Chapter II: Part 2

The crayons used are much harder than the soft kind required in portraits; they are manufactured expressly for landscapes, and resemble firm chalk. The following is a list of the most useful crayons: White, Italian chalk; straw colors and light yellow, blue, grey, vermilion and Indian reds; blacks, conte crayons Nos. 1, 2 and 3. The white Italian chalk is used both for light touches and blending all the other crayons into which it may be worked.

The black conte chalks are also of the utmost importance; Nos. 1 and 2, the harder degrees, are used for outlining, and the softest degree, No. 3, may be blended with many colors to reduce their tones.

=The Paper.= The paper must be a good quality of drawing paper, such as will take the crayon, and it must supply a good middle tint, as the color of the paper appears through almost every passage of the finished work. A soft paper of a low-toned olive tint, which has been found by long experience to be better adapted than any other for landscape drawing, as affording an agreeable neutral, upon which warm or cold tones, lights or shadows, may be placed with the best effect.

=Arranging the Paper.= Attach the paper to a drawing-board with thumb tacks, in order that it may be kept smooth and level while the _flat tints_ are rubbed in. It is well to select paper some larger than your design, so as to give the picture a margin.

=The Drawing.= With conte crayon No. 1 the design must be outlined, showing enough of the objects to guide you in the _flat tints_ of the sky and distances.

The difference in the crayons used in portrait and those in landscape painting is, that the latter is much harder, which is essential, as will be seen when applied to the paper. The breadths of the composition are not laid by working with the point of the crayon, but a part of the crayon, sufficient for the purpose required, is broken off and applied flat to the paper. Work it lightly over those parts of the drawing that it is desired to tint, and the lightness of the tint is derived from the hardness of the crayon, which is “bitten” by the surface of the paper, and leaves on it a quantity of the color. This tint is rubbed vigorously with the fingers, so as to work the colors well with the texture of the paper; as the operation leaves but little color these tintings are repeated until the necessary strength of tone is obtained, varying and blending the colors by working them into each other from different directions with the fingers, as the subject may require; _draw the remote forms_ with pieces of crayon, held flat or lengthwise. Blend the tints in and repeat where necessary. The distant ridges of the mountains being made out, the middle distance and the nearer objects are approached by the nearer tints; still drawing with broken pieces of crayon, working obliquely or otherwise. The black conte Nos. 1 and 2, are used in the near parts of the picture; all the striking features of the foreground, such as trees, rocks and buildings, are drawn, and the material used in the manner described. When any fine lines are necessary, they are not made with the crayon cut to a point, but by the sharp edges of the fracture of the crayon.

=Using the Colors.= Each object having been drawn in with the conte, it is now tinted or colored by working over the black markings with the necessary colors. It is like the operation of glazing in oil painting, as under the light lines of the tracing of the colored crayon the conte drawing is still visible. By blending and again drawing with conte, and again glazing as often as may be necessary, we approach the finish of the picture, which is completed by sharp touches of light put in with sharp points of the broken ends of colored crayon. The color should be used sparingly, and the black chalk should appear prominent in the drawing. Do not rub in the colors in finishing or you destroy the effect. The beauty of the work depends upon the paper being perceptible through the final finish. Any markings too sharp, may be worked down by the finger or _blender_. These retouchings are repeated until the desired effect be obtained.

As crayon painting is liable to become changed or removed, even by blowing upon it, we must present some method whereby it can be fixed permanent.

=Fixing the Drawing.= Infuse an ounce and a half of isin-glass in five ounces distilled vinegar twenty-four hours; add to this one quart of hot water, keep at a light heat, stir often until the isin-glass is dissolved, when you filter it through paper; pour it into a bottle with the same quantity spirits of wine, shake a few minutes and you have the fixatif ready.

Place the picture face down (avoid having the colors touch anything), and apply the liquid to the back with a brush until it has penetrated through to the crayon and all the colors become moistened and bright. The first application will penetrate very quick. After this apply another with great care and evenness, and not so plentiful as at first. When done lay it with face up until dry. The picture is now completed. After this process of fixing the colors, they can be cleaned any time without injury to the painting.

MATERIALS FOR PASTEL DRAWING.

Crayons, square black conte, Nos. 1, 2, and 3. Square white, red,
and grey, Nos. 1, 2, and 3.

Round black conte. Nos. 1, 2, and 3.

Round white and red crayons.

Conte crayon pencils in wood, Nos. 1, 2, and 3.

Charcoal in sticks.

Hard and soft pastel, containing 130 shades.

Crayon holders. (Brass and German silver.)

PREPARED PASTEL PAPER.

Royal, super-royal, double elephant, colombier.

STUMPS USED.

Chamois skin, cork, paper, (grey).

DIRECTIONS
FOR DOING THE
MONOCHROMATIC DRAWING.

Take pasteboard or drawing paper, size with isin-glass, or paint with pure white lead. When thoroughly dried, smooth it down with sand-paper, and paint again. Before this coat is perfectly dry, sift upon it pulverized white marble, through muslin. When dry, shake off the loose marble that remains. Monochromatic board can be found already prepared at the book stores, where artist materials are kept. The materials needed for this work are a thin-blade knife, crayons, fine sponge, pencil, cork, rubber, blender, &c. Commence painting with the dark shades first, and blend gradually into the light. For very dark shades, rub the crayon directly upon the surface with a light hand, and blend off carefully. Paint the sky first, as in water colors. It is well to shade distant mountains _very light_ at first, and be sure to have the edges soft and faint. For water, scrape some black crayon into a powder, and lay it on your board with the blender, working it horizontally, making the lights and shades stronger as it comes nearer. Use the pen-knife for making sharp lights. Dark subjects work to the best advantage, such as moonlight scenes on the water, old ruins, etc. The foliage requires a great deal of attention in showing it up. Draw in the figures last. One familiar with crayon or pencil drawing can acquire this branch of art very easily.

WATER COLORS.

In this branch of fine art we will avoid all preliminary remarks in regard to its advantages, and direct you at once to the method of treating it, in as clear and comprehensible a manner as possible, and at the same time omit nothing that will in any way facilitate the progress of the learner.

INSTRUCTIONS.

Arrange the paper for the painting, after sponging it, by stretching upon a drawing board, and then turn to the mixing of the colors.

Colors Used for Skies and Distances.

FOR BLUE OF SKY.—Cobalt Blue, lowered with Pink Madder and Gamboge, to the hue required. Ochre may be substituted for Gamboge.

CLOUDS.—The same mixed so as to form a variety of warm and cool pearly greys.

FOR EXTREME DISTANCE.—Cobalt and Venetian Red.

FOR LOCAL TINTS.—Blend the colors so that the tints produced may incline toward yellow, red, or any tint required.

FOR MIDDLE TINTS, use Indigo, Pink Madder and Ochre on the same principle for the light parts, and Indigo, Pink Madder and Gamboge for shady portions.

SETTING SUN.—Use Yellow Ochre and Pink Madder, or Venetian Red and Yellow Ochre; sometimes Vermilion and Gamboge or Indian Yellow in small proportions, when a strong effect is to be given.

TREES.—In painting trees use Indigo, Burnt Sienna and Gamboge. These colors will make tints for the light; Indigo mixed with Vandyke Brown becomes a fine deep grey, of a green hue. Purple Lake may be added when you want the tint more neutral.

FOREGROUND.—Green in foreground is made by mixing Sepia with Olive Green in the shade, and Olive Green and Burnt Sienna in the lighter parts. A light transparent yellow, raw Sienna or Italian Pink may be carried over the foreground where herbage is to be represented, when a bright sunny effect is desirable to give fullness and richness to the colors that come afterward; it also answers for high lights upon leaves, and the brilliant specks which are left sharp. Indigo, Indian Red and Ochre for the ashy grey of loam; Burnt Umber alone, or mixed with Burnt Sienna, pure Ochre, and Ochre mixed with Sepia alone, and mixed with Purple Lake for dark parts; also, Vandyke Brown and Purple Lake, or pure Brown Madder for very dark touches.

Indigo, mixed with Gamboge, makes a cold green well suited to dark leaves; Purple Lake may be added for cool reflected lights; Indian Red mixed with Indigo to a pale tint for willow leaves or foliage stained with dirt, or for the grey back of a leaf.

These cold greys and greens are of great value in foregrounds to repeat the cool greys and cold lights of the sky in pictures composed of much warm color in the middle distance, as midday effects, sunsets, etc. The foreground should show a great deal of relief, distinctness and accuracy in the drawing of these small objects which are particularly marked, but are merged into masses when further removed. With regard to _roads_ in your painting, Yellow Ochre, mixed with Burnt Sienna, and lowered with Indian Red and Indigo. Indigo and Brown Madder being transparent colors, will allow a wash of Cobalt Blue and Pink Madder to alter the hue without danger of opacity.

WATER.—The same as for clouds, blended with the local color of the water (greenish) and with the reflected objects.

DARK SEA is indicated by combining Indigo, Vandyke Brown and Lake.

DARK SKY.—Indigo, mixed with Pink Madder and Gamboge.

IN BRICK WORK.—Mix Ochre with French Blue and Indian Red, Indigo and Venetian Red, Ochre and Pink Madder for bright part of brick work. When the color is more of red, Vermilion may be used, with caution, and in small quantities for lights. For shades, mix Sepia and Purple Lake, or Sepia and Indian Red; Sepia alone is used for light shadows from trees.

We will now paint a landscape, the foreground composed of rocks lying near and dividing a stream of water from a road; the margin of the river skirted by trees; beyond a range of hills, and still beyond another range of mountains with high points extending above all else; cattle standing at the foot; flock of sheep coming along the road, cottage, etc.

=Direction.= Cover the entire surface of your board with a tint of Yellow Ochre of moderate strength; when this is dry a tint is formed from the mixture of Cobalt Blue and Pink Madder, the blue predominating; use it in a very diluted state, on the side whence the sun is supposed to shine, graduating the tint as the opposite part of the sky is approached, so that the ether may appear of a clear and rather strong color; the lights of the cloud to be left, and care to be taken to diminish the strength of the tint in the lower part of the sky. The same tint may be carried over the mountains, leaving small, brilliant lights if there be any.

A wash of Pink Madder and Ochre, or Venetian Red and Ochre may be given to the lights on the clouds, afterwards they may receive their middle tint, composed of Pink Madder, Yellow Ochre and Cobalt Blue.

THE CLOUDS may be finished by shading with Cobalt Blue and Venetian Red; the water should receive its tints at this time; any very bright lights should be left. Clouds that are darker than the ether, lay on with Venetian Red and Ochre. If the clouds are meant to show lighter than the blue of the sky, they should be left. Mix in one dish Ochre and Pink Madder with more strength than the sky tints; and in another Cobalt, Pink Madder and Gamboge, with as much strength as possible, so that it will work freely. Having the brush charged with the first paint, proceed to lay in the light parts of the mountains, varying the color by the addition of Cobalt Blue where a greenish line is wanted, Pink Madder where the granite prevails. Now, with a brush filled from the other saucer, lay in the shady parts, varying the colors. These opposite tints of light and shade should be made to blend imperceptibly where they meet. Indigo, Pink Madder and Gamboge, mixed, will be found useful for dark touches in shadows, and Cobalt mixed with Indian Red may be used for the same purpose in the lights.

FOR THE HILLS, mix Indigo and Yellow Ochre, so as to make a light green; lay in the light parts with this, adding Ochre when a brighter and warmer light is to be expressed, and Pink Madder when the surface is broken by rock. Any bright projecting rocks may receive a touch of Yellow Ochre and Indian Red, mixed. A few broad touches will bring this sufficiently forward; they may be given with a brown, produced by the mixture of Indigo, Purple Lake and Gamboge, inclining to Orange or Purple.

THE TREES, skirting the stream, should be covered at the same time with the first and lightest tint, varied in the same way and brought into the water, leaving a sharp strip of light at the edge for a bank or path. Any very light stems of trees should be left. When this has become quite dry lay in the trees with Gamboge, Burnt Sienna and Indigo, mixed, for the light; Purple Lake, mixed with Indigo and Gamboge, for stems; stronger and browner for dark touches. The rocky masses lying in the water near the promontory may be covered by a tint of Indigo and Brown Madder, mixed; a little Olive Green will vary the tint, if a greenish hue is wanted. Gamboge, mixed with Indigo to a light green, and varied with Purple Lake and Indigo, will serve for the parts of the rising ground seen through the branches of the trees, which may receive a tint of Indigo mixed with Burnt Sienna and Olive Green.

THE FOREGROUND may be laid in with Indian Red, mixed with Yellow Ochre, and broken by Sepia or Indigo; shadows across the road may be rendered by washes of Indigo mixed with Brown Madder, and Lampblack mixed with Purple Lake for cool slate colored rocks in shade.

Birch trees should be covered with a tint of Indian Yellow and Burnt Sienna, and shaded with Brown Madder and Indigo mixed, or Sepia and Purple Lake. _Bring out the stems_ by dark touches of Vandyke Brown mixed with Purple Lake, in shade. The dark greens about the foreground should be composed of Sepia and Indian Yellow. The figures in the landscape may have some red in the drapery; the sheep, a little Yellow Ochre. In mixing the colors always incline towards warmth, because a little more coolness and atmosphere may be given by a wash of Cobalt Blue mixed with Pink Madder or Indian Red. Reflections in water should be painted similar in hue to the objects, but lower in tone and more transparent. Large stems of trees may be colored effectively by applying varied greys, browns (made by a mixture of Indian Red, French Blue and Ochre), for light sides, leaving any very bright features shown in the bark. Brown Madder and Brown Pink, and sometimes Vandyke Brown mixed with Indian Lake, will be found of service for markings. When laying on the blue in the sky, be careful to leave the shape of the light parts of the clouds, then with another brush wash in the middle tint and suffer it to blend with the blue on the shady side of the cloud. Add a little Venetian Red, as the tint is carried down to the horizon; mix more Cobalt for distance. Give a first color to the road and cottage; pure Yellow Ochre for the light of the plaster, with white paper left, and with very small portions; the shade, Sepia or Brown Madder, mixed with Indigo; the hedge by the cottage, brown-pink, olive-green, mixed with Burnt Sienna.

WHEN THE DRAWING IS DRY, begin with the sky, and heighten or subdue as seems best; give the shade to the clouds, taking care that the indications of shadow, and feature generally, grow lighter the nearer they come to the horizon; the country is distinguished from the sky by outline—a dark touch of blue in the shadows, from the clouds. Dark touches on the roof, chimneys and windows of the cottage, will give it relief from the sky, and give distance to the small objects; they may be made with Vandyke Brown, mixed with Purple Lake. Brown-pink, mixed with Purple Lake, gives a very dark transparency to water.

FOR MOONLIGHT SCENES, _wash in_ the general effect of sky with Burnt Umber, mixed with Cobalt Blue and Pink Madder, and Cobalt Blue for dark clouds and distances; Indigo, mixed with Vandyke Brown and Pink Madder, for the general landscape. The learner, before commencing at once upon a landscape, will do well to practice upon blending colors; commencing with Cobalt Blue and Pink Madder you will produce a purple; add Gamboge, the purple will be grey, etc. In the combination of the following colors, a great variety of tones adapted to skies and distance may be found: Sepia and Gamboge, Sepia and Indian Yellow, Sepia and Italian Pink, Lampblack and Indian Yellow. Chinese White is of service when tinted paper is used for sketches.

IN SELECTING THE PAPER it should be as natural as possible, either cool or warm in hue, according to the effect intended. The tint may serve as middle tint in light of buildings, stems of trees, banks, etc. Cold pressed imperial paper is the best for landscape. There are several other kinds of paper which are used, such as Whatman’s extra thick, of 140 lbs. to the ream; or Creswick paper, if white; or pale cream color, are good; but if much opaque color is used in the picture, any common paper will do, especially if of a warm grey or brownish color; and very good pictures are painted on the ordinary brown paper used for wrapping. The most convenient form of paper for sketching in the outlines of a scene is that made up in blocks or tablets.

BRUSHES should come to a fine point of their own accord, and not bulge out in the middle. Sables are the best for general use. The brushes necessary are two or three red Sable, or goose quill size, and a black Sable of large swan-quill size for flat washes; or where these are too high price for the beginner, a large swan-quill French camel’s hair with good points. Do not allow the color to dry on them, or they are spoiled; but wash as soon as used and allow them to dry with the hair in its natural position.

OTHER MATERIALS, such as a drawing-board, a sponge, an HH pencil for outlining, India-rubber, a sharp penknife for mixing up opaque colors with Chinese White, a tin water-bottle to hold water when sketching, prepared ox-gall to use in small quantities where the paper is greasy or woolly, a quill pen, will also be found useful.

THE COLORS USED ARE Indigo, French Blue, Cobalt Blue, Purple Lake, Indian Red, Indian Lake, Pink Madder, Indian Yellow, Gamboge, Yellow Ochre, Vandyke Brown, Brown Madder, Sepia, Burnt Sienna, Venetian Red, Olive Green, Brown Pink, Vermilion. One of the principal points in which water-color painting differs from oil, is the laying on of the flat tints by means of washes.

THE ART OF
LANDSCAPE PAINTING
IN
OIL COLORS.

TECHNICAL NAMES AND MATERIALS USED. MIXING OF TINTS, AND HOW TO APPLY
THEM.

No doubt you are sufficiently acquainted with the general principles of Drawing and Perspective at the time you reach this branch of art work, as to be able to apply them with facility and certainty to the representation, in outline, of a given view or subject. The rules here laid down will place within your reach the power of securing to yourself one of the most delightful and agreeable of accomplishments.

In the production of a painting in Oil Colors, there are certain modes of operation, in introducing a beginner to the practice of the art, the operations are distinguished by the technical names of glazing, impasting, scrumbling, and handling.

A GLAZE is a thin transparent film of color, laid upon another color to modify the tone, or to aid the effect of the latter, the work thereby appearing distinctly through the layer of glaze, from which it receives a characteristic hue. This process of glazing is effected by diluting proper transparent color with megilp, or other suitable vehicle. Thus diluted, these colors are laid upon portions of the work, either in broad flat tints, or in touches, partially and judiciously distributed. The object is to strengthen shadows, and give warmth or coldness to their hue, to subdue lights that are unduly obtrusive, or to give additional color and tone to those that are deficient in force and richness.

IMPASTING. In oil painting, the dark shadows, or dark portions of the picture, are painted thinly, while the lights are laid on, or “impasted,” with a full pencil and a stiff color. In the lights of the foreground, and of parts not intended to be remote or to “retire,” the impasting should be bold and free; while in the more brilliant lights it cannot well be too solid. The palette knife has always been a favorite instrument of this “impasting,” or laying on of color, capable as it is of producing an agreeable brightness on, and of giving an appropriate flatness to, the pigment. A clear and appropriate tint, skillfully swept across a sky by these means, often produce a brilliant and charming effect which is surprising.

SCRUMBLING, the opposite process to that of glazing, is done by going lightly over the work with an opaque tint, generally produced by an admixture of white. For this purpose a hog-hair brush is used, charged with color but sparingly, and with it the tints are drawn very thinly, and somewhat loosely, over the previous painting, which should, as in the case of glazing, be dry and firm.

The judicious combination of glazing and scrumbling will produce richness, brilliancy and transparency.

HANDLING. By “handling” is meant the mechanical use of the pencil or brush, exhibiting the artist’s power of adopting certain modes and processes in the expression and representation of the different textures of objects, such as foliage, wood, water, etc.

LIGHT. The position of a painter at his easel should be such that his work may receive the light from his left, falling upon it only from the upper part of the window of his room, the lower part being darkened by a piece of green baize. A light proceeding from the north is the best, it being most uniform through the day.

The first thing to be done in painting a landscape is to select a canvas of moderate size, let the design be drawn upon it with a firm and well defined outline. This being done, tint the lower part of the canvas in a clear, warm tone with a mixture of Yellow Ochre and Venetian Red, or with a pale hue of Burnt Sienna, in water colors, mixed with a little ox-gall to make it adhere to the oil ground.

The upper, or sky part of the canvas, being left clear, commence the work lightly about where the horizon will appear, and gradually strengthen the tint as you descend. The sketch being laid in, the painting of the picture may now be commenced.

Have near your easel a slab of ground glass, on which you can prepare your tints to a proper consistency or hue. A set of tints, of the hue of the sky, and for the distances, is now mixed, and you commence with the blue of the sky, working downwards, and securing a proper gradation of color; then follow the distances, mountains, &c. This being done, the work is left to dry. The mode of applying the color to the canvas is chiefly by touches, or pats of the brush in succession, from left to right. The color should be tempered with a proper quantity of vehicle, that it may work crisply, and above all, that it may be laid sparingly upon the canvas.

Short hair brushes are best adapted to painting with little color. In laying on, or “impasting” the lights, the brushes should be rather longer than those used for general painting—such a brush will yield the color more readily. Unless the colors be allowed to harden between the first and second painting, also between the second and third, they will be liable to be rubbed off by the application of the oils and glazing used in the after painting.

When the first painting is dry, the picture should have a damp cloth passed over its surface. Being then wiped dry, let it be rubbed over with a small portion of poppy oil, for this makes the after painting unite with the first. It is a mere moistening of the surface that is required—no excess of oil to remain. All that is not necessary should be removed by the moderate application of a piece of silk or linen.

In the second painting we advance by giving more attention to the details of various objects; their drawing, light and shade, reflected hues, and various tints in coloring are more elaborately made out; the relative distances of objects from the eye are most carefully preserved, and the shadows, which are yet painted thinly and transparently, are carefully united, with half-tints, so as to produce a roundness.

The third, or finished painting, is commenced by wiping and oiling the picture in the manner before described as necessary for the second painting. We then proceed to complete the details of form and color, which were brought forward in the former painting, employing for this purpose delicate touches of glazing and scrambling alternately, not to conceal, but improve and render as perfect as possible what has already been done. Sharp, vigorous touches where the markings of the details require them. These touches must be made with freedom and decision, or they fail in producing the desired effect. They should be of a warm tone, not cold—not grey. In this stage of the work do not attempt too much at one sitting. It is best to allow the colors to dry gently, and to repeat the operation when necessary.

Lastly, a mode of aiding the finish is by passing over a portion of the work with light, delicate tones, which are left only on the projecting touches of texture objects.

MATERIALS USED.

Many of the pigments which change color by the action of impure air, and are, therefore, useless in water-color painting, may, nevertheless, be safely used in oil painting; for this reason: In water color the powder colors are mixed with only just enough of some binding cement (called a _vehicle_), such as gum, size, sugar, etc., to prevent their being easily rubbed off the paper, and are, therefore, freely exposed to the action of the atmosphere, or of the colors with which they may be mixed; but in oil colors the powder colors are ground up in oil, so prepared as to oxidise rapidly in the air into a kind of impermeable leathery resin, which, completely enveloping each particle of color, effectually protects it, not only from the action of impure air, but also of neighboring particles of different colors. And it thus happens that pigments may be used in oils with tolerable safety which in water color might turn black in a few days. Indeed, the white which we invariably use in oils—flake white—is certainly one of the most unstable of colors in water colors; and nearly the same may be said of the chrome yellow, Naples yellow, emerald green, etc.

The colors named below will be found a useful set:

Flake White,
Ultramarine,
Prussian Blue,
Yellow Ochre,
Carmine (in Powder)*
Indian Red,
Lamp Black*
Cappagh Brown,
Raw Sienna,
Cadmium Yellow*
Rose Madder*
Emerald Green*
Cobalt Blue,
Madder Brown*
Burnt Sienna,
Pale Cadmium Yellow*
Indian Yellow*

The colors marked with an asterisk do not dry quickly, except when mixed with much flake-white. To these it is necessary to add a very little _drier_—a mixture of sugar of lead and boiled oil.

BRUSHES.—After the colors, the brushes are the most important part of the artist’s materials. Flat hog’s-hair brushes are the most useful for general purposes. These should have polished handles, and the hairs should not straggle at the point, but keep together, so as to form a straight, thin edge. The small sizes are most convenient when made very short and very thin in the hair, it being difficult to make the long-haired ones keep together at the point. For fine touches, sable brushes are the most convenient, some flat and some round; the former thin and short-haired, the latter coming to a fine point.

Badger’s-hair softeners are used, as their name implies, to soften broad tints in skies, etc., but require the greatest caution in their use, or they will certainly produce a disagreeable “woolliness,” or smudginess. They are made with the hair radiating, or spreading out, towards the point, and are used by dabbing or jobbing them lightly over the work, and should always be used clean and dry.

The brushes should always be cleaned as soon as they are done with for the day. The easiest way is to rinse them in a little spirits of turpentine, and, after drying them on a rag, wash them out clean by rubbing them in the palm of the hand with thick soap and water, and then rinsing them in clean water, and allowing them to dry with the hair in its proper position. It happens sometimes that, leaving off in a hurry, one has no time to wash out the brushes carefully. In that case they may be laid by for a few days, dirty as they are, with their ends under water. The paint will keep under water without drying.

CANVAS.—This is the best material for painting upon. It is sold ready stretched on frames, and is kept of all sizes at the artists’ color warehouses.

PREPARED PAPER is perhaps the most convenient material for the beginner, occupying so very little space when the picture is dry. It must be fastened, when in use, to a board by means of drawing-pins. It is also kept bound up into blocks, like those used for water-color sketching, and this is, perhaps, the most convenient form in which to buy it, though not the cheapest.

MILLBOARDS seem to me to possess no advantage over paper, and are very heavy, and liable to break at the corners.

PANELS are heavy and rather bulky, but are peculiarly well adapted for works requiring high finish.

PALETTES are usually made of mahogany or satin wood. The latter are the best, the colors being better seen on the lighter colored wood. The rectangular shape is the most convenient, and packs best into the lid of a color-box. A wooden palette should have plenty of raw linseed oil rubbed into it before being used, and be allowed to dry. This will prevent the colors sinking into the wood and staining.

A DIPPER is a small tin cup made to fix by sliding on to the palette, to contain oil, turpentine, varnish, or any other vehicle used.

THE REST STICK is used to rest the right hand upon, while painting those parts of the picture that require great steadiness and care. It should be as stiff and as light as possible, and is held in the same hand as the palette.

PALETTE-KNIVES are necessary implements for mixing and manipulating the colors on the palette. It is convenient to have two of different stiffness.

EASELS are inconvenient usually in proportion to their cheapness. They should be tolerably firm and heavy, and should allow the picture to be raised easily and quickly.

VEHICLE is the diluent used to temper and thin the colors for the purpose of bringing them to a proper state. Linseed oil, rendered drying by boiling with certain metallic oxides, is the vehicle generally used. Drying oil should dry quite free from stickiness in two or three days, in ordinary weather. Copal varnish is also an excellent vehicle, but dries so rapidly that it will not do where the colors require considerable manipulation with the brush—as in skies and broad tints generally. Colors used with varnish will require frequent thinning with spirit of turpentine. Megilp is a most pleasant vehicle to use; so pleasant, indeed, that one is apt to use far too much of it. It is made by mixing strong mastic varnish with drying oil.

The beginner should bear in mind that all oils and varnishes have a strong tendency to turn dark brown with age, and should therefore learn to use _as little as possible_; indeed, the colors, as generally sold, are ground with sufficient oil for use with a hog’s-hair brush; and it is only where greater freedom is required, and when using sable brushes, that an addition of vehicle is of use. It is absolutely necessary, however, in the process called “glazing,” which is where a transparent color is rubbed thinly over parts of the picture, the general tone or color of which it is desirable to modify. And in this case, too, as little vehicle as possible should be employed.

MIXED TINTS.

The following are given as examples of some of the tints that may be obtained by mixture of the more important colors.

_Rose Madder and Cobalt._ With these colors a variety of delicate tints of great purity and permanence may be produced; of general use in distances, skies, water, etc.

_Yellow Ochre, Rose Madder, and Cobalt._ Being made up of the three primaries, are duller or greyer, but will produce a greater variety. Of use in distances, middle distance, etc.

_Vandyke Brown and Cobalt_, _Brown Madder and Cobalt_. Of use in the same cases as the last. Good for middle distance foliage.

_Yellow Ochre and Orange Vermilion._ Of great use in obtaining warm, sunny effects in distances, skies, clouds, and for brilliant tints in foregrounds. Will give beautiful flesh tints with Chinese white.

_Yellow Ochre and Prussian Blue._ Pleasant, cool, greyish-greens may be produced with these colors; especially useful in middle distance trees. May be saddened with black or Vandyke brown.

_Rose Madder and Prussian Blue._ A variety of useful and permanent sober greys and purples may be thus obtained. Of great use in cloudy skies and distances, etc.

_Vandyke Brown and Prussian Blue._ Useful in the same cases as yellow ochre and Prussian blue.

_Vandyke Brown and Yellow Ochre._ Gives good tints for earth, etc., in foregrounds.

_Vandyke Brown and Gamboge_, _Vandyke Brown, Gamboge, and Prussian Blue_. Give colors of the greatest use for foreground and middle distance foliage.

_Burnt Sienna and Carmine_, _Gamboge and Burnt Sienna_. Warm, rich, transparent colors. Of use in autumnal foliage, and for bright tints in foregrounds, such as the shading of draperies, etc., and cattle, birds, and flowers; in fact, in all cases where very rich transparent color is required.

_Burnt Sienna, Gamboge, and Prussian Blue._ Of the greatest use for foreground and middle distance foliage.

_Burnt Sienna and Yellow Ochre._ Useful for the same purposes as Vandyke brown and yellow ochre.

_Raw Sienna, Carmine, and Prussian Blue._ With these three colors an immense number of beautiful transparent greys and browns may be obtained, useful in all kinds of foreground shadows.

_Burnt Sienna and Cobalt._ For distant and middle distant foliage.

_Carmine and Prussian Blue_, _Carmine and French Ultramarine_. Whenever brilliant and transparent purples of great depth are required in foregrounds.

_Indian Red and Cobalt_, _Indian Red and Prussian Blue_. Useful in the same cases as rose madder and Prussian blue.

_Raw Sienna, Madder Lake, and Cobalt._ Give quiet, semitransparent greys for middle distances, cloudy skies, etc.

_Carmine and Gamboge._ For transparent deep oranges and reds in foregrounds.

_Emerald Green and Gamboge._ May be sparingly used where very bright greens are required in foreground foliage.

_Orange Vermilion and Cadmium Yellow._ Safe colors to use for all very vivid oranges.

_Lamp Black and Cobalt_, _Lamp Black and Gamboge_. Illustrate the use of lamp black in saddening other colors. The most beautiful greys may be thus obtained. Of universal use, whether for foregrounds, distances, or skies.

THE
OIL-PHOTO MINIATURE.

CALLED BY SOME

CAMEO-OIL.

IMPROVED METHOD.

When the photograph you desire to color is mounted on a card, first immerse it in _boiling hot water_. This will soften the paste, and in a short time the print may be lifted from the mount. Do not hurry, but give the print a thorough soaking before trying to lift it from the card, and always use great care to avoid tearing the photograph. Rinse the picture in cold water to clean it from the paste and coloring matter that may adhere to it from the card. Let it remain in the vessel of clear water until ready for mounting on the glass. Prepare a little thin starch paste, as follows. Amylum (Refined Corn Starch) a teaspoonful, cold water 2 ounces, or nitrate strontium ⅛ ounce; stir till dissolved, then bring it to a boil, stirring constantly.

Have the starch paste _thin_ and strain it through fine muslin. Having cleaned your Convex Glass _thoroughly_ with alcohol and a piece of cotton batting, take the photograph and blot off the surplus water. Paste the face of the print and the concave or hollow side of the cleaned glass with your starch, being very careful to cover both the print and glass smoothly. A wide bristle brush is most suitable for this work. Lay the print on the glass, the prepared surfaces together, and proceed carefully to work the bubbles out with your fingers, after which lay two or three thicknesses of tissue paper on the print, and with an ivory paper-knife, or flat stick, with curve about the same as the concave surface of the glass, work the print down to the glass, forcing out all the air. Work from the centre of the glass toward the edges, and with great care, using very light pressure to avoid breaking the glass. The mounting of the print should be done quickly, as the paste dries very fast. If any bubbles should remain, prick them through with a fine-pointed needle and rub over with the ivory knife. After mounting the picture on the glass allow it to dry thoroughly. Now fill the concave or hollow side of the glass having the picture on, with Castor Oil three parts, Oil Lavender one part. Allow the oil to remain until the photograph is transparent; this will take from three to twelve hours. When perfectly transparent, pour off the oil and wipe with a fine sponge until nearly dry. Your picture is now ready for painting.

The colors applied directly to the photograph are those that need no blending—such as the eyes, lips, jewelry, light ribbons, flower ornaments and neck-tie. Edges of ruffles and embroidery should also be touched up on the photograph. When you have finished coloring the picture on the first glass, pour Glycerine over it, being careful to cover the surface thoroughly. Drain off and then put the other convex glass to the back of the one having the print, and wedge apart from it by attaching little pieces of card-board to the second glass with mucilage.

Have the wedges very narrow and close to the edge. This separates the glasses and keeps the upper one from pressing the oiled and painted glass below. On this second glass you will color the face and other flesh, hair, drapery, and, if necessary, the background. The miniature is finished by using card-board to back up the picture, white being very effective.

Bind the edges of the glass and card-board together with strips of adhesive paper.

CAUTION! Don’t use Silver Gloss Starch; it will not do nearly as well as Corn Starch.

DIRECTIONS FOR COLORING.

The coloring of the eyes, lips, jewelry, ribbons, edges of embroidery, lace, neck-tie, flowers, and other ornaments, is applied directly on the photograph after it is mounted on the glass and made translucent with the oil.

EYES—Use small brush. BLUE EYES—Use Prussian Blue mixed with little Ivory Black. BROWN EYES—Use Vandyke Brown. GREY OR HAZEL EYES—Prussian Blue mixed with Vandyke Brown and Silver White.

LIPS—Use Rose Madder.

JEWELRY—Yellow Ochre for Gold, Silver White for Pearls, Emerald Green for Emeralds, Rose Madder for Rubies.

RIBBONS—Whatever color is required. Flowers and other ornaments the same.

The color for Flesh, Hair, Drapery and Background is applied to the concave surface of the clear glass which is placed over the mounted print.

FLESH—Use Vermilion, Silver White and Chrome Yellow; mix to suit. For children use Rose Madder or Carmine in place of Vermilion. For dark complexions dull the color by adding Vandyke Brown.

HAIR—For blonde hair, use half Naples Yellow and Vandyke Brown. For lights, use Naples Yellow. Brown Hair, Vandyke Brown. Black Hair, Ivory Black and Silver White, adding a little Prussian Blue. For Grey Hair, use Silver White, Naples Yellow, Black, Burnt Sienna, and a little Prussian Blue.

DRAPERY—Whatever color suits.

BACKGROUND—Your own judgment will suggest the proper color to use.

If you want to change the work in any way, take a small piece of cloth, dipped in turpentine, and remove the color.

For home work and adornment it offers special attractions. The photographs of relatives and friends can be made into Oil-Photo Miniatures, done by your own hands, and handsomely furnished for the mantel and wall at small expense.

We have given you the _simplest_ and _best_ process for making the picture. It is claimed by some that when the oil is used it dries out after a time, and produces opaque spots. Should this trouble appear, it is easily overcome by using glycerine as previously directed. We herewith give you another method in use, and you can adopt whichever you see fit.

SECOND METHOD.
IVORY-TYPE OR MEZZOTINT.

FOR MOUNTING THE PHOTOGRAPH.—Isin-glass (fish glue) made in the following proportion: One teaspoonful to half cup of water, dissolved by boiling; strain through fine muslin, and apply the same as starch. Pure Albumen, or white of egg, brushed over the glass and surface of the photograph, is used with great success by some. Equal parts Canada balsam and turpentine is also used for attaching the print to the glass. Rubber varnish, made with pure rubber, dissolved in benzole. Some add a little Cooper’s glue to the starch when making it. Dextrine is a favorite with many.

After the use of the castor oil, castor oil and glycerine, poppy oil, nut, or any of the oils, the print may be covered with a coating of Damar varnish, which it is claimed holds the oil and preserves the transparency. Many artists after oiling or varnishing, use water colors mixed with ox-gall in coloring on the back of the print, then follow with the oil colors as directed. In adopting any of the methods herein noted, your judgment will dictate care in observing the results, and suggesting changes that may facilitate the work, and success of the picture. You will find this art very attractive, simple, and productive of both pleasure and profit. Ladies are occupying leisure hours, and making home attractive with their artistic work in producing the Miniature.

By the first process pictures have stood for years without spotting or cracking.

ANOTHER PLAN IS: After cleaning the photograph, blot off the surplus water and place it in alcohol, let it remain until transparent. Old, faded pictures can be brought out clear in this way. After placing it on glass, cover the print with “paraffine,” and let it lie for a short time in the sun, until crystalized, when it is ready to receive the colors. You may use water colors on the first glass with good effect.

“By this simple process any person unaccustomed to painting, and ignorant of art, may color photographs, and produce with rapidity and little trouble, effective, permanent, and beautiful pictures, so soft and delicate as to closely resemble painting on enamel; may render the treasured family portrait doubly valuable by adding the warm tints of life to the faithful but cold and deathlike production of the photographer, and produce a pleasing as well as a truthful representation. The largest and the smallest work may be painted with equal facility, the life-size portrait or a miniature for a locket, the only qualification for success, even in very elaborate pictures, being taste in the arrangement of the colors. An objection to coloring photographs, as coloring has hitherto been practiced—that the delicate truthfulness of nature’s drawing was injured, and sometimes a likeness wholly destroyed, through being obscured by the colorist in the working, that the only guarantee of fidelity was the talent of the artist—in the beautifully simple process under consideration with which all the softness, lights, and shadows of the photographs are preserved.”

THE ART OF
COLORING PHOTOGRAPHS
IN WATER COLORS.

Select a well-defined Photograph, one of light color is preferable, and the background free from spots; it is also well to have a duplicate copy to refer to in case of necessity—a copy of two different sittings. Always select a good subject, as a good portrait depends much on a good model. In sitting for a photograph, take your own natural and easy position several feet in front of the background, with your eyes a trifle above the camera. Avoid all superfluous surroundings, such as fancy chairs, table covered with books and other objects, making your face a secondary affair in the picture.

=Preparing the Photograph.= Take a piece of White Glue about the size of a hickory nut, and about one-half the quantity of pulverized alum; dissolve in half a wine-glass of warm water and it is ready for use. Apply the mixture with a flat camel-hair brush to the photograph; cover the entire face of the picture, care being taken not to get it too wet. When dry, wash it in clean cold water with a sponge to remove any superfluous matter that may rest upon it. It may be necessary to go over it a second time, as it is essential that the paper be well hardened to work upon. You may test it by applying a drop of the color to one corner and if it washes off and leaves no stain the paper is in good condition for the work. Albumen paper can often be worked without using this preparation, but should be sponged off with cold water.

The colors used are in cakes: Dry Carmine, Rose Madder, Crimson Lake, Venetian Red, Indian Red, Vermilion, Chrome Yellow, Indian Yellow, Roman Ochre, Gamboge, Cobalt, French Blue, Emerald Green, Indigo, Prussian Blue, Burnt Sienna, Burnt Umber, Sepia (Brown), Vandyke Brown, Madder Brown, Ivory Black, Chinese White, Constant White.

Burnt Umber, mostly used for the hair; Vandyke Brown is one of the most used of browns, although Sepia may be said to be the _most_ useful in black silk and satin, when mixed with Lake, Indigo and Gamboge; Sepia and Lake for the eyebrows and hair; Sepia and Indigo form a gray, very nice for background. Of Red, Carmine is the most brilliant; Rose Madder the most useful in flesh, especially in youths; in elder persons add Vermilion; Crimson Lake is very useful for flesh tints; Light Red, Venetian and Indian Red can be used for nearly the same purpose.

=Coloring.= Commence upon the face with the flesh tints, using for this a good size Sable brush; go over the entire face and wait till dry. Use for the lips a little Vermilion and Lake. Now go over the background, and then the draperies. Deepen the Carnations, touching the eye and mouth with Lake; also the hair with the proper color. Touch the under lip with Rose Madder enough so as it may look natural. The white of the eye in youth is nearly blue, in old age it becomes yellow, in middle age it is white. You must vary your tints to correspond.

The iris must be laid in with transparent color, then shaded, then finished with Chinese White. The pupil is touched with a dark color and the speck of white laid on last. Use the same color for black or brown as used for the hair, viz.: Light Red and Chinese White, and neutral or Purple tint and White for the latter. The face is now nearly finished; it only remains to add a few touches to the eyes and mouth, and impart life and expression to the countenance. If the person be dark, use Sepia and Purple Lake, equal proportions; but if fair, dispense with most of the Sepia. Next complete the background, after which finish up the hair over the background; after the last shaded parts of the hair lay on the high lights. Burnt Umber is most useful in brown and auburn hair; Indigo, Sepia and Lake, or Lake, Indigo and Gamboge, are the colors used for high lights, the lights inclining to a purple tint, the blue predominating. Keep the hair in masses; a good sized brush is needed. In painting cloth fabrics it will be well to use the local color at first very light, much more so than you desire it to be when finished. A black coat: begin by laying in a weak local wash as directed, and when it is dry go over the folds with a thin shadow color, which will prevent them being obscured by the next local wash. Having repeated this two or three times, you will find the garment to be as dark as necessary, but the shadows will be feeble; you may strengthen them with Sepia and Lake. A good black for gentlemen’s drapery is made of Indigo, Lake and Gamboge. When a blue-black is required, first make a purple-blue and then add the Gamboge till the tint is changed into black. In shadowing, always carry your pencil the way the folds run, instead of across them. The colors for backgrounds for fair people are blue, purple and greys. Dark complexions should have dark background. Stone is represented by a tint formed of Carmine, Indigo and Yellow Ochre, and the more distant you wish it to appear the more must the Indigo prevail. A background made of Cobalt, Burnt Sienna and a little Rose Madder works well. Madder Brown and Cobalt answers for the same. A purple cloudy ground is made of Indigo and liquid Carmine or Lake. An opaque ground, of a chocolate color, is composed of Lampblack and India Red.

Paint curtains over the background and put on the lights with body colors.

RUSSIAN,
OR
EGYPTIAN METHOD

OF COLORING PHOTOGRAPHS

WITH TRANSPARENT INDELIBLE COLORS.

This is the “biggest little thing” in painting that probably has ever been presented to amateur artists. For beauty of arrangement, ease and simplicity in its execution, no branch of art work of a similar nature has ever met with like success. With a fair idea of colors and their application, you may increase the beauty and enhance the value ten fold of any ordinary photograph, by following these instructions. To produce a first-class picture, you must necessarily have a good subject to work on. A photograph that will take a variety of colors, is best adapted for a showy picture.

Before applying the colors to a burnished or finished photograph, soften or cleanse the surface with the tongue until the saliva wets the picture evenly, without crawling; oxide gall is good, but saliva is the best for this purpose.

For a palette on which to mix or dilute colors, the bottom of a plate or saucer will answer. Always have a piece of blotting paper at hand to take up or remove superfluous paint from the picture, and use it after each application of color to the photograph.