-Louis and his |
| the foreground. However, scumbling too much of a | | | | painting “Madame Charles-Louis Trudaine” |
| canvas with thick opaque paint can result in a return to | | | | Glazing is sometimes confused with scumbling but in |
| a flattened sense of depth. | | | | reality produces depth in the opposite way by causing |
| The scumbling technique is often used to create a | | | | the surface of the painting to appear to be receding. |
| beam of light penetrating an otherwise darken room. It | | | | |