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 http://www.archive.org/details/cu31924031285319 
 
arV17915'^°"'*" "'"™''*"y library 
 
 oUn,J ^924 031 285 319 
 
SIXTH EDITION 
 
 HOW TO PAINl 
 
 PHOTOGRAPHS 
 
 % 
 
 IN 
 
 WATER COLORS and in OIL 
 
 HOW TO 
 
 WORK IN CRAYON 
 
 MAKE THE CHROMO-PHOTOGRAPH 
 RETOUCH NEGATIVES 
 
 AND 
 
 INSTRUCTIONS IN 
 
 CERAMIC PAINTING 
 
 A PRACTICAL HAND-BOOK DESIGNED FOR THE USE OF STUDENTS 
 
 AND PHOTOGRAPHERS, CONTAINING DIRECTIONS FOR 
 
 BRUSH-WORK IN ALL KINDS OF 
 
 PHOTO-PORTRAITURE. 
 
 BY 
 
 GEORGE B. _AYRES, 
 
 ARTIST. 
 
 TAere is no degree of talent so small tkat^rojier instruction jnay not develop it. 
 
 NEW YORK : 
 
 DANIEL APPLETON & COMPANY. 
 
 1883. 
 

 IHE.IJL 
 
 university] 
 
 LIBRARY 
 
 COPYRIGHT : 
 
 GEORGE B. AYRES. 
 No. 2022 N. iiTH St., Philadelphia, 
 
TO 
 
 MY TALENTED FRIfiND 
 
 J. AUGUSTUS BECK, 
 
 ARTIST, 
 
 THIS VOLUME 
 
 IS AFFECTIONATELY DEDICATED 
 
 BY 
 
 THE AUTHOR. 
 
PREFACE. 
 
 In transferring the publication of another edition of my book 
 from Philadelphia to New York, I do so with the confident ex- 
 pectation that I am accepting a rare opportunity for extending 
 it to a larger fi.eld of usefulness. 
 
 The dissemination of previous editions having been confined 
 more especially to the photographic sphere, it has been felt that 
 the merits of the work — hitherto so freely acknowledged and 
 endorsed by our generous fraternity — were yet to be known and 
 appreciated by the book-buying public in general. 
 
 In harmony with this change of publishers, I have made 
 numerous alterations and improvments in the book itself; 
 sparing neither time nor labor in my endeavor to keep it in the 
 front rank of excellence. Not a line of it has escaped careful 
 revision ; the entire text has been re-arranged ; new topics have 
 been inserted ; and the whole enlarged" by many additional 
 pages of useful matter. 
 
 The new chapters on Crayon-Work, Ceramic Painting, and 
 the Chromo-Photograph, have been prepared especially in re- 
 sponse to the demand of the times for instruction on these 
 popular art-subjects ; and which, with the very considerable ex- 
 
PREFACE. V 
 
 tension of the chapter on oil painting, are conspicuous features 
 of this edition. 
 
 Having received many assurances that my former labors were 
 not in vain — in developing a love for the beautiful in our art, 
 and exciting the ambitious to still further excellence — it has 
 been my aim to leave nothing unwritten here which I thought 
 could in anywise help the student in the attainment of increased 
 knowledge and practical ability. 
 
 I believe that this best of all my editions will meet fully the 
 expectation of those who await its appearance ; whilst I trust it 
 may continue to be, as it has been, the Standard Manual for 
 teaching "How to Paint Photographs." 
 
 George B. Ayres. 
 
INTRODUCTION. 
 
 No look ever made a painter, or ever will. Neither can Art 
 be \SM.^i practically by books, but the written experience of others 
 may lend important assistance to the student who undertakes 
 the task of self-tuition. This is particularly true if he is 
 gifted with such powers of perception as will enable him to un- 
 derstand, without any further aid, the instructions as they are 
 given. 
 
 There are very many instances, — especially outside of the 
 cities, — where books are the only available means of obtaining 
 this particular kind ,,of information ; and it is hoped that this 
 little work will be found sufficient for, and meet the expecta- 
 tions of, the many who cannot enjoy the greater advantage of 
 having a competent teacher. 
 
 There are photographers also in many parts of the country 
 who have orders for painted and retouched work, but who may 
 not have convenient opportunities for committing their pictures 
 into the hands of regular artists. At the same time they may 
 themselves be possessed of a degree of native genius which only 
 needs direction and encouragement to enable them to do at 
 least some of their brush-work. Indeed there is no good reason 
 why many among the competent photographers who have in- 
 
INTRODUCTION. Vii 
 
 herent talent and aptness for picture-making, should not — in 
 addition to the operations of the camera and dark-room — ^be- 
 come tolerably proficient to do some of their ordinary coloring ; 
 and by study and practice, a considerable'proportion. 
 
 "Very erroneous ideas," writes a distinguished painter, "are 
 entertained regarding the capability of the mind to acquire cor- 
 rect perceptions of color, and to realize them in artistic effects. 
 Too much is ascribed to genius, and too little to study and 
 perseverance. "Boih. the appreciation of color zxA the power of ex- 
 pressing it are doubtless attainable by education ; and under 
 proper direction, the laws relating to harmony of color may be 
 as readily understood and practiced as those relating to perspec- 
 tive, when representing forms without color, the pursuit de- 
 manding nothing more than the general capabilities required in 
 the study of the latter. But the student who desires to attain 
 excellence, must devote his time and labor with that untiring 
 energy which a love of the art can alone excite. " 
 
 In preparing this volume, we have assumed that the majority 
 of those for whose use and improvement it is more especially 
 designed, have no desire to acquaint themselves with the philo- 
 sophical minutiae of the art of delineating the human counte- 
 nance and form, as based upon the correct standpoint of an 
 original creation upon clean paper. The photographic image, 
 already provided, obviates this necessity ; and hence our teach- 
 ings will be found simple and practical in regard to the separate 
 matter of Coloring, — ^while we leave the profounder aspects of 
 the subject to be studied by the ambitious, from other arid 
 more comprehensive sources. 
 
 Practical photographers are not, however, the only persons for 
 whom this book is designed. There are many others who wish 
 
viii INTRODUCTION. 
 
 to try Photographic Painting as a recreation and accomplish- 
 ment, or to pursue it as a livelihood— especially women ; but 
 the inconvenience and expense of tuition at the hands of proper 
 instructors (to be found only in the cities), clearly proves the 
 necessity for a standard hoo% as the next best means' of gaining 
 the desired knowledge. 
 
 To such it is believed this work will be really acceptable ; 
 and our sincere hope is that it will be found sufficiently //azw 
 and practical ; comprehending all that is necessary to render 
 this delightful study easy, and furnishing one more- stepping- 
 stone to artistic and personal advancement. 
 
 Note. — We deem it not inconsistent with our plan o? prac- 
 tical instructions to introduce the brief chapters which term- 
 inate on page 25, since a knowledge of the matters contained 
 therein is essential to intelligent working ; but, as they may be 
 thought rather abstruse for the beginner, a thorough study of 
 them can be deferred until a certain degree of work has been 
 accomplished, — although they should be carefully sxkt) at the 
 outset. 
 
COITENTS, 
 
 PABE 
 
 Accessories, General Remarks on gg 
 
 Carpets and Table-Covers, 102 
 
 Curtains, loi 
 
 • Furniture, . 102 
 
 Aerial Effects, obtained by Hatching 109 
 
 Arms and Hands, Painting of ...... . 81 
 
 Backgrounds, General Remarks on 103 
 
 Practical Directions for Clouding, io8 
 
 Landscape, . . . . . . , . .114 
 
 Opaque, . no 
 
 Pastelj Colored 114 
 
 Gray, for India-Ink Work, : . . . . 112 
 
 Breadth, Definition of 53 
 
 Bronze, How to Imitate gS 
 
 Brushes; Kinds of, and How to Select 48 
 
 For Oil Colors, 167 
 
 How to Hold and Use, , 53 
 
 Practice with the 59 
 
 Carnation Tints, 63 
 
 Ceramic Painting, Part VI 190 
 
 Cheeks, Painting of 78 
 
 China Painting,on 191 
 
 Requisites for, igi 
 
 Classification of Pigments, 193 
 
 Designs and Subjects, .... . . . 193 
 
 Directions for Painting, 194 
 
X CONTENTS. 
 
 PAGE 
 
 China, Firing 198 
 
 Chin, Painting of 7g 
 
 Chromo-Photograph, How to make 177 
 
 Directions for Coloring 178 
 
 Colors in General, 13 
 
 Primary — Secondary — Tertiary, 13-14 
 
 Complementary, 15 
 
 Diagram of 16 
 
 Characteristic Effects of : 16 
 
 Relations and Harmonies of (in rhyme), .... 18 
 
 The Repetition of 107 
 
 Compound Black, and how to Mix it, 9 ; 
 
 Concerning Photographic Tones, .. a .... 27 
 
 Contrast, ........... 20 
 
 Of Color and Tone, 20 
 
 Conclusion to Part I., . 152 
 
 Crayon, How to Work in, Part II., ..'.., 154-160 
 
 Crystal Ivorytype, 177 
 
 Curtains, Painting of loi 
 
 Decoration of China, , , igg 
 
 Decoration of Pottery, igg 
 
 Drapery, General Remarks upon 82 
 
 Methods of Painting the ....... 85 
 
 Selection of Colors for 83 
 
 Yellow Draperies, .90 
 
 Red Draperies, 90 
 
 Blue Draperies, ......... 92 
 
 Green Draperies, , , . 93 
 
 Orange Draperies, 94 
 
 Purple Draperies, gj 
 
 Black Draperies, 05 
 
 White Draperies, method of painting, . * , , .88 
 
 The Browns g^ 
 
 The Maroons, . qa 
 
 Duplicate, or Guide Print, 29 
 
 Ears, Painting of ...•....•" 80 
 
 Enlarged Copies, 30 
 
 Eyes, Painting of ..,.,,., . ja 
 
 Colors for the various kinds of 77 
 
 Flesh Washes, for Men 62 
 
 For Women and Children 62 
 
CONTENTS. xi 
 
 PAGE 
 
 Framing Pictures, . • i •„ 
 
 General Order of Painting, H8-128 
 
 Glazing, in Oil, lyo 
 
 Gold Ornaments, Painting of 07 
 
 Grays for Flesh, 65 
 
 Gray Pastel, for Ink work 1 12 
 
 Gum Water, 46 
 
 Hair, Painting of 6g 
 
 Colors for the various kinds of 71 
 
 Handling or Manipulation, 53 
 
 Hatching, Directions for 56 
 
 Head-Dress, Colors for 85 
 
 Implements and Materials, 49-5 ' 
 
 India-Ink Work, 129 
 
 The Proper Photograph, 131 
 
 Practical Directions, 131 
 
 Copied Pictures, 134 
 
 The Use of Other Pigments, 136 
 
 Introduction, 6 
 
 Ivorytypes, The Original 143 
 
 The Crystal, How to Make 177 
 
 Jewelry, etc.. Painting of 97 
 
 Landscape Backgrounds 114 
 
 Light, Arrangement of the 5^ 
 
 Repetition of the 107 
 
 Lips (Mouth), Painting of 79 
 
 Manipulation or Handling 53 
 
 Megilp (in Oil), 167 
 
 Memoranda of Practical Art, ....... 202 
 
 Neck and Bosom, Painting of 80 
 
 Normal Gray,^ • 14 
 
 Oil Colors, Photographic Painting in, Part III., . . . . l6i 
 
 The Photograph, Sizing 163 
 
 Pigments and Vehicles, 166 
 
 Necessary Implements, 167 
 
 Arrangement of the Palette 169 
 
 Manipulation, ....•.••• 17° 
 
 Method of Paintmg «7i 
 
 Cracking, »74 
 
 Varnishing, '74 
 
 Opaque Backgrounds, "O 
 
XU CONTENTS. 
 
 PAGB 
 
 Ox-GaU 46 
 
 Painting, General Order of 1 18-128 
 
 Palette, 48 
 
 Arrangement ofWater-Colors, 119 
 
 Pastel Backgrounds, 111-114 
 
 Pearly Tints for Flesh, 65 
 
 Photograph, Concerning the 26 
 
 Porcelain Painting, . 138 
 
 Correction of Errors, 141 
 
 Adaptability of Subjects, 141 
 
 Portraiture, Remarks on 22-25 
 
 Practice with the Brush, 59 
 
 Precious Stones, Painting of 98 
 
 Pure Water, Necessity of using 45 
 
 Relief, Methods of giving io5 
 
 Retouching the Negative, Part V., 180 
 
 Materials and Appliances, 181 
 
 Preparation of the Negative Surface, .... 183 
 Manipulation, ......... 184 
 
 Misconceived Ideas, 187 
 
 Usefulness for Copies . 187 
 
 Scumbling in Oil Colors, 171 
 
 Shadow Cloud in Vignette Pictures, . . . . . .no 
 
 Shadow Color for Flesh, 64 
 
 Solar Camera Pictures, 147 
 
 Stippling, Directions for yj 
 
 Transparency in Flesh Colors 65, 120 
 
 Tragacanth, to Prepare for Use, 179 
 
 Touches, . .......... 67 
 
 Varnishing Pictures, in Oil 174 
 
 Water Colors, List of ,1 
 
 Qualities and Adaptations of 32-4S 
 
 Introduction to the Use of 6i 
 
 Washing, Directions for e. 
 
 White aud Black as Colors i . 
 
 Working in Crayon, Part II., 154-160 
 
l0¥ ToIaIIT? HOTOGEAPHS. 
 
 FIFTH EDITION. 
 
 ijjl]jj|$ m §mmtA. 
 
 It is proposed that this work shall serve as a guide to labor, 
 rather than an index to philosophy — -to teach the student /low to 
 do, without cumbering his mind with the reasons why. 
 
 Hence, it will be expedient only to briefly record here certain 
 recognized, important and interesting yac/j respecting the nature 
 of colors, and recommend to the student a further, and more 
 complete investigation of colors — their qualities, and innumera- 
 ble efiects of contrast and harmony — as it can be found in books 
 specially devoted to this subject. 
 
 Principal Classifications. 
 
 Notwithstanding the assertions of the old philosophies about 
 the "seven primary colors," there are indeed but three, viz., 
 
 Red — Yellow — Blue, 
 
 and these are termed Primary (or Simple) colors, because they 
 are the source whence all others are derived by mixture. 
 
14 HOW TO PAINT PHOTOGRAPHS. 
 
 The combination of any two of these, in equal parts, produces 
 another class termed Secondary (or Compound) colors. Thus : 
 
 Red and Yellow make Orange, 
 Yellow and Blue make Green, 
 Blue and Red make Purple. 
 
 A further combination, in pairs, of the Secondary produces a 
 third class designated Tertiary (or Mixed) colors. Thus : 
 
 Green and Orange make Citron, or Citrine, 
 Orange and Piurple make Russet, 
 Purple and Green make Olive ; 
 
 each of which is variously compounded of the three original or 
 primary colors — as the secondary order is of ^o— one of the 
 primaries, however, predominating. 
 
 A fourth class may be added, and designated Irregular Colors ; 
 under which head is included the long list of browns, grays, va- 
 rious neutral tints, drabs, stone colors, etc. These have also re- 
 ceived the name of Semi-neutral Colors. 
 
 It will be observed that whilst each combination of two 
 primary colors produces a new and perfect hue, each subsequent 
 combination tends to produce neutrality ; the neutral tints form- 
 ed partaking, however, more or less of the special characteristics 
 of the primaries to which they are most allied. 
 
 White and Black, which most completely contrast as light and 
 darkness, are not generally regarded as colors : White, as the 
 representation of pure daylight in its undivided state, being sup- 
 posed to represent a combination of all colors ; and Black, like 
 darkness, or the absence of both color and light However, 
 they hold an important place in almost every picture, having 
 their own effect, when in combination with other colors. 
 
 Normal Gray is black mixed with white in various propor- 
 tions, originating numerous tones of pure gray. Grays also re- 
 
COMPLEMENTARY COLORS. 1 5 
 
 suit from the mixture of all three primaries in various propor- 
 tions, and these are designated Colored grays. 
 
 Complementary Colors. 
 
 A mixture of any two of the primary colors, forming a second- 
 ary, this secondary is complementary to the remaining primary 
 color. Thus, 
 
 Orange, produced by Red and Yellow, is complementary to Blue ; 
 Green, " Yellow and Blue, " • Red ; 
 
 Purple, « Blue and Red, " Yellow. 
 
 The combination of any two secondaiy colors will produce a 
 tertiary, which is complementary to the remaining secondary. 
 Thus, 
 
 Citrine, produced by Orange and Green, is complementary to Purple ; 
 Olive, " Green and Purple, " Orange ; 
 
 Russet, " Purple and Orange, " Green. 
 
 These combinations may be carried to an almost unlimited 
 extent with similar results ; for this relation of colors is not arbi- 
 trary, nor the result of taste or fancy ; but it is founded upon 
 absolute inherent principles which exist as a physical necessity 
 of the organs of vision. 
 
 Black and White are also to be regarded as complementary 
 to each other. 
 
 We have thus fer explained the term ' ' complementary " with 
 reference only to colors in their primary signification — treating 
 red, yellow, and blue, without regard to the various gradations 
 of hue which each color possesses. But the principle which 
 governs the relations of the simple primaries applies also to 
 every variety and combination of tint ; and which could be 
 multiplied by gradations so delicate that it would be impossible 
 to enumerate them. 
 
 The following diagram of the complementary relations of col- 
 ors is furnished as a ready-reference for the student, and is sub- 
 divided far enough for ordinary purposes. 
 
HOW TO PAINT PHOTOGRAPHS. 
 
 The complementary of each color will le found in the angle 
 directly opposite : whilst it will be observed that each pair yields 
 a harmonious balance of three primary colors. 
 
 Peculiar Characteristics of Colors, 
 
 The primary colors are suggestive of various ideas, according 
 to particular circumstances. Thus, painters have agreed to call 
 red and yellow and their mixtures wdrm — giving notions of light 
 and" heat. They also come near the eye, and are less impaired 
 by distance than any other colors ; yellow less than red, and 
 green less than purple. 
 
 Red is the most powerful, distinct, and exciting of all colors ; 
 stimulates the eye, and predominates over all colors designated 
 warm. 
 
PECULIAR CHARACTERISTICS OF COLORS. 1 7 
 
 Yellow is the primary most closely allied to light. 
 
 Blue, and those tints of which the larger portion is blue, sug- 
 gests an idea of coldness and distance. 
 
 Of the Secondaries : Orange being the most luminous is the " 
 most striking and prominent; the connecting link of harmo- 
 nizing color between yellow and red. 
 
 Green is generally considered the mean between orange and 
 purple, thus taking position between light and shade. It is the 
 most soothing and refreshing, although a preponderance of it is, 
 scarcely ever truly pleasant. 
 
 Purple, coolest and darkest of the secondaries, partakes con- 
 siderably of the retiring qualities of its chief primary, blue. Next 
 to green it is the least fatiguing to the eye ; and its various com- 
 pounds afford most of the colored grays. 
 
 The plan most generally adopted is, that the warm colors 
 should always be placed at the front, as having a tendency to 
 impress the eye more strongly, or to come more prominently 
 forward than the colder colors j but union and harmony require 
 that some intermixture of warm color should be put in the back- 
 ground, and of cold into the front. 
 
 The lighter colors also brighten those of a deeper kind ; as 
 white or yellow, put with red or blue, renders these more lively. 
 If intermixed with them it diminishes their depth. 
 
 There are also colors which diminish each other's effect and 
 deaden a neighboring one ; others again raise the force of those 
 with which they are combined — as white heightens the rose-tint 
 of the face, and as a red turban would suit an Ethiopian. 
 
 Colors also suit each other from the one being warm and the 
 other cold ; as red and blue, orange and blue, brown and blue ; 
 and yet two colors sometimes harmonize with each other, as blue 
 and white, when both are cold. 
 
 White increases the intensity of black by contrast, as black 
 adds to the brilliancy and distinctness of white ; and though 
 white makes a red face look redder, it increases the paleness of 
 a pale complexion. Black, too, has a similar effect. 
 
HOW TO PAINT PHOTOGRAPHS. 
 
 Some colors disagree from their being positive discords ; some 
 fail to accord with each other from their tones being of unequal 
 intensity, some from their proportions in quantity being too 
 •much disregarded, and some from wanting another color to 
 complete the harmonious combination. 
 
 As an appropriate and entertaining conclusion to the entire 
 subject of the relations and harmonies of colors, we append the 
 following lines, which aptly embody the principles contained in 
 this division of study. Versification being an acknowledged 
 help to memory, the ideas contained in these lines may be easily 
 caught and kept ever present in the student's mind. 
 
 The Relations and Harmonies of Color. 
 
 BY HENRY HOPLEY WHITE, ESQ. 
 
 Blue — Yellow — Red — pure simple colors all 
 (By mixture unobtained) we Primaries call ; 
 From these in various combinations blent, 
 All other colors trace their one descent. 
 Each mixed with each — their powers combined diffuse 
 New colors — forming SECONDARY hues : 
 Yellow with red makes Orange, with blue — Green, 
 In blue, with red admixed is Purple seen. 
 Each of these hues in Harmony we find. 
 When with its complementary combined ; 
 Orange with blue, and green with red, agrees, 
 And purple tints, near yellows, always please. 
 These secondaries Tertiaries produce, 
 And Citrine — Olive — Russet introduce : 
 Thus green with orange blended forms citrine, 
 And olive comes from purple mixed with green ; 
 Orange, with purple mix'd, will russet prove ; 
 And, being subject to the rule above. 
 Harmonious with each tertiary we view 
 The complemental secondary hue : 
 Thus citrine — olive — ^russet harmonize 
 With purples-orange— green, their true allies. 
 
RELATIONS AND HARMONIES OF COLOR. 1 9 
 
 These hues, by white diluted, Tints are made. 
 By black are deepened into darkest Shade. 
 Pure or combined, the primaries all threej 
 To satisfy the eye, must present be ; 
 If the support is wanting but of one, 
 In that proportion harmony is gone : 
 Should red be unsupported by due share 
 Of blue and yellow /«r^ — -combined they are 
 In green — which secondary, thus we see. 
 The harmonizing medium of all three. 
 Yellow for light contrasts dark purple's hue. 
 Its complemental, form'd of red and blue. 
 Red most exciting is — let Nature tell 
 How grateful is, and soothing, green's soft spell. 
 So blue retires — beyond all colors cold, 
 While orange warm — advancing you behold. 
 The union of two primaries forms a hue. 
 As perfect and decided as 'tis new ; 
 But all the mixtures which all three befall 
 Tend to destroy and neutralize them all ; 
 Nay, mix them — three parts yellow — five of red. 
 And eight of blue — then colors all are fled. 
 When primaries are not pure — you'll surely see. 
 Their complementals change in due degree ; 
 If red (with yellow) to a scarlet tend. 
 Some blue its complemental green will blend ; 
 So if your red be crimson (blue with red). 
 Your green with yellow would be varied ; 
 If yellow tends to orange, then you find 
 Purple (its complement) to blue inclined ; 
 But if to blue it leans, then mark the change, 
 Nearer to red you see the purple range. 
 If blue partakes of red — the orange then 
 To yellow tends ; if yellowish — you ken 
 The secondary orange glows with red. 
 Reader, farewell ! my lesson now is said. 
 
iuttljja$l 
 
 Is the source of all character and effect in color, as in every 
 other division of the art. No tint will appear very bright unless 
 set off by an opponent, and by this treatment effect may be given 
 to any color ; but the shadows must all partake of the same 
 negative tone, and that should be the natural antagonist of the 
 general hue of the light, which again must be gently diffused 
 over local colors, in order to tinge with the same atmosphere, 
 and give truth and union to the whole. 
 
 The matter of Contrast embraces several points, but it will 
 suffice here to mention only Contrast of Color, and Contrast of 
 Tone or intensity. 
 
 Contrast of Color. 
 
 By this it is meant, that complementaiy colors placed in juxta- 
 position mutually enrich each other ; and from the same cause, 
 neutral tints placed in juxtaposition with full hues appear to be 
 tinged with the complementary color of such hues. The con- 
 verse is equally true : that colors not complementary to each 
 other are mutually injured by contact. It is obvious, therefore, 
 that neutral tints placed in contact with full hues, should incline 
 to the complementary of such hues, in order to produce the 
 best effect. 
 
 Contrast of Tone 
 
 Results from placing side by side two tints of the same color, 
 but of different degrees of intensity or depth ; from which the 
 deep tint will appear still deeper, and the light tint still lighter 
 
CONTRAST OF TONE. 21 
 
 — the diiference in intensity appearing greatest at the points of 
 contact. All colors gain depth by contact with White, the white 
 assuming the complementaiy tint of the color near to it ; whilst 
 Black has the effect of weakening colors contiguous to it. The 
 juxtaposition of Gray, which is a mixture of white and black, 
 gives brilliancy to all pure colors. 
 
 Therefore, the student will see that he has the power of chang- 
 ing the very characteristics of pigments by simple juxtaposition ; 
 he can either enhaijce the value of both, or sacrifice one and 
 exalt the other ; and in cases where a pleasing ensemble is not 
 presented by his model, he can adapt the colors he is at liberty 
 to choose to those which are inherent in the model, so as to ar- 
 rive at a satisfactory and harmonious effect. 
 
 Without pursuing this subject beyond the limits of these gen- 
 eral principles — (as we might, and show that an infinity of 
 pleasing results can be obtained by the judicious arrangement of 
 analogous tints in harmonious relations) — the student is advised 
 to a further examination of those works which treat upon the 
 science of colors, minutely and philosophically. For this reason, 
 space has not been occupied to explain why these things are so ; 
 it is our aim to make this book a simple guide to practical work- 
 ing, and not an exposition of philosophical color-mysteries. 
 
'tijjij|aH«i|a. 
 
 Likeness is the very essence of portraiture. Whatever may 
 be the artistic merits of a painting which is intended to rep- 
 resent the countenance and figure of a valued friend, its great- 
 est perfection must exist in its correct likeness. Our personal 
 affections will always bid defiance to any rivalry from art ; 
 and hence an ordinary hut correct portrait will elicit our ad- 
 miration and love, whilst one lacking this essential point would 
 be disregarded. 
 
 There is not one person in the world who has not a par- 
 ticular characteristic both in face and body. This will be pat- 
 ent in the drawing of the photograph itself; and while the cam- 
 era produces nature truthfiilly — perhaps too much so for mortal 
 vanity in general — the artist's office is to impart life and color. 
 To adorn nature too much is. doing a violence. We can imi- 
 tate her with sufficient exactness, however, and still perceive and 
 comply with what is advantageous in art. 
 
 It is scarcely proper to undertake the coloring of a photo- 
 graphic portrait without first seeing the original ; or if that is 
 impossible, of ascertaining fully the principal colors to be used. 
 Owing to the shade of blackness with which the various colors 
 "take," the photograph itself gives very little or no indication 
 on many points. Therefore, if practicable, secure a lock of the 
 hair ; understand by an interview with the original or from the 
 remembrance of others, the exact color of the eyes ; kind of 
 complexion ; defects or peculiarities of countenance and figure ; 
 what alterations and corrections are desired ; colors for the 
 
PORTRAITURE. 23 
 
 drapery ; what sort of jewelry, et cetera. In short, remember 
 that knowledge and a full understanding of the subject makes 
 work pleasant and easy ; and he who knows the road gets to 
 his journey's end with more speed and certainty than he who, 
 through ignorance or carelessness, gropes it out. 
 
 In accomplishing a photo-portrait, the' student should keep 
 in mind a union of the true and the beautiful. However cor- 
 rectly the camera may have attained the Former, it has not 
 intelligence to discriminate and perfect the latter. The stu- 
 dent should derive from his subject a feeling peculiar to the 
 work before him. He must not paint all alike, and should 
 avoid the fault oi mannerism. In painting children's pictures, 
 for instance, he will rather feel at liberty to idealize them — 
 to make them appear somewhat beautiful and picturesque 
 whether they are so or «o/ — and this license, to a certain de- 
 gree, may be extended also to pictures of women, unless the 
 photograph should render it impossible. With men's faces, 
 on the contrary, the feeling should change ; inspiration for 
 the beautiful should give place to zeal for the delineation of 
 vigor and strength — giving a true portrait, while portraying a 
 distinct character. 
 
 It may be remarked that the power onidsculine expression 
 lies in the forehead, the under lip, the chin, and of course in 
 the graver language of the eye. The sweetness of \he. feminine 
 graces resides in the mouth and eyes ; especially at the ex- 
 terior corners of and below the eyes, at the corners of the 
 mouth, and in the play of the lower lip. To hit the happy 
 medium in the distinctive treatment of masculine and femi- 
 nine faces is perhaps the greatest excellence in the art. In 
 the former the student's aim should be to maintain that qual- 
 ity of intelligence which is distinctive of the original, without 
 falling into severity ; in the latter, the object should be to en- 
 dow the photographic representation with vitality and sweet- 
 ness, without carrying his work beyond the reasonable limits 
 of delicacy and beauty. 
 
24 HOW TO PAINT PHOTOGRAPHS. 
 
 A little experience in photographic painting will also intro- 
 duce to the beginner a class of persons who may insist upon 
 the correctness of the camera; and wish to be painted as4hey 
 are — (or, as Cromwell said, "Paint me as I am : warts, 
 wrinkles, and all !") — desiring no changes and wishing to see 
 their veritable selves without flattery or qualification. It may 
 not be improper to intimate here that these persons will be 
 found "indifferent honest" after all; and that where the 
 artist's better judgment suggests improvement which shall not 
 impair the likeness as a whole, it will not be complained of as 
 objectionable. 
 
 While the license of art, however, permits a representation 
 as favorable as possible to the original, there is yet a limit to 
 this complimentary work which should be defined by the pe- 
 culiarities of each case. In instances of personal imperfection, 
 if a sufficient portrait can be preserved without signalizing the 
 natural blemishes which the relentless camera has reproduced, 
 it is consistent with the . rules of legitimate practice to subdue 
 them ; but this must be done with great discretion, for they 
 often comprise the very climax of individuality. Hollow cheeks, 
 a long mouth, a protruding under lip, angular shoulders and 
 elbows, bony hands, etc., will very frequently demand round- 
 ness and subjection to more agreeable shape. 
 
 It may also sometimes occur that alterations, which are de- 
 manded by every principle of correct art cannot be made, and 
 should not be attempted, unless after consultation with those 
 who are to receive the finished work. This will be found more 
 especially the case in reproducing old pictures : these very faults 
 which may appear rather hideous to our more artistic eyes, have 
 become in time part and parcel of the picture itself ; and noth- 
 ing diflferent/rom an exact copy of the long-looked-at original 
 would be satisfactory. Very often, too, the original will prove 
 to have been so badly taken, that it does not furnish sufficient 
 basis for much work according to art ; in which case the student 
 
PORTRAITURE. 2 5 
 
 will perceive that his touches must be few, but correct, and that 
 just as soon as the likeness is reached his labor on the face must 
 cease. Unfortunately, the deficiency of knowledge among a 
 majority of the daguerreotypists of a former day has been the 
 cause of much trouble of this kind to the photograph painters 
 of the present. 
 
 ^^ The propriety of the above chapter on the subject of Portraiture 
 may not have been at once apparent — this work being designed as a guide 
 to the painting oi photographs ; and particularly when it is remembered 
 that the portrait has already become a fixed fact by the operation of the 
 camera in the hands of the photographer. It is also true that ignorance 
 of the art-elements, in producing the photographic image, cannot be atoned 
 for by any superior intelligence of the painter. But certain emergencies 
 must be provided for, and the student will, as he progresses, find it to be 
 actually necessary to possess himself with knowledge on the subject of 
 portraiture, perhaps much beyond these cursory observations; that is, if 
 it is his purpose to accomplish fully and satisfactorily the art of photo- 
 portrait painting. 
 
 2 
 
1|^ yiulujritj^* 
 
 General Characteristics. 
 
 If it were possible for all photographs to be made possessing 
 the same degree of tone or shade of blackness, it would be an 
 easier task to guide the student in the use of those colors 
 applicable to the various parts of the picture. But the reverse 
 of this is, unfortunately, the condition of things with which we 
 have now to deal ; and even an approximation to so desirable 
 a state of photography as that first mentioned is the lot of such 
 only who paint for pleasure, and who are at liberty to seleci the 
 prints upon which they intend to work. 
 
 Those, however, who undertake this art professionally, will 
 perhaps be called upon to-day to color a photograph that may 
 be dark as night ; and to-morrow another as light as noonday. 
 In one the gradation of middle-shadows may be lost in black- 
 ness, and in the other there may be a total deficiency of shades 
 from over-intensity. 
 
 Happily the days of "intense" negatives — the whites too 
 white, and the blacks too black — have nearly ended, and given 
 place to. a desire for thinner negatives intended to be printed 
 in the shade ; by which the colorist is afforded the presence 
 and advantage of a succession of intermediate shades which the 
 former order of things knew not. 
 
 It must be obvious that photographs intended for coloring 
 j^w/a' «o/ be made "intense." No photographer should com- 
 pel the artist to do, withmt the sitter (and photograph painters 
 very rarely have sitters !) what the camera and chemicals should 
 
GENERAL CHARACTERISTICS. 27 
 
 be made to do with him ; that is, to supply those half-shades 
 which characterize the original. Oversight in this particular 
 only jeopardizes, whilst care and attention would guarantee the 
 success of their united labors. 
 
 In addition to such deficiencies and extreme contrasts of 
 shade may be mentioned improprieties of tone — that is, the pres- 
 ence of actual tints of purple, brown, indigo, and dirty red ; or 
 •yellow, by discoloration. 
 
 When the choice of the photograph is optional, we would ad- 
 vise the selection of a rather light one in preference to one very 
 dark, as the former shows up the colors to greater advantage, 
 and is devoid of obstacles to the purity of your work. If its 
 general, tone be neutral — ^gray — it approximates that much 
 nearer the basis which would be had upon clean paper, and 
 consequently fewer hindrances are interposed. It should be 
 well defined, having the middle tones and shadows clear, the 
 background firee from blemishes which cannot be touched out 
 smoothly, and should be indeed a good photograph, — a thing 
 almost indispensable for beginners. 
 
 Due attention should also be given to the suitableness of the 
 photograph to the complexion and hair of the person ; one 
 heavy and dark-toned should not be used for a fair complexion 
 and light hair, else it may necessitate the use of body color, 
 which is very objectionable. If, on the contrary, the complex- 
 ion and hair of the original be dark, the difficulty is consider- 
 ably lessened ; for, upon the application of the warm colors, 
 these heavy photographic tones decrease in depth, and frequent- 
 ly assume a desirable shadow-color. Photographs of women 
 and children should in general be lighter than those of men, in 
 order that their characteristic softness may be preserved and 
 more delicacy and beauty attained in the painting. 
 
 When the choice is not optional — and especially when the 
 photograph is a copy — the print should be made and toned ac- 
 cording to the desire of the artist He is always best able to fore- 
 see what kind of a picture it is practicable to make, and his 
 
28 HOW TO PAINT PHOTOGRAPHS. 
 
 judgment should prevail. He can tell beforehand what obsta- 
 cles can be overcome or what seeming drawbacks can be turn- 
 ed to good account. If the photograph is to have . a solid 
 background he may be able to work to suit it ; but suppose it 
 is a vignette to be worked in India-Ink, where the higher 
 lights in the face are brought necessarily into comparison with 
 the surrounding pure white paper — if the print be toned a dirty 
 red, or brown, it will be impossible to restore the face to any- 
 thing like the clearness and brilliancy which would have result- 
 ed from working upon a neuiral-toned print 
 
 From the foregoing it is reasonable to conclude, that in all 
 cases where it is a matter of choice, the Artist, and not the pho- 
 tographer, is the person to decide also upon the style of a pic- 
 ture. Upon viewing the plain print his mind will naturally in- 
 vestigate it with a view to the location of color ; he will perceive 
 an opportunity here which can be ' ' complemented " there ; the 
 introduction of a few little accessories ; the laying out of the 
 background ; the transformation (if it is a copy) of some un- 
 sightly and inappropriate matter into "the right thing in the 
 right place ;" and many other points which his invention and 
 experience would properly suggest. He, too, knows best the 
 resources of the various styles, and from which the picture in hand 
 will derive the greatest advantage. Hundreds of pictures are 
 unjustly treated because o£ the improper selection of its style ; 
 too many are done in India-Ink that naturally demand color, 
 — ^and vice versa. 
 
 When two or more copies of the same person are to be work- 
 ed up, it is best to select the entire number of prints beforehand, 
 so that they shall all correspond in depth and tone, and the same 
 basis be presented in each for the color or Ink. If the first 
 completed picture is satisfactory your patron will most likely 
 want all to be just like it, which would scarcely follow if the 
 prints themselves were dissimilar ! 
 
DUPLICATE, OR GUIDE PRINT. 29 
 
 Duplicate, or Guide Print. 
 
 The student who looks forward to the coloring of photographs 
 as a life-profession may expect to work upon specimens of all 
 grades, and many times with but one copy in hand. It is not 
 always practicable to assist his labors by the aid of the original, 
 or even a duplicate picture. 
 
 The advantage of having the duplicate, however, is very con- 
 siderable, and it is a good rule to insist if possible upon one be- 
 ing furnished with the picture to be worked up. In doing large 
 photographs it may be considered positively necessary to have the 
 head, if nothing more ; since, owing to the greater breadth of 
 line and depth of shadow, there is a constant liability to some- 
 what alter the direction of the one or to misapprehend the other. 
 Especially is this duplicate essential in working Solar pictures, 
 in which the definiteness of a contact print is wanting, and 
 where the diffusion of line is so much greater than that which 
 it is designed the pencil shall reproduce. 
 
 The expression of the eye, the line pf the mouth, and other 
 points which indicate the likeness, may be endangered, uncon- 
 sciously, even when great care has been exercised ; but the du- 
 plicate, changeless before the student's eye, is a preventive that 
 should be acknowledged and used. 
 
 Sometimes the gentler lines and undulations of the flesh or 
 drapery disappear to quite an extent beneath the wash of local 
 color, and would be lost beyond recovery but for the assistance 
 of the duplicate. 
 
 It is preferable also to have the duplicate made on albumen 
 paper, because its finer surface is more likely to secure from the 
 negative those delicate markings which, on the ' ' plain " paper, 
 do not appear at all, and which may serve very important ends 
 in accomplishing the portrait. 
 
 Furthermore, the duplicate picture is your authority for all 
 that has been done, and in the event of harsh criticism upon 
 
30 HOW TO PAINT PHOTOGRAPHS. 
 
 the finished work, or denial of its correctness, it settles the case 
 and "makes assurance doubly sure." 
 
 Enlarged Copies. — In working up copies which have been 
 enlarged from ambrotypes, cartes de visite, etc. , it will not do to 
 be guided wholly by a duplicate print of the enlargement. Al- 
 though it may serve to elucidate portions of the original which: 
 would otherwise have remained in darkness to the student's 
 eye, it is not. unlikely that this very clearing up and making 
 plain may induce a preciseness of delineation that will lead the- 
 eye and hand astray, and produce a result which as a whole 
 will not satisfy or please. 
 
 To be successful, the enlarged copy after being worked upon, 
 must preserve and fiimish to your patron's eye the same general 
 effect as is produced by looking at the small original ; and hence* 
 it is plain that whatever detail (imperceptible in the original,) 
 necessarily ensues in the enlargement, it should not be done in 
 too strict a manner or in any way to arrest attention. As the 
 original would look in the hand, so must the finished picture 
 appear when hung upon the wall. 
 
 The student is therefore advised to get his impressions from 
 the original, and his drawing from the duplicate. 
 
^ it[It«J$. 
 
 The List of Colors. 
 
 Thk Water Colors used in the operation of painting a pho- 
 tograph should be selected with care, and from those known to 
 be of superior manufacture. Each one should be a good type 
 of the pigment, for they not only differ as prepared by dif- 
 ferent color-men, but even from the same house at various 
 times. 
 
 The number of colors to be employed will, of course, depend 
 much upon the option and the ability of the student. Certain 
 colors are at once indispensable, whilst others, of a secondary 
 importance, can be procured as his knowledge increases and 
 the desire or necessity occurs. 
 
 Those which may be regarded as essential at the very be- 
 ginning and of constant and important use in all the future, 
 are as follows : 
 
 Burnt Sienna, Lampblack, 
 
 Chinese White, Neutral Tint, 
 
 Cobalt Blue, Pink Madder, 
 Crimson Lake, . Raw Sienna, 
 
 Dragon's Blood, Scarlet Vermilion, 
 
 French Blue, Sepia, 
 
 India Ink, Vandyke Brown, 
 
 Indigo, Venetian Red, 
 
 Indian Red, Vermilion, 
 
 Indian Yellow, Yellow Ochre. 
 
 The colors which, in time, become desirable for use, and 
 
32 HOW TO PAINT PHOTOGRAPHS. 
 
 whose eifect, in some instances, no mixture of those above- 
 mentioned will exactly produce, are as follows : 
 
 Bistre, Orange Chrome, 
 
 Brown Pink,* Olive Green,* 
 
 Burnt Umber, Prussian Blue, 
 
 Cadmium Yellow,* Prussian Green,* 
 
 Carmine,* Purple Lake,* 
 
 Emerald Green,* Purple Madder,* 
 
 Flake White,* Raw Umber, 
 
 Gamboge, Roman Ochre, 
 
 Lemon Yellow,* Roman Sepia, 
 
 Light Red, Rose Madder,* 
 
 Madder Brown, Scarlet Lake.* 
 
 Colors marked thus (*) are valuable for convenience only, 
 and for the obtaining of special results. There are also other 
 pigments commonly known and often used, but of doubtful 
 character as to permanency and working qualities, and there- 
 fore not suitable to our purpose. 
 
 In addition to colors the student should be provided with 
 hard and soft Pastel, colored and gray ; and some colored pen- 
 cils (Creta Lavis) in cedar wood. 
 
 ^S" It ""ay be well also to advise, that as the cakes of color lose some- 
 what of their freshness by constant exposure to the air and light, becom- 
 ing dry and easily crumbled, they should be kept in a covered box. One 
 that is flat answers best, and should have a hinged lid for convenience. 
 
 Their Qualities a/nd Adaptations. 
 
 Concerning the water colors — a list of which has been given 
 already — it is very necessary to inform the student respecting 
 some of their more prominent characteristics and particular 
 uses. While these directions, obtained from the experience of 
 others, may serve as a basis of operations, the student is still 
 expected to complete the work by his own practical discoveries. 
 In so doing, he will be surprised to find that the uses of a col- 
 or upon clean white paper cannot always be taken as a criterion 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. 33 
 
 for its application to a photograph ; and also, that the photo- 
 graphic base will sometimes totally defeat an effect which, on 
 white paper, would be easily achieved. Hence, beyond all 
 here written, there remains necessarily a conclusion which he 
 must attain to complete the purpose of this chapter. 
 
 Having already classified the colors with respect to their im- 
 portance and desirableness, they will be referred to in alphabet- 
 ical order, as follows : 
 
 Bistre. — A fine brown color that washes well, is permanent, 
 and has a^ clearness which is well adapted to architectural sub- 
 jects. It is applicable for the shadows in flaxen hair, on ac- 
 count of its slight inclination to green, and for general shadows 
 of light brown hair. 
 
 Brown Pink. — This orange-green color is a vegetable pig- 
 ment and almost indispensable in landscape, affording many 
 rich foliage tints for foregrounds. It may be modified with 
 Burnt Sienna ; and if a little Indigo be added, a warm green is 
 produced. . It can be used in flesh to bring up very dark shad- 
 ows, if such exist in the photograph ; combined with Pink 
 Madder it forms a valuable flesh shadow-tint 
 
 Burnt Sienna. — A very rich, transparent, and powerful or- 
 ange-russet color, sometimes admitted into warm or very dark 
 complexions, and is much used in every branch of water-color 
 painting. It serves for the shadow tints of amber-colored dra- 
 peries ; and in painting out-door scenes or landscape back- 
 grounds it yields fine olive greens by admixture with Indigo, or 
 any of the deeper blues ; — these tints may also be saddened into 
 fine olive neutrals by the addition of Sepia. It is inflexibly 
 permanent and washes and works with great facility ; can be 
 used for deep lines in the flesh — as between the fingers, wrinkles 
 in shadowed parts, etc. 
 
 Burnt Umber. — ^A quiet reddish-brown color, affording clear 
 and warm shadows. It is apt to look rather turbid if used in 
 
34 HOW TO PAINT PHOTOGRAPHS. 
 
 great depth, but it washes and works beautifully and is indis- 
 pensable in buildings. It is a very useful color-for some of the 
 lighter shades of brown hair, for curtain-draperies, and for the 
 deepest shadows of gold. 
 
 Cadmium Yellow. — A splendid, glowing orange yellow,4whose 
 durability can berelied on. It is extremely brilliant and nearly 
 transparent, which qualities make it invaluable where a gorgeous 
 effect is to be produced. It is the very best vehicle for obtain- 
 ing orange tints, works and washes well, and is the most serv- 
 iceable yellow for rich draperies ; but it is rather too powerful 
 for flesh, or at least should not be used unless its effect is 
 thoroughly understood. 
 
 Carmine.- — -This well-known, brilliant, deep-tone crimson 
 possesses great strength in its full touches and much clearness in 
 its pale washes — although not equalling Pink or Rose Madder 
 in this latter quality. It flows and works extremely well, but 
 it is even more fugitive than Lake ; owing to which qualities the 
 propriety of using it at all in flesh tints is very questionable, 
 whilst the Ma^dders can be recommended to supply its place. 
 Its use should be confined to drapery and brilliant touches, al- 
 though for the sake of strict, durability it is best to " choose the 
 lesser evil " and be content with Crimson Lake. When used, 
 however, shadow with Lake, lowered with Sepia for the heavier 
 tones. Brilliant lights can be obtained by delicate touches of 
 red crayon or pencil. 
 
 Chinese White.— This very eligible material, derived from 
 the oxide of zinc, is of the greatest importance to the artist in 
 water colors. It is prepared beautifully white, and possesses 
 the desirable quality of dense body ; so much so that it does 
 not change in drying, and the painter's effects remain unaltered. 
 It works and washes with great freedom, either by itself or in 
 combination with other colors ; has no pasty or clogging quali- 
 ties, and its permanency is unquestionable. It is deemed so 
 very superior to the imperfect whites formerly in use that it 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. 35 
 
 has been universally accepted as the most valuable white pigment. 
 When used in its pure state its shadows ought to be cold. 
 Mixed with local colors, it is the means by which high lights are 
 generally produced. In portraits, its use is chiefly confined to 
 the white spots of the eyes, to the finishing of laces and the lin- 
 en, and highest lights on gold ornaments, etc. It is also useful 
 in correcting errors, and (if used in an extremely limpid state) 
 for heightening complexions when the photograph is too dark. 
 
 Crimson Lake — Is a beautiful transparent red, similar in its 
 character to Carmine, but lacking the extreme richness and 
 brilliancy of the latter. It is generally useful in all departments 
 of the art, but especially so in mixing the purples and other 
 colors for draperies. It is not classed among the strictly per- 
 manent colors, and would be more durable if covered with a 
 coat of Gamboge, but in this case it is likely to change from 
 crimson to scarlet. Lake and Sepia form a good compound 
 for the lines of the eyelids, nostrils, between the lips, fingers, and 
 deep touches of the flesh generally, as well as for constant use 
 among the draperies. It is a source of regret that a pigment of 
 such various use and application, possessing so many desirable 
 working qualities and excellent hue, should not also be strictly 
 durable. 
 
 Cobalt Blue — Is a pure, bright, azure color, nearly trans- 
 parent, and the only blue pigment recommended for obtaining 
 the grays and pearly tints in flesh. It is a very usefiil color 
 in every respect, works well, and is quite permanent. With 
 Indian Red it forms a standard shadow-tint for flesh ; 'with 
 Brown Madder it affords a range of fine pearly neutrals ; and 
 with Light Red in any proportion it gives beautiful cloud-tints. 
 It affords clear, bright tints in skies and distances, but is lacking 
 in depth. It is slightly turbid when used as a strong wash, in 
 which case French Blue would answer better. Cobalt and Yel- 
 low Ochre, neutralized with a little Lake, forms a very beautiful 
 and useful gray ; and with Sepia, one of heavier tone. Cobalt, 
 
36 HOW .TO PAINT PHOTOGRAPHS. 
 
 very slightly tinged by the addition of Gamboge (this only) 
 makes a beautiful greenish-blue cloud-wash for vignette heads 
 — ^being especially good for children. 
 
 Dragon's Blood — Is a deep, yellowish red, not in very com- 
 mon use, but of great advantage to those who understand its 
 capacities. As a first-wash for a crimson curtain it gives a mel- 
 low tone of exceeding richness ; is important in obtaining the 
 various hues of "wine color;" and is otherwise a very useful 
 red. When applied as a local color, shade with Crimson Lake, 
 adding Sepia for depth. It may be also used for giving a warm 
 tone to Indian Ink, and when so used, a very little Indigo im- 
 proves it still further. 
 
 Emerald Green — Is a vivid hue, for which no mixture will 
 answer as a substitute, and which instantly attracts the eye to 
 any part of the picture where it is used. It is very serviceable 
 for the high lights in green stones in jewelry, for lights and 
 touches on silks, curtains, and carpets ; and has the effect of 
 toning down at once, by force of contrast, all other shades of 
 green near it. Mixed with Gamboge, very limpidly, it may be 
 sometimes used as a wash for ladies' and children's dresses — the 
 high lights for which should have Chinese White added to the 
 local color. 
 
 Flake White — Is the next most valuable to Chinese White. 
 It does not possess the great body which characterizes the other, 
 and cannot therefore be used for very heavy effects. Its lighter 
 quality, however, renders it valuable for delicate touchings and 
 fine-i handling — especially for remedying objectionable spots in 
 the flesh or increasing its lights. When a great deal of white 
 drapery is to be painted it can be used with much advantage, as 
 it allows the more potent Chinese White to be reserved for the 
 laces and stronger effects. 
 
 French Blue — Is much darker than Cobalt, strong in color, 
 and nearly transparent. It resembles the tint of, and is con- 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. ^f 
 
 sidered a good substitute for, the real Ultramarine ; and al- 
 though not so pure and vivid, is more generally useful. It 
 washes and works satisfactorily, but should never be used for 
 grays in the flesh in place of Cobalt. It is well adapted to fig- 
 ures, landscapes, and draperies ; and in the latter office it re- 
 quires deep shadows, subdued with warm ^browns. It is infe- 
 rior to Cobalt for aerial effects, and has a slight tendency to 
 purple, which may be remedied by adding a small quantity of 
 Prussian Blue, if necessary. 
 
 Gamboge. — A very bright and transparent yellow gum, in- 
 clining to green, and highly useful. It flows well, and the resin 
 which it contains forms a kind of natural varnish which aids in 
 preserving its color. It is too ' ' brassy '' to be used in flesh- 
 washes. In landscapes and for draperies, it forms, in combi- 
 nation with Indigo and French or Prussian Blue, a great variety 
 of clear and cool greens ; and with Sepia or Lamp Black, a 
 very sombre tint. Adding Burnt Sienna or Brown Madder to 
 these greens, rich and easily-varied autumnal hues are produced. 
 It should not be used for distant tints. It is not entirely per- 
 manent, but is nevertheless one of the best yellows for making 
 greens, especially when the green is to be worked upon a rather 
 dark base, such as the old-fashioned covering of photograph- 
 ic chairs ; no other yellow overcomes the blackness so well. 
 With Indigo and Lake it also produces gray and black. 
 
 Indigo — Is a vegetable pigment of a deep, very slightly green- 
 ish blue, and a very useful color in compound tints. It is 
 clear in all its shades, washes and works well, and is thorough- 
 ly reliable. Indigo is indispensable in landscape, and with 
 Gamboge, Raw Sienna, Burnt Sienna, Roman Ochre, and Yel- 
 low Ochre, it gives clear sober greens ; — with Sepia it makes a 
 retiring green for distant trees. It is also a useful wash-tint 
 for backgrounds when considerable depth (is desirable. Indi- 
 go, Sepia, and Crimson Lake or Dragon's Blood form the best 
 compound for black cloth drapery; and with these any tone 
 
38 HOW TO PAINT PHOTOGRAPHS. 
 
 desired can be obtained. Wanned with Lake it is also the 
 best color for dark blue (military) cloth. Indigo and Carmine 
 make an excellent purple, and better adapted for draperies 
 (being less gaudy) than Prussian Blue and Carmine. Indigo 
 and Yellow Ochre, neutrahzed by Crimson Lake, make a fine 
 strong gray, very good for deep tones in clouding and for a 
 local wash in solid backgrounds. 
 
 Indian Red. —A very durable earth of a purple russet 
 -hue, and good body. When rightly used, it produces fine 
 clear tints in flesh, and when mixed with Cobalt it is one of 
 the standard ingredients for the deeper flesh-shadows. It is 
 much used for grays when mixed with Cobalt or Indigo, and 
 neutralized by a little yellow. It is serviceable alone in paint- 
 ing the upper lip, which being usually in shadow, requires a 
 dull red, although it often becomes necessary to enliven its tone 
 with a little Crimson Lake. Some of the lighter flesh shadows 
 and many of the lines — especially of children — ^may be done 
 with it, but with delicacy. 
 
 Indian Yellow — Is a rich, intense, golden color, much used 
 for draperies, and possessing greater body and depth than 
 Gamboge, forms, in combination with the same blues, a variety 
 of mote intense and lively greens. It is quite permanent, and 
 washes and works to perfection. Its fine qualities cause it to 
 be employed very generally in the flesh-washes, mixed more or 
 less with Pink Madder and Venetian Red. It may also be used 
 for warm skies, and, mixed with Chinese White, it gives a dura- 
 ble and brilliant high light for gold. Being very powerful and 
 gaudy, much care should be exercised in its application. 
 
 Lampblack. — ^An opaque pigment not quite so intense or 
 transparent as the old Ivory Black, but it is less brown in its 
 pale tones. It has sufficient strength of body to obliterate 
 every underlay of color, and is good for mixing with Chinese 
 White to produce the gray high lights on black cloth and vel- 
 vet. It may be used in lieu of, or in connection with, India 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. 39 
 
 Ink, for retouching photographs ; and being free from the some- 
 times too gummy properties of the latter, it works kindly, also 
 producing a more silvery effect. In every case where depth 
 and opacity are wanted, it is the best black at hand ; whilst its 
 power may be further greatly increased by the subsequent ap- 
 plication of gum Arabic. 
 
 Lemon Yellow — Being the lightest tint of the yellow chromes, 
 is very pale, lively and wholly free from the least tinge of 
 orange. It has not much power and is semi-opaque. It may 
 be employed for points of extreme high light, is quite perma- 
 nent, and washes well if skillfully prepared. Principally useful 
 in draperies, but must be used in thin washes. 
 
 Light Red. — ^A preparation of Burnt Ochre scarcely to be 
 classed as a red ; clear and transparent, but not bright ; of a 
 character similar to Venetian Red, but partaking of a russet- 
 orange tone. Mixed with Cobalt, Rose Madder, and Indian 
 Yellow, it yields a fine shadow-gray ; and, with black, and 
 Brown Pink, fine warm, near-tones in landscape. It is perma- 
 nent and useful. With Pink Madder and a little Indian Yel- 
 low, it forms a good flesh wash, if properly modified. But too 
 much of it in the face produces a ' ' coppery '' eifect ; and there- 
 fore, when used alone, it is more desirable for the darker and 
 warmer complexions. 
 
 Madder Brown, or Brown Madder. — This rich, lakey 
 brown is of intense depth, and transparent ; affording equally 
 the richest description of shadows and some of the most deli- 
 cate pale tints. With Cobalt or with French Blue a set of fine 
 warm or cool grays are compounded, in proportion as the 
 brown or the blue predominates. It is quite permanent. 
 Many of the deep lines and shadow-touches of the face may be 
 done with this color alone. Sometimes it is used as a local 
 wash for furniture-wood. This color may be so nearly supplied 
 by a mixture of Crimson Lake and Sepi^, that the latter might 
 
40 HOW TO PAINT PHOTOGRAPHS. 
 
 be used for large and deep-toned applications ; but the fugitive 
 quality of Lake rather depreciates the value of this mixture. 
 
 Neutral Tint.— Composed of red, yellow, and blue, in 
 certain proportions, is a cool, neutral, compound shadow color, 
 and of the greatest usefulness. It may be introduced into 
 faces for softening the edges of the eyebrows and hair, and for 
 general purposes where a neutral touch or shadow is required. 
 With Burnt Umber it forms a beautiful, cool, light-brown hair- 
 color, and with Sepia, a cool dark-brown for the same purpose. 
 It is of advantageous use in cloud backgrounds, and indis- 
 pensable for softening the edges of the head and figure. Al- 
 together, it is one of the most valuable pigments in the color- 
 box. 
 
 Orange Chrome — Is, like Light Red, a tint of Yellow Ochre 
 burned — by which operation it acquires warmth, color, and 
 transparency — and has many of the good qualities of its origi- 
 nal, with greater power. It is the deepest shade of the yellow 
 chromes ; a very powerful tint, and opaque. When used lira- 
 pidly, it is applicable to orange-yellow draperies ; and should 
 be used very delicately ' alone, or subdued with Burnt Sienna, 
 for strong reflected lights on the flesh, and also for ' ' killing " 
 the blackness of, and producing transparency in, the flesh- 
 shadows. It will be found a convenient preparation of orange, 
 especially for ' ' touches " in costumes, flowers, and accessories. ' 
 
 Olive Green. — A fine hue of sober richness, much used in 
 landscape. It is permanent, and mixed with Pink Madder, 
 makes a good clear shadow tint for many parts of the flesh. 
 With Sepia, it forms an excellent color for solid backgrounds 
 in bust pictures, if washed on a dark base, — harmonizing well 
 with the flesh. 
 
 Pink Madder — Is very delicate, and can be used almost 
 entirely for the carnation tints in flesh, as well as for pink dra- 
 peries. It is clearer in its pale hues than any dilution of either 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. 4 1 
 
 Crimson Lake or Carmine, but does not possess intensity. 
 With Cobalt it forms the most delicate lavender, and many- 
 beautiful tones of delicate gray. On account of their superior 
 permanency, all the pigments obtained from madder are among 
 the most valuable in the color list. 
 
 Prussian Blue. — A deep-toned, brilliant color, having a 
 slightly greenish tinge, on which account it is not, in the least 
 degree, permissible in skies or flesh, where none but pure 
 and unalloyed colors should be used. It is of all blues the 
 most generally adopted for draperies ; and, when mixed with 
 Carmine or Lake, it produces all the tones of violet, lilac, 
 and purple. With Gamboge it forms the most common 
 green. When used for draperies, it should always be warm- 
 ed with a little Lake, to " kill " the intense cold and raw 
 effect. 
 
 Prussian Green — Is transparent, of a cool, deep-bluish 
 tone ; and its place might almost be supplied by mixture. 
 It is, however, a convenient preparation, applicable to cur- 
 tains, chair and sofa cushions, carpets, the leaves of scarlet 
 (artificial) flowers, the green stones of jewelry, and for ' ' sea- 
 green " silk dresses. The high lights can be found in Emerald 
 Green. 
 
 Purple Madder. — An intensely deep, rich, and warm pur- 
 ple, affording the greatest depth of shadow, without coldness 
 of tint The clearness and beauty of its delicate tones render 
 it valuable in every stage of the work. With Indigo and Raw 
 Sienna it gives beautiful shadow tints, and may be relied on 
 for permanency. Some of the darker lines of division in the 
 flesh can be drawn with it. Carmine and Sepia mixed resemble 
 this color. 
 
 Purple Lake. — A transparent, deep-toned Lake, useful as a 
 local wash for Garnet, and in shadows of crimson and purple 
 draperies ; also good in making the Compound Black. 
 
42 HOW TO PAINT PHOTOGRAPHS. 
 
 Raw Sienna — Is very transparent, but a rather impure or 
 tawny yellow. It is mostly valuable in landscape, both in dis- 
 tance and foreground, and positively excellent for obtaining the 
 greenish hues of water. It can be made very useful, but does 
 not work very well, owing to the presence of undissolved parti- 
 cles, and a tendency to be uneven on the, paper. It furnishes 
 a good local wash over a dark ground, that is afterwards to be 
 lined and panelled ; or if the photographic basis is light, give 
 the wash depth and strength with Sepia. 
 
 Raw Umber. — ^A quiet, yellowish-brown, not perfectly trans- 
 parent ; applicable to certain background-parts, and in land- 
 scape ; but more particularly useful in the shadowing of the 
 various tones of flaxen hair. 
 
 Rose Madder, or Madder Lake. — ^A rather deep tint of 
 the same kind as Pink Madder, and for which it could be 
 used. It is of universal application in all descriptions of 
 water-color painting, because it works well and is strictly 
 permanent. In portraits it is an excellent color for glazing 
 the under-lip, and when used as a carnation for women and 
 children, should be slightly heightened with Scarlet Ver- 
 milion. 
 
 Roman Ochre — May be used for draperies, and sometimes 
 for the yellowish tint in very dark complexions. It is deeper 
 and more transparent than Yellow Ochre, and is, for many 
 purposes, preferred to it. It makes the very best local wash 
 for gold, and serves also for some kinds of flaxen hair, either 
 alone or modified with Sepia. ,With Indigo it forms a valu- 
 able sober green. The Ochres are among the most ancient 
 and valuable of pigments, and are classed as " broken " or in- 
 definite colors. 
 
 Scarlet Lake — Is more scarlet in its hue than Crimson 
 Lake, but not so transparent. Very convenient and useful for 
 brilliant crimson effects, and as a shadow-color for the deepest 
 tones of Pink (Madder) draperies. 
 
COLORS, THEIR QUALITIES AND ADAPTATIONS. 43 
 
 Scarlet Vermilion — ^As already prepared, is fer more effect- 
 ive and beautiful than can be produced by mixture, and must 
 be ranked among the essential pigments, if for no other pur- 
 pose than to heighten the effect of Pink or Rose Madder 
 when used for carnations. It is the addition of the Scarlet 
 Vermilion which gives that effect called "peachy," so ad- 
 mirable in the cheeks of women and children ; but its opaci- 
 ty, heaviness, and power, require an extremely delicate appli- 
 cation in flesh, or the worst consequences may result. It is 
 also fiarther useful for the more brilliant ' ' touches " in flowers, 
 draperies, and carpets. 
 
 [The Vermilions being so very hard, should be rubbed off 
 with the finger, so as not to wear out the brush. ] 
 
 Sepia — Is, by far, the most valuable of the Brown pig- 
 ments and is used for combinations more than any other 
 color. It is cool, and unless artificially warmed by mixing 
 with other colors, it is of a dusky brown tint. Its light tints 
 are extremely clear, but its coloring property is so very 
 strong, that unless used with great caution, it is apt to pro- 
 duce heaviness in the shadows. It is perhaps the best washer 
 known to the colorist, and is transparent and permanent. It 
 is useful as a general shadow tint for light backgrounds, and 
 for ' ' scumbling. " With Lake it makes an excellent tint some- 
 what resembling Brown Madder, that is useful for giving the 
 sharp touches about the eyes, nostrils, etc. Added to Lake 
 and Indigo, it forms the " Compound Black " — a superb mix- 
 ture for cloth, silks, satins, etc. As a general tint for the hair 
 it is unrivalled, on account of its adaptability to either the light- 
 est or darkest shades of brown. In landscape, with various 
 proportions of Indigo, it affords a range of fine neutral, cool, 
 dark greens ; and with Prussian Blue a low olive green. 
 
 There are also two other descriptions of Sepia : one called 
 Warm Sepia, the other Roman Sepia. They are tints com- 
 pounded by the admixture of a rediox the former, and ^yellow 
 
44 HOW TO PAINT PHOTOGRAPHS. 
 
 for the latter, with the natural Sepia. The latter is useful as a 
 local color for yellowish-brown hair, and as a shadow-color for 
 Vandyke Brown. 
 
 Vandyke Brown — Is a bituminous earth, very rich and trans- 
 parent, and is named after the great master of the portrait art, 
 on account of its frequent use in his works. It is permanent, 
 and is employed in almost every department of water color. 
 It is clestr in its pale tints and deep and warm in shadows. 
 Valuable as it is, and the most beautiful brown the colorist has, 
 it nevertheless works badly. With Lake it forms a good trans- 
 parent tint, much used as a flesh shadow color ; and with In- 
 digo it gives very clear, sober, neutral greens for the middle 
 distance in landscape. It is a very fine glazing color, and is 
 well adapted for strengthening the shadow under the nose, 
 "glazing" the darkest shadows of green draperies, and for paint- 
 ing ' ' golden-brown " hair. Combined with Cobalt, it makes a 
 very desirable shadow-tint for linen and white draperies in gen- 
 eral—the effect being warm or cool, as the brown or blue pre- 
 dominates. 
 
 Vermilion. — A brilliant opaque scarlet red,' of great body 
 and weight. It varies much in its tone of color and in the 
 facility with which it is worked ; and as it does not flow well, 
 is apt to settle away from other pigments, and totally lacks 
 transparency, its use is rather circumscribed. Added to Car- 
 mine or Gamboge, it affords the tints respectively of Scarlet and 
 Orange Vermilion. In a very limpid state it may sometimes 
 be used for the flesh-washes of children and fair-complexioned 
 women ; but as it is a heavy color, extreme caution is required 
 to do this properly. It is a necessary local color for the under- 
 lip, but must be applied very thinly. In like manner it is also 
 serviceable to illuminate the deep black shadows under the eye- 
 brows, nose, and chin, which are found too often in poor pho- 
 tographs. [See General Order of Painting, Section 4.J It is 
 too heavy as a local for draperies, but is well adapted for the 
 
PURE WATER. 45 
 
 brilliant touches in carpets, flowers, and otherwise, when effect 
 rather than smoothness is desired. It cannot be used for grays 
 or purples. 
 
 Venetian Red — Although deeper and purer, is very similar 
 in its general character to Light Red, and is preferred by some 
 as being not only a better color, but as working better. Its 
 tints, though not bright, are clear ; and when mixed with Co- 
 balt or French Blue, afford excellent grays. It is very perma- 
 nent, and is a useful and valuable tint for ordinary flesh-washes, 
 either with or without yellow. Heightened with Pink or Rose 
 Madder, it makes another fine glowing hue for working the 
 flesh, and is also applicable in some description of skies ; sad- 
 dened with black, it gives low-toned reds for buildings. 
 
 Yellow Ochre.— This sober " broken " yellow is employed 
 for very many purposes, is permanent, works well, and is the 
 most useful and valuable of all the Ochres. It possesses a 
 slight degree of turbidness, and is esteemed for this very quality, 
 which is considered to produce its retiring effect. It is useful 
 in forming quiet greens for landscape. In portraiture it is used 
 very thinly for the local color of light flaxen hair, and in com- 
 pounding the stronger flesh-washes for men. With Vandyke 
 Brown it fiirnishes a good yellowish drab ; with Indigo and a 
 little Lake a positive and beautiful gray ; and with . Madder 
 Brown it gives the exact hue known as Neutral Orange. 
 
 0*0 
 
 j>ure Water. 
 
 It is always best to use water that is entirely free from ingre- 
 dients which would be hazardous to the purity and permamency 
 of the colors. In all hard and impure waters the colors may 
 be disposed to- separate and curdle, so that it is often impossi- 
 ble a clear flowing wash or gradation of color can be obtained 
 with them. The purest and safest for the purpose are the dis- 
 tilled and rain waters, by the use of which all chemical action 
 is avoided. 
 
46 HOW TO PAINT PHOTOGRAPHS. 
 
 Chmi- Water and Ox-gall. 
 
 Gum Arabic, in solution, will be necessary for use in improv- 
 ing the deep shadows of draperies, giving brilliancy to the hair, 
 eyes, for ''touches, " and other purposes. Although a variety 
 of things have been used for this end, gum Arabic is the best 
 adapted for general use with water colors. It does not degrade 
 the more delicate pigments, and yet bears out the more positive 
 colors well. 
 
 The strongest gum-water ever necessary may consist of one 
 part gum and three parts of pure water, though it will more fre- 
 quently be used much weaker. Gum should not be mixed 
 with water containing any mineral properties. Do not attempt 
 the use of it after it has become sour, or fermented ; as it has 
 not only lost its quality, but its use will unnecessarily imperil 
 the success of the work. The solution may be preserved for use 
 by adding a little Alcohol diluted fiilly one half with water ; or 
 by the addition of a small portion of the carbonate of ammonia ; 
 one scruple of the powdered carbonate to one ounce of the gum, 
 reduced by maceration in two or three ounces of cold water. 
 
 As will be learned hereafter, the gum-solution is not to be 
 applied until the coloring is entirely finished ; and then spar- 
 ingly, as an excess of it is not only likely to crack, but it gives 
 a vulgar effect. 
 
 The making of photographs on Alhumenized paper has become 
 so universal that, unless special directions are given (or it is 
 previously understood that the picture is to be painted) they are 
 never made upon what is designated ' ' plain " (or not alhumen- 
 ized) paper. Hence, if the photograpli in hand be one of the 
 former description, it will be found that the water-color will 
 neither sink into, nor even flow upon, the albumenized surface. 
 To remedy this difficulty. Clarified Ox-Gall, prepared for this 
 purpose, should be used to "kill the grease," and it is necessary 
 to mix but very little with the colors. A simple dip of the tip 
 of a brush into the preparation will suffice. 
 
GUM-WATER AND OX-GALL. 47 
 
 It will be found that the ox-gall combines readily with the 
 coloring matters and gives them solidity. It increases the bril- 
 liancy and durability of Ultramarine, Carmine, Green, and deli- 
 cate colors generally. If mixed with gum-arabic it thickens the 
 colors without producing a disagreeable glittering appearance ; 
 while it also prevents the gum from cracking, and fixes the col- 
 ors so well that others may be applied over them without degra- 
 dation. 
 
 Although it is indispensable in washes, it is not nesessary for 
 color which is to be stippled on ; a little Gum Arabic should 
 be used instead. Never use it in color intended for ' ' plain pa- 
 per." J8@" Wash the brushes well after working with ox-gall. 
 
JSrushes and Palette. 
 
 Sable brushes are not only the best adapted to water color 
 painting, but indispensable to the production of good work. 
 Sables are made of black and red hair, the former being 
 held in regard for having better points, carrying the color, 
 and working more freely ; and the latter for possessing great- 
 er stiffness, and capacity for working when body-color is used. 
 
 Compared with these, camel-hair brushes are worthless ; al- 
 though it is desirable to have a few of large size for use in broad 
 washes where smoothness is required ; but they are deficient 
 in the elasticity requisite for other purposes. Kflat camel-hair 
 brush, in tin, is also useful and necessary, not only for laying 
 broad washes of color, but for damping the paper, when neces- 
 sary, before washing — as well as for softening, where the effects 
 may be too harsh and heavy. 
 
 It is vastly preferable to use brushes which have the hair 
 inserted in ferrules instead of quills, -on account of their not 
 being liable to split, — a fault rather common to quill brush- 
 es, — while they also derive much value firom the circum- 
 stance that they admit of being made so effective in a 
 broad flat shape, and well adapted to working backgrounds, 
 skies, foliage, etc. 
 
 In the purchase of brushes, test them by dipping into clean 
 water ; see that they readily come to a point, and have no strag- 
 gling hairs about them. Good sable brushes, when completely 
 filled with water, will allow you to suddenly fling off the water 
 
ADDITIONAL IMPLEMENTS. 49 
 
 and instantly spring back again to a straight point ! In work- 
 ing, all brushes, whether round or flat, should return to their 
 original shape after every stroke. 
 
 Be particular to obtain good brushes, for superior work cannot 
 be produced with inferior ones. In time the original points 
 will become blunt from constant use, and unfit for manipulating 
 the iiner touches ; but they will yet be found well adapted 
 to different grades of stippling and for the larger and heavier 
 parts. 
 
 It is recommended as a general thing that the student should 
 cultivate a disposition to use the larger-sized brushes as far as 
 his work renders it practicable, in order that he may acquire 
 freedom, and "breadth" and firmness of touch. Avoid minc- 
 ing, and a harsh, line-like manner in the work. 
 
 Palette, etc — Palettes, and tiles with divisions, made of 
 chinaware, can be purchased and will be found convenient. 
 It is also desirable to have a number of small-sized smooth 
 white cup-plates, or saucers, in which to mix the larger washes. 
 In the absence of all these use a common white plate. 
 
 Do noi use glass, for this is too smooth to grind off the color ; 
 and being transparent, it prevents one from judging the exact 
 amount of depth of color wanted. 
 
 Additiofial Implements. 
 
 Boards, Easel, etc — It is necessary to have flat Drawing 
 Boards upon which to fasten the card-mounted photographs. 
 The most convenient method of doing this, for the smaller sized 
 pictures, is with Thumb Tacks. The Boards should be made of 
 well-seasoned wood, entirely free of knots, and are essential, 
 whether the work be done at an Easel or upon a table. The 
 Boards should have their corners perfect right angles and edges 
 true, so that in using the Square, the lines will be thoroughly 
 and geometrically correct. 
 
 A piece of clean paper — especially if the drawing-board be 
 used upon a desk or table — should be kept over the lower part 
 
 3 
 
50 HOW TO PAINT PHOTOGRAPHS. 
 
 of the work, on which to rest the hand and forearm while paint- 
 ing ; otherwise it may become greasy or soiled by the hand (es- 
 pecially in warm weather) and not receive the color well. The 
 whole surface — vignettes particularly, where there is so much 
 white margin to weary the eyes — should be masked, and the 
 working done through an opening in the centre. The ordina- 
 ry " Filtering Paper" serves admirably, is a pleasant gray to the 
 sight, and is very convenient for pointing and draining the 
 brush. Several masks of various sizes_and openings should be 
 kept at hand. 
 
 The use of the Easel is greatly to be preferred, and to support 
 and steady the hand upon a Flat Ruler or a Rest-Stick. This 
 position is not only more healthy than any other, but it enables 
 the student to see more of his work. Instead of leaning over 
 the picture if it be upon a table, it can be brought close to the 
 eyes, whilst the student sitting between the legs of the easel is 
 not prevented from assuming.a comfortable and erect position. 
 The easel also permits the work to be placed at whatever inclin- 
 ation and height is necessary — advantages not to be overlooked, 
 especially when very large pictures are to be taken in hand. * 
 
 A Right Angle, a T Square with bevel head ; together with a 
 Ruling Pen, and Compasses (Dividers) with pen and pencil 
 shanks — are all necessary instruments for drawing in panelled 
 backgrounds, columns, doors, windows, balustrades, and other 
 
 * In my own practice I use an Easel, sit in a strong arm-chair, and 
 have my materials upon a small table at the right side. By this I not 
 only secure the good posture and facilities which the easel affords, but 
 an advantage of the table also ; for, in making large washes, rubbing on 
 pastel, or doing anything that requires horirontal support, I can rest the 
 bottom of my drawing-board on the arms of the chair and the top on the 
 easel pins, and thereby obtain whatever inclination of my work is neces- 
 sary. The flat ruler (say three feet long and two inches wide), laid across 
 the easel-pins, makes an excellent support for the weight of the arm dur- 
 ing the tedious operation of stippling, and in general when engaged upon 
 small-sized work. — G. B. A. ' 
 
ADDITIONAL IMPLEMENTS. 5 1 
 
 accessories which require mathematical and architectural pre- 
 cision. 
 
 An Eraser, a Crayon Stump, and India Rubber (white prefer- 
 red), suggest their uses respectively. The latter can now be 
 had encased in wood, like a pencil, and which, being sharpened, 
 affords an apt instrument for taking out delicate lights. A 
 small Spatula or palette-knife will be found most convenient 
 for reducing to • powder and mixing the shades of pastel. A 
 Magnifying Glass of some kind is almost indispensable, not 
 only to assist — and consequently save — the eyesight in minute 
 working ; but also to serve for the examination of original pic- 
 tures when indistinct or very small, and of which a copy is to be 
 painted or retouched. The magnifier should be of a good size 
 and provided with a handle so as to be held conveniently with 
 the left hand while working. In coloring Porcelains it can be 
 made particularly serviceable, facilitating the operation and af- 
 fording an easy means of producing exquisite fineness. 
 
The window through which the light is admitted to the studio 
 and upon the work should be at the kfi hand, and rather to 
 the rear than front. However, whilst it be arranged rearward 
 to avoid light in the eyes, be watchful also that the head shall 
 not in the least degree shade the work. 
 
 A window facing n,orth is the best, on account of its avoiding 
 direct snn-sh'ne whilst it furnishes an even sun-Itgki. A high 
 window is also better than a low one, and the light should be 
 made to enter from its upper half or third part ; the remainder 
 being covered by a dark curtain which should be raised or low- 
 ered according to circumstances. 
 
 It is not good to work in a very strong light ; it will beget 
 extreme particularity and hardness of effect, while a more sub- 
 dued light is likely to induce breadth and softness. This is 
 especially the case with large pictures. Another advantage of 
 the subdued light will be apparent in the working up very bad 
 copies ; the location of half-shades can then be discerned, the 
 presence of which would not have been suspected at all in a 
 stronger light. Indeed, the size of the work in hand should 
 always govern the movable curtain. 
 
 An excellent shield for the 'eyes is afforded by wearing an 
 oval-shaped piece of light card-board, in which an opening 
 has been made to fit the head comfortably, the rim being left 
 wide in front. 
 
Much of the freedom necessary to spirited and effective work, 
 particularly in the matter of details, will depend on the care 
 and attention bestowed upon the manner of using the brush. 
 
 The hand should be lightly rested, but it must be in such 
 a way as to secure a perfectly free action of the wrist, and of 
 the fingers by which the brush is held. In holding the brush, 
 the fingers should be kept as far as possible from the point ; 
 and it should be taken between the first finger and thumb, the 
 middle finger being at the side or a little under it, and the 
 third and fourth fingers gathered quite under and back. Try 
 to acquire a full and firm touch with the brush, and do not 
 work too much on the point of it. Wash it frequently by stir- 
 ring in a glass of clean water, especially if you have been using 
 gum Arabic, opaque color, or white. The habit (very common 
 among those who use water colors) of giving the brush a point 
 by drawing it between the lips, is chiefly objectionable if the 
 saliva be permitted to saturate it. It is far better to draw the 
 brush to a point over a piece of soft paper, which should always 
 be kept at hand for this purpose. 
 
 Every beginner should endeavor by continued practice to at- 
 tain that characteristic in manipulation which is denominated 
 ' ' breadth, " by which the easy dexterity of the proficient is 
 readily distinguished from the faltering touch of the novice. 
 In a word, ' ' breadth " is the result of knowing exactly what to 
 do, and doing it at once I He must not expect either that he can 
 acquire immediately or easily the necessary skill to accomplish 
 
54 HOW TO PAINT PHOTOGRAPHS. 
 
 the various processes of manipulation, although they are in fact 
 simply mechanical. Repeated experiments and incessant practice 
 will be necessary to produce satisfactory results. 
 
 The handling of water-colors is comprised in three principal 
 operations, viz. : Washing, Hatching, and Stippling. 
 
 Directions for Washing. 
 
 • To a looker-on, the process of washing, though it may seem 
 to be the easiest, is perhaps the most difficult of the three meth- 
 ods of using the brush. To do it well requires an amount of 
 quickness, freedom, and steadiness — qualities which can be at- 
 tained only by continued practice, and which are not found 
 combined in every student's hand. Timidity in this operation 
 is at once perceptible in the result : blotches, muddiness, streaks, 
 and a general unevenness of color. In his first attempts, the 
 student may feel disappointed if he does not attain the effect of 
 equality and evenness, but this is not to be expected without 
 considerable experience ; and much dexterity of hand will al- 
 ways be necessary in order to avoid the blemishes already al- 
 luded to, — inequality of color, unevenness of tint, improperly 
 defined edges. 
 
 Where a large space is to be covered by a flat wash, it is ad- 
 vantageous to first go over the surface very lightly with pure 
 water, in order that the paper thus partially saturated may ab- 
 sorb the wash of color more evenly than if left dry, and not too 
 rapidly to allow its being put into all corners of the picture. 
 Notice also that the flow of the wash can be regulated consider- 
 ably by the angle at which the board is laid, and consequently, 
 the inclination of an easel will be found entirely too steep for 
 the larger washes. 
 
 The tints should be all fully prepared beforehand, and then 
 they should be laid upon the paper as rapidly as the requisite 
 depth of tint and the preservation of the forms will allow, in 
 order that the interstices of the paper may be well filled and 
 
DIRECTIONS FOR WASHING. 55 
 
 solidity of effect thus obtained. As a general rule, the brush 
 should be tolerably full of color so that it xtAj float freely, for 
 upon this point in manipulating the cleanness of the work very 
 much depends. 
 
 In laying on the tints, begin by planting them boldly and at 
 once, close to the edges of the space to be covered, and not by 
 repeated touches or by dragging the brush timidly backward 
 and forward. It is also well to stir up the whole wash every 
 time the emptied brush is returned foT more color, as it keeps 
 settling all the while. In passing the brush to and fro, while 
 guiding the color-wash as it flows, a tremulous or wavy motion 
 of the hand will prevent the appearance of lines after the washed 
 part has become dry. 
 
 To prevent a blotty appearance in laying flat washes, the stu- 
 dent should endeavor to regulate the charging of his brush with 
 color by the amount of space to which it is to be applied. If 
 this is not done, and the brush is still charged after covering the 
 space intended, it can scarcely be taken off" the paper without 
 leaving a floating spot, or drop of color, at the point of removal. 
 When this occurs, however, the floating drop of surplus color 
 should be removed by absorbing it into the brush, made some- 
 what dry. 
 
 Whenever it is necessary to repeat a wash over the same sur- 
 face, be careful to wait until the previous one is completely ab- 
 sorbed or somewhat advanced in drying ; else the after-wash 
 may not only run irregularly, but, if the previous one has been 
 strong in color, it will lift it or " wash up." Neither is it well 
 to attempt the mixing of colors on the picture by successive 
 washes ; the color itself should be definitely settled and prepared 
 beforehand, or impurity will surely result. An exception to this, 
 however, may sometimes occur in the necessity of changing or of 
 lowering the tone of a previous by an after-wash, when the first 
 after drying has been found deficient ; but it is always best to 
 test the wash at first and be certain of its tone. 
 
 In all cases where transparency must be preserved — as in the 
 
56 HOW TO PAINT PHOTOGRAPHS. 
 
 local color for hair and drapery — it is better to obtain the exact 
 tone by two or more applications of thin washes, rather than 
 with a heavy wash at once. But when two or more washes are 
 intended to be laid upon the same part — ^especially if it be large 
 — apply the heaviest and strongest first ; for the reason .that, as 
 it will require more time and care than a lighter and thinner 
 after-wash, it will be upon the untouched surface with nothing 
 to ' ' wash up. " 
 
 In drying, the board should be kept at the same inclination 
 (or a little less) as when the wash was applied. When absorp- 
 tion has ended it can be laid entirely flat to dry. 
 
 Di/rections for Batching. 
 
 This is a process most generally executed upon a previous 
 wash. It consists in the drawing of lines in such a manner as 
 to produce an eifect impossible with the wash alone. There 
 are different methods of hatching, and probably every artist 
 has his own peculiar mode ; but the student is recommended 
 to try as follows, which will no doubt give a sufficient general 
 idea. 
 
 Work over the space to be hatched with short, wide, regu- 
 lar strokes drawn firmly in rows, and so as not to leave little 
 blots at the end of the strokes ; at the same time following, as 
 much as possible, the general direction indicated by the form 
 of the subject in hand. Hence, if hatching upon a flesh-wash, 
 the direction would be horizontal on the forehead, perpendicu- 
 lar on the nose, and circular around the eyes, mouth, chin, and 
 contour of the fece. 
 
 [The ' ' little blots " mentioned can be avoided by using the 
 color rather dry, and by pressing firmly on the brash at the 
 beginning of the stroke ; carry it on to the end, instead of be- 
 ginning lightly and ending by a firm pressure.] 
 
 Having hatched these strokes evenly one way, after they have 
 become dry, cross them with others of the same kind, using 
 the same firm touch ; but never cross at right angles, or with 
 
DIRECTIONS FOR STIPPLING. 57 
 
 lines too oblique. The appearance of the hatching should be 
 tolerably open, but not too much so, in order that the local 
 color shall not be entirely hidden. 
 
 The effect of hatching on shadows is to give them transpar- 
 ency, enabling the spectator to look into their depths, — a result 
 which can never be attained by the use of flat washes alone. 
 In the clouding around vignette heads, it is the hatching which 
 will produce the mellow aerial effect, and without which the 
 previous washes suggest only solidity and flatness. 
 
 Sometimes the hatching may appear too wiry, in which case 
 wash it lightly as many times as necessary with a clean brush 
 just moistened with water, so as to slightly blend the lines. It 
 may also happen that the tint is worked in too dark, in which 
 case hatch with clean water (without color), and when perfectly 
 dry remove the loosened particles of color by rubbing it gently 
 with a brush or soft handkerchief. 
 
 It frequently happens that when the picture is looked at un- 
 der a light opposite to that by which it was painted, the hatch- 
 ing appears rough and very decided. For this reason it is 
 advisable to place the picture in different lights, and work on 
 it until it is perfectly smooth and even, — taking care not to 
 deepen the colors. This may be easily avoided by working 
 rather between the hatching lines. 
 
 If the student will examine the manipulation of a first-class 
 Line engraving — especially a portrait — he will obtain many 
 valuable hints respecting the directions, manner, and general 
 eflfect of hatching. 
 
 Dvfections for Stippling, 
 
 This method is similar to hatching, except that, instead of 
 lines, the color is worked on with dots aJnd touches made with 
 the point of the brush. Its effect is about the same as hatch- 
 ing — to give depth and transparency — and at the same time 
 retain greater purity of tint than could possibly be obtained by 
 
58 HOW TO PAINT PHOTOGRAPHS. 
 
 any washing of mixed colors. It is considered the finest and 
 most dehcate of the three methods of handling, and is conse- 
 quently the least expeditious. 
 
 Stippling is inseparable from flesh painting, and may be 
 considered the means par excellence, by which to produce those 
 soft undulations and indefinite shadows which exist in nature. 
 As there are really no lines in flesh, stippling is preferable to 
 hatching, except in very large-sized pictures, where mere dots 
 would be too weak ; the dots and touches being better adapted 
 to produce a granular appearance, more harmonious with the 
 quality and character of the thing represented. 
 
 In general practice, however, stippling and hatching have 
 become confounded, although the united method is demoni- 
 nated in ordinary parlance "stipple. " 
 
 To attempt either of these methods in their purity would be 
 almost an impossibility in photographic painting. The irregu- 
 larities which occur in nearly all photographs compel .the artist 
 to adopt whatever method will best meet the case and accom- 
 plish his purpose ! Hence this non-conformity with the exact 
 demands of each process may, after all, be well enough ; and 
 the student will most surely find that when he endeavors to 
 ^■iSxit flesh, it will be somewhat difficult to progress in his work 
 without involuntarily felling into the adoption of a hatch- 
 stipple manipulation. 
 
 Some painters indeed recommend the flesh to be painted, 
 first, by hatching — keeping the lines rather square — and leaving 
 the interstices to be filled up afterwards by stippling. The 
 efi^ect of this is considered to be decidedly bold and well suited 
 to large-sized work. 
 
 Unless the picture be very small, or the work is intended to 
 be very fine, the student is recommended to give preference 
 to the use of a medi^im-sized brush. The use of a veiy small 
 one, or one having a fresh point, is quite likely to induce an 
 excess of finish, which detracts from the results aimed at, — 
 depth, solidity, and color. For the general stippling, brushes 
 
PRACTICE WITH THE BRUSH. 59 
 
 which have been somewhat worn down to blunt points will be 
 found the most desirable. 
 
 Stippling, like hatching, must follow the line of the muscles, 
 and must not consist of dots without meaning. The student 
 should closely examine some of the best specimens of stipple 
 engraving (those beautiful representations of statuary contained 
 in the London Art Journal, for instance), and he will discover 
 what a magical effect lies in the correct placing and disposition 
 of the stipple-dots — how they should vary in size according to 
 position in light or shadow, — then ' ' go and do likewise. " 
 
 Practice with ths Brush, 
 
 The student having learned k(m},'\\. is supposed he will pro- 
 ceed to do. But (as has been already suggested) there is much 
 to acquire that should be done apart from, and as preparatory 
 to, working on the photograph. This is particularly true in 
 regard to Washing and laying on color in masses. A dispo- 
 sition to practice upon drawing paper is highly valuable, and 
 in order to aid and encourage such, the following extracts are 
 given from Professor George Barnard, whose authority on this 
 point is sufficient. 
 
 ' ' Perfect freedom in all the motions of the fingers, hand, and 
 wrist, and dextrous management of the brush, should be ac- 
 quired before the student attacks the diflSculties of color ; and 
 the same time spent in practicing with Sepia, or the neutral 
 tints, with the view of gaining this lacility, will be well be- 
 stowed. 
 
 " Sepia, without any admixture, is geneially chosen as the 
 most suitable pigment for brush-practice, as its light washes are 
 extremely clear and it possesses great power. Its general color 
 is not disagreeable in any part of the picture ; and should other 
 tones be required, it will harmonize well with Cobalt and the 
 pther blues which are used in the sky. The paper employed 
 
6o HOW TO PAINT PHOTOGRAPHS. 
 
 may be white or tinted ; the latter, as it allows the use of 
 Chinese White for ,the lights, is generally preferred. 
 
 " By these preliminary exercises much is gained. The 
 pupil becomes acquainted with a few of the powers of the in- 
 struments he is principally to depend upon for his effects ; his 
 eye is trained to observe the minutest gradation in tone or col- 
 or ; he will also soon perceive that color has very different ap- 
 pearances when put on full or dry, when floated, blotted, or 
 dragged ; and the close observation that these exercises occa- 
 sion will eventually produce more refinement in his work than 
 if he hastily dashed in his colors at random. " 
 
^kj^nitun uf ^txht^ 
 
 IntrodMCtory. 
 
 The student in photographic painting has before him a pe- 
 culiar task ; it is decidedly a field strewn with hindrances, of 
 which the novice in the school of water color upon clean paper 
 has not the most remote idea. 
 
 Many times and oft he will find that in order to produce a 
 desired effect he must resort to expedients and make choice of 
 colors which, upon clean paper, would be positively wrong and 
 intolerable ; and hence necessity compels him to adopt what- 
 ever method shall attain the result ! It is not an improper con- 
 clusion either, since the effect is the thing sought, without refer- 
 ence to the means by which it has been produced. 
 
 The free use of Vermilion and Orange Chrome in the shad- 
 ows of the flesh ; of Burnt Sienna, or Yellow Ochre in the eyes ; 
 and the many other seeming misapplications of color — as com- 
 pared with their respective effects upon clean paper — are things 
 which must be reconciled ; and are known to prove great 
 stumbling-blocks to those of the "old and true" school who 
 undertake the anomalous matter of painting upon the photo- 
 graphic basis. 
 
 In view of these incongruities which enter into the experience 
 of every student, it would be in vain to say " Do thus, and so." 
 The only alternative for us is simply to lay down a general 
 plan of coloring ; leaving to his own judgment and capabilities 
 the adapation of our teaching to each picture he may have in 
 hand. Perhaps the whole matter of his success will depend on 
 
62 HOW TO PAINT PHOTOGRAPHS. 
 
 how far he is able to discover ike effect of colors and their use 
 upon the photographic ground. 
 
 A few months' study and practice, however, will render the 
 application of the proper colors so easy and familiar, that the 
 photograph will of \Xsc\i suggest many of the tints necessary to 
 give it depth 'or relieve its blackness. 
 
 JB®" For the reasons above-mentioned, it is also plain that 
 comparatively little advantage can accrue to a beginner in pho- 
 tographic painting, who studies the various works on legitimate 
 water-color — as they all refer to operations on clean white paper, 
 ■ — and he will find that he must at last depend upon his own 
 perception and judgment. 
 
 Flesh- Washes. 
 
 For convenience and ordinary practice we may divide the 
 complexions of both men and women into three general classes, 
 respectively, and prescribe the colors which may be used in 
 compounding the flesh-washes for each sex as follows : 
 
 GENERAL FLESH-WASHES FOR MEN. 
 
 1. Ordinary. — -Indian Yellow or Yellow Ochre, and Vene- 
 tian Red. 
 
 2. Florid. — Indian Yellow, Venetian Red and Pink Mad- 
 der. 
 
 3. Swarthy.— YfAlo-w or Roman Ochre, and Light Red; 
 sometimes add Indian Red ; and for a copper-tone add Burnt 
 Sienna. 
 
 GENERAL FLESH-WASHES FOR WOMEN. 
 
 1. Ordinary. — Indian Yellow and Venetian Red. 
 
 2. Blonde. — Indian Yellow and Pink Madder (or Vermilion, 
 if rightly used). 
 
 3. Brunette. — Yellow Ochre or Cadmium, Venetian Red and 
 Pink Madder. 
 
CARNATION TINTS. 6$ 
 
 These washes should always be weaker in color and 
 more limpid in quality for women and children than for men. 
 
 The flesh-wash should be thin and devoid of particles of un- 
 dissolved pigment, and in order to be kept pure it should be 
 mixed -afresh for every picture. In some cases a limpid wash 
 of Light Red alone will sufiice for men, although the addition 
 of yellow gives it a mellower tone. In like manner a thin wash 
 of Vermilion can be sometimes used for very fair complexions 
 in women and children, but its opacity and turbidness require 
 the most careful handling. When a very forcible tinge of yel- 
 low is desired use Cadmium, but remember its wonderful pow- 
 er ; and as it is slightly orange-toned, it should never be used 
 for irue blondes. 
 
 When using the flesh-wash designated " ordinary " it may 
 occasionally be desirable to impart an additional roseate tone, 
 especially to females ; in such cases let the first wash dry, and 
 then go over again with a thin wash of Pink or Rose Madder. 
 
 Some artists use one of the yellows alone for the primary 
 wash, and afterwards hatch and stipple all the carnations and 
 shadow colors upon this base. This method is perhaps best 
 adapted to the more delicate treatment of children's faces ; and 
 it is also applicable to prints in which the face is full of dusky 
 half-shades ; clear it up first with a thin wash of yellow, then 
 add the red. 
 
 Although it is desirable to obtain a satisfactory flesh-wash as 
 a basis for subsequent manipulation, it is advisable that the stu- 
 dent should not attach undue importance to it. The after-work 
 will necessarily obliterate its presence to a very great extent, and 
 for this reason the wash should always be mixed rather strong. 
 
 Ca/rnation Tints. 
 
 The most proper, beautiful, and durable carnation tints are 
 obtained with the Madders — Pink and Rose — combined with 
 the Vermilions. Crimson Lake is an objectionable color on 
 account of its purplish tone, and is not permanent. Carmine 
 
64 HOW TO PAINT PHOTOGRAPHS. 
 
 is not only too intense but even more fugitive than Lake, and 
 its use in flesh is not permissible except it be for the purpose of 
 obtaining a climax, should the Madders prove insufficient. 
 That striking effect called "peachy," which occurs in children's 
 cheeks, is obtained by the very delicate use of Scarlet Vermilion 
 worked into the Madders already there, or mixed with them 
 when first applied ; but this color being opaque and strong it 
 must be handled in this particular instance very lightly and ju- 
 diciously. 
 
 In men's faces, the rosiness of the Madders and the brilliancy 
 of the Vermilions in their pure state would be scarcely proper, 
 and will need toning down, which can be done with Indian 
 Red or Venetian Red. , 
 
 For a general carnation tint in other portions of the face use 
 Pink Madder and Venetian Red mixed. 
 
 in using all the carnation tints it will be advantageous to re- 
 member that, as these reds will lose somewhat of their intensity 
 by time, they should be painted a little brighter in color than 
 they are in nature, so as to allow for this loss. 
 
 Shadow Colors for Flesh. 
 
 Properly speaking there can be no one mixture for flesh shad- 
 ow-tints, inasmuch as each shadow, in the face especially, not 
 only varies from the others, but those in one fece will differ 
 from those of another. 
 
 The following combinations, however, are given — leaving to 
 the student their adaptation as he may be able to decide, accord- 
 ing to circumstances. Crimson Lake and Sepia ; Cobalt and 
 Light Red ; Madder Brown ; Cobalt and Indian Red ; Olive 
 Green and Pink Madder ; Indian Red alone ; Vandyke Brown, 
 and Sepia, both used as a glaze. In mixing these, the warm 
 color must predominate — the cold color will have its opportuni- 
 ty anon when the grays are to be applied. With the foregoing 
 the most important and characteristic shadows of the face may 
 be put in. 
 
GRAYS, PEARLY TINTS, ETC. 65 
 
 When the shadows — especially under the eyes, nose, and 
 chin — are already too dark, and have not been made lighter by 
 retouching the negative, they must be raised to transparency by 
 the more powerful colors. Vermilion, thinly used. Orange 
 Chrome tempered with Burnt Sienna, and Light Red may be 
 used ; and these worked upon the positive darkness, though 
 they do not produce the true appearance of shadowed flesh, are 
 the main remedies which the color-box affords. They should 
 not be applied with too great strength, else the shadow will 
 appear ^0/ rather than "warm.'' 
 
 For half shadows, when rather dark, work over them With 
 thin Vermilion. 
 
 Gra/ys, Pearly Tints, etc. 
 
 The uneducated eye sees nothing more in the human face 
 than the general or local color denominated "flesh;" but 
 among painters the varied hues which go to make up the entire 
 complexion — in addition to the shadows and carnations — are 
 known as "pearly tints," "grays," "middle tones," etc. 
 
 These, intervening betweeri light and shadow, should never 
 be made so decided or violent as to impress the spectator with 
 the notion of an actual presence of blue, or purple, and some- 
 times green ; but while the effect must be complete the tints them- 
 selves by which said effect is obtained should be worked in very 
 adroitly, and with as much cleanliness as possible. 
 
 The delicate shadows of the forehead contain more gray than 
 those of the lower face ; the half-shadows under the eyes are 
 more inclined to purple ; but whenever the deep shadows blend 
 into the local flesh color there will also be found a lilac or a 
 gray, according as the complexion is light or dark. With many 
 artists the lilac or pearly tint is in great favor, especially where 
 the complexion is delicate and the skin transparent, as in chil- 
 dren. 
 
 The various degrees of these tints will be found by mixing 
 Cobalt with Indian Red and Pink Madder, to obtain hues of 
 
66 HOW TO PAINT PHOTOGRAPHS. 
 
 lilac, purple, and gray ; and these can be reduced to a cold tone 
 by adding a very little yellow. 
 
 Neutral Tint alone furnishes a beautiful cool gray, and is es- 
 pecially useful for softening the edges of hair and blending it 
 into the flesh ; but Cobalt should be added as it approaches 
 the highest light. Much of the gray effect is obtained by sim- 
 ply working Cobalt (mer the reds previously laid, but this must 
 be done understandingly, or dirtiness is sure to result. 
 
 It will perhaps surprise the student to learn how much of a 
 good painting is made up of shadows, gray and pearly tints, and 
 how far they go towards forming one harmonious whole. 
 Grays are not intended to hide the local color, but rather to be 
 passed over it as a glaze ; and therefore in laying them on, par- 
 ticular care must be taken that the under-tints be not disturbed ; 
 otherwise the grays will become muddled and rendered opaque 
 (which would nullify their purpose), since it is intended to show 
 the flesh-color under them. 
 
 The student will note that the delicate blending of these 
 pearly tints into the flesh and shadows gives softness and ro- 
 tundity to the work ; for, if the shadows be left hard against the 
 lights, not being duly graduated into them with the pearly tint, 
 the picture will appear crude and harsh, and wanting the con- 
 necting link which these intermediate tints form. 
 
 These tints appear to differ also according to complexions, 
 but the difference is carried more through the local color which 
 they are laid upon than any real alteration in themselves ; as a 
 consequence, therefore, when the flesh is very powerful in color, 
 the grays must be correspondingly strong. 
 
 The following observations by Prof Barnard are no less ap- 
 propriate than valuable in this place : 
 
 ' ' Respecting the colors or tints of flesh when examined 
 closely, we shall, doubtless, find that many of the most beauti- 
 ful and delicate of the tones on the human face are referable to 
 the effect of simultaneous contrasts ; thus, at the edge of shad- 
 ows on a skin of warm, rosy color, is observed a cool gray and 
 
TOUCHES. ()'J 
 
 sometimes even a cool greenish tint, these becoming more par- 
 ticularly visible when the surface is rounded like the face. 
 Where the light passes into half-light, or where the light and 
 shade meet, there will be these cool tones ; and, if the com- 
 plexion is red, they will, from the complementary action, have 
 a tendency to green, however unnatural such a tint may be con- 
 sidered on the face. If the complexion incline to yellow, or 
 orange rather, the edge of the shadow will incline to blue. 
 Some portion also, of these peculiar gray tints, may be owing 
 to the semi-transparent nature of the skin, as well as the degree 
 of gloss on its smooth surface, which reflects the cool lights of 
 the sky. When these slightly green or gray edges of shadows 
 are put in, they must be decided in their form and position, and 
 pure in tone, or they will lose all effect. If dirty or undecided, 
 it is almost needless to add they are worse than useless. " 
 
 By the term ' ' touches " we designate the darkest parts of the 
 features where the expression is concentrated, the high lights, 
 and other salient points which give life, spirit, and intelligence 
 to the whole countenance, — deciding its portrait and character. 
 
 Some of these must be defined at the beginning of the work 
 — after the flesh-wash — so as to preserve the drawing of the 
 photograph, whilst others are to be added at the conclusion, by 
 way of a coup de grace. Among the former may be mentioned 
 the upper eyelashes, nostrils, line of partition between the lips, 
 and the line under the chin and ears. Burnt Sienna and Brown 
 Madder, or Lake and Sepia, furnish mixtures suitable for this 
 purpose. When the shadows are very dark (as they are indeed 
 too often), use Vermilion thinly to bring up the dark parts. 
 
 Among the after-touches, the points of high light on the fore- 
 head and bridge and tip of the nose may be obtained in part 
 by rubbing out the flesh-wash nicely with clean India-rubber ; 
 but this must be done softly so as not to mar the surface of the 
 paper. This effect may also be further heightened by applying 
 
68 HOW TO PAINT PHOTOGRAPHS. 
 
 Flake White with great delicacy. The after-touches about the 
 mouth, which is the most changeable of all the features, must 
 be very carefully done, as they will affect and determine the 
 general expression. 
 
 Other of the after-touches are produced by simply going over 
 the part with a very thin solution of gum Arabic. As water 
 colors dry without gloss this application gives depth to the ex- 
 treme shadows, and adds a general brilliancy ; but guard against 
 a tendency to overdo it, for on the whole, the less gum that is 
 used the better. In finishing the eyes, hair, jewelry, and any- 
 thing which has a gloss in nature, it should be used more free- 
 ly, and in these cases it is indispensable. 
 
[txr^tt^ % J*]jt[lt[mi. 
 
 Fainting the Hair. 
 
 Painting the hair is by no means an easy task in regard to its 
 imitation of nature. The difficulty will be found to consist not 
 so much in the coloring as in /Ae drawing, — by which is meant 
 those light and heavy brush-lines which give the form, flow, 
 and character of the hair. 
 
 The disposition of every beginner is, as it were, to define 
 "each particular hair," instead of breaking it up into easy- 
 looking masses. This error is more likely to occur in painting 
 short hair, as in the eyebrows, mustache and beard ; in which 
 cases much care should be used to avoid giving them a stiff, 
 wiry appearance. The lines should not be made in continuous 
 parallels, nor should the entire body of hair be painted so as to 
 look like a solid skull-cover. However, these remarks find an 
 exception in the front hair of women and young ladies, when 
 worn plain, and when the hair above the line of the ears must 
 be delineated with accuracy and smoothness ; but at the part- 
 ing this harshness must be somewhat modified by making the 
 hair to blend with the scalp. 
 
 In pictures of men, entirely different methods should be 
 adopted for the hair and whiskers. To accomplish the former, 
 it will require a more graceful ' sweep of lines varying in width 
 so as to represent masses ; whilst the latter requires thin lines 
 only, and drawn with more rigidity and precision. Even if the 
 hair be short it does not allow stiffness, whilst if the whiskers 
 are so, we do not look for anything else than short lines, which 
 
70 HOW TO PAINT PHOTOGRAPHS. 
 
 produce that veiy effect. Neither can these methods be inter- 
 changed ; the first, if used for the second, would be unnatural, 
 as whiskers do not lay in locks and easy masses ; while the sec- 
 ond, if used for the first, would produce monotony and wiriness 
 — the fault first above-mentioned. 
 
 Curls should not all be perfectly cylindrical, as is too often 
 seen, but made to differ in size, shape, and direction. They 
 should fall in easy masses ; should not drop or lie upon the 
 neck in continuous parallels (like so many pipes) ; and should 
 never run across the neck so as to produce a heavy dark line as 
 if separating the head from the body 1 If curls appear .as 
 though arranged with too much. precision, their stiffness may be 
 somewhat remedied by the addition of a few straggling ringlets 
 thrown into the corners and at the ends. A hard contour of 
 the face may be improved in like manner by breaking up the 
 edge of the hair with small locks and ringlets ; but make them 
 round and graceful, and devoid of the appearance of single 
 hairs. 
 
 Whether to apply the local color or lay in the shadows first, 
 will depend entirely on the distinctness of the photograph. 
 When there are ringlets, curls, and especially if the hair is 
 criinped or frizzled, it is perhaps the best plan to define the prin- 
 cipal shadows before applying the wash. Never mix any opaque 
 color with the tint to be used for the shadows, as they must 
 always be kept clear and transparent. The high lights must 
 not be put on until the previous work is dry ; then keep them 
 thin, working with a bare pencil, so that the color of the hair 
 may appear through them. 
 
 The outer circumference of the hair should be made "feath- 
 ery,'' as in nature, and not be defined with such precision as to 
 make the head look pasted against the background — particu- 
 larly when the head is surrounded by clouding ; therefore use 
 Neutral Tint, or gray, to give a softness of definition around 
 the outer edges. The softer the background about the head 
 the finer and clearer will be the effect of relief. 
 
COLORS FOR THE HAIR. 71 
 
 The natural gloss of the hair necessitates the use of gum 
 Arabic water with considerable freedom. It can be applied 
 with even additional strength in the heavy shadows, producing 
 depth, and imparting a general brilliancy to the whole. Very 
 little goes a great way, however, and it must be applied with 
 caution, else the effect will be stiff and daubed ! 
 
 The following directions for color are applicable to the gen- 
 eral classifications of hair. 
 
 Colors for the Hair. 
 
 Flaxen Hair. — -Under this head quite a number of preva- 
 lent shades may be included — commonly among children — the 
 color being in a continued state of transition. In general, 
 wash with Yellow Ochre alone, or modified to the shade with 
 Roman Ochre and Sepia. Shadow with Raw Umber, Roman 
 Sepia, or Bistre, which will give the greenish hue natural to the 
 middle tones of this hair. If there are curls, the high light on 
 them can be intensified with Yellow Ochre or Indian Yellow 
 and White. Associated with blonde complexions and blue 
 eyes this description of hair is sometimes found almost white — 
 vulgarly denominated ' ' tow hair " — ^in which case use a very 
 pale wash of Yellow Ochre. Raw Sienna and Sepia also make 
 a beautifiil sober flaxen tint, not being semi-opaque like the 
 Ochres. Shadow with the same, Sepia preponderating ; and if 
 the photograph be light and clear, the putting on of high lights 
 may be dispeilsed with by leaving the local color to represent 
 them. Roman Sepia used very thinly makes an excellent color 
 for dark yellow flaxen. 
 
 The translation which flaxen hair undergoes in photography 
 has always been a source of trouble to the water colorist. Be- 
 ing required to produce a light tint where the negative has in- 
 terposed the reverse, he discerns no alternative but a free use of 
 body color ; unless a previous working upon the negative itself 
 (with lead-pencil or blue paint) has been resorted to in order 
 to obtain a lighter basis. 
 
72 HOW TO PAINT PHOTOGRAPHS. 
 
 Auburn, or " Golden Brown " Hair. — Wash with Van- 
 dyke Brown if inclining to red ; and Burnt Umber if inclining 
 to yellow. Shadow with Warm Sepia and Sepia. Frequently 
 the photograph will be so dark as to compel a first-wash of 
 Burnt Sienna to relieve the blackness ; then with Burnt Umber, 
 and shadow with Roman Sepia. If the photographic basis is 
 rather light, a beautiful and useful wash can be found in mixing 
 Yellow Ochre and Vandyke Brown. Generally the lights for 
 auburn hair should be made very slightly purplish. 
 
 Red Hair. — Wash with Venetian Red and Vandyke Brown 
 or Warm Sepia for a red tone ; Venetian Red and Burnt Sienna 
 for a yellow tone. Shadow with Sepia added to the local wash. 
 For the lights, artists seem to have agreed upon a purple tint 
 mixed with White. It would seem more consistent to heighten 
 the lights by deepening the shadows, because it is rarely an ob- 
 ject of ambition to possess hair of this kind. Its more con- 
 spicuous tones should be subdued and never exaggerated ! 
 
 The general tone of so-called Red hair is rather Orange, and 
 the true philosophy of color would dictate that, if exaggeration is 
 not desired, its complementary Blue should be kept as far as 
 possible from it. Despite this, however, it is almost the uni- 
 versal custom for ladies who possess this color of hair to wear 
 blue bonnets and dresses ; and artists are thus compelled to in- 
 troduce this objectionable color into their work, the result being 
 only to heighten the fiery appearance of the hair-tint. Green or 
 Lavender would be vastly preferable. Correct taste would further 
 suggest to the student that he should neutralize or " kill " it by 
 placing white ribbons or bands near it, which would make it 
 appear darker ; or else by overwhelming it by the introduction 
 oi a positive red a.mong the accessories of the picture. 
 
 ["It is an ill wind that does^not blow good to somebody/" and 
 so it happens that the relentless camera which depreciates Flax- 
 en hair improves Red hair, restraining the artist's efforts to ren- 
 der to the former its natural brilliancy, but assisting him to con- 
 trol the offensive prominence of the latter.] 
 
COLORS FOR THK HAIR. 73 
 
 Light Brown Hair. — Wash with Bistre and Sepia mixed, 
 or with Bistre alone if a greenish tone is wanted ; shadow 
 with the same. Other hues for this hair are found in Roman 
 Sepia, and Burnt Umber or Vandyke Brown and Neutral Tint 
 mixed. Frequently the effect of light brown hair cannot be 
 maintained unless by using a first-wash of Yellow Ochre, which 
 (though intended only to clear up the photograph for working) 
 may sometimes attain the desired local tint, and be ready for 
 further shadowing with Bistre. 
 
 Dark Brown Hair. — In general the local color is found in 
 Sepia alone, which can be lowered still more in tone by the ad- 
 dition of Neutral Tint or India Ink. Shadow with the same, 
 and for deeper effects add more India Ink. As in other cases, 
 a first-wash may often be required to kill blackness — use one 
 or more washes of Vandyke Brown. Lights always gray, put 
 on very thinly. 
 
 Gray Hair. — Work with India Ink and very thin Neutral 
 Tint, which may be warmed in accordance with the hue desired 
 by adding a little Sepia. Shadow with the same, the Sepia pre- 
 dominating ; lights normal gray, heightened further by Chinese 
 White. 
 
 [It may be opportune to remark that a white cap upon the 
 gray hair of a lady will render the gray less conspicuous ; whilst 
 the contiguity of black, as a black cap or ribbons, will render 
 it more apparent than may perhaps be desirable. ] 
 
 The White Hair of venerable old gentlemen should be 
 worked with a gray formed of Cobalt, Neutral Tint, and Van- 
 dyke Brown, letting the brown appear most in the retired parts. 
 For the few deeper lines use India Ink or Neutral Tint ; the 
 prominent white parts, Chinese White. In manipulating this 
 hair avoid hard lines and a bristling appearance. A pure white 
 silky effect will be much more acceptable, and characteristic of 
 the placidity of extreme age. 
 
 Black Hair. — ^Although the deeper shades of cool brown hair 
 
 4 
 
74 HOW TO PAINT PHOTOGRAPHS. 
 
 are commonly denominated "black, " there is still that which 
 is known as "Raven Black." This may be produced by a 
 wash of the Compound Black, but it should be of a cool tone. 
 Or, if the photograph be very dark, a strong wash of Neutral 
 Tint with a little Sepia may suffice, imparting the bluish tone 
 as in nature. Shadow with Lampblack and Sepia, or the for- 
 mer alone, and work them further with gum Arabic for strength 
 and definition. Lights, Neutral Tint and White. 
 
 [If the natural gloss of the hair has produced an excess of 
 high light in the photograph, it will be necessary [to first go 
 over this light with a wash of Lampblack — this is not unfre- 
 quently the case. ] 
 
 Fainting the Myes. 
 
 The eye is the life of the fece. Hence to achieve excellence 
 in the correct painting of this important feature, it will compel 
 the student not only to be an observer of the various descrip- 
 tions of eyes, but he should also understand something of the 
 philosophy of its construction as the organ of sight. Without 
 this there will be a constant liability to distort the shape of the 
 eye, and give it a false expression. 
 
 In painting the eye, — after designating the line of the eyelid, 
 — first draw, as finely as possible, the circumference line of the 
 iris or colored portion of the eye. This is advisable because it 
 assists in locating the pupil in the exact centre ; and this may 
 now be put in with India Ink or Lampblack, no matter of 
 what color the iris is to be. [An exception to this, however, 
 may sometimes be made in the case of very light blue or gray 
 eyes, where a jet black pupil would appear too harsh and de- 
 cided, especially if the expression is soft and mild ; in which 
 case it is better to use Sepia alone or combined with Neutral 
 Tint for the pupil. ] 
 
 It should be remembered also, that as the iris is, in most 
 photographs, partially hidden by the eyelid, the pupil must be 
 located in the centre, with respect also to that portion which is cob- 
 
PAINTING THE EYES. 75 
 
 eredl It should be made somewhat larger, too (especially in 
 that eye nearest the light), than it is found in the photograph, 
 where it appears reduced on account of the contraction of the 
 iris when affected by the strong light under which the negative 
 was taken. 
 
 Sometimes the pupil is scarcely discernable at first glance, and 
 in many copies of old pictures not to be found at all. In the first 
 case the student must (as it were) feel for it ; in the second he 
 must boldly place it there, taking care to judge well of its size. 
 
 In some photographs it will be found that the light striking the 
 ball of a rotund or protruding eye, totally covers and obliterates 
 the pupil and gives to the eye an appearance of blindness — par- 
 ticularly the case with dark or black eyes when facing the light 
 too much. Those eyes, too, which have a "glassy" appear- 
 ance, with light-spots of triangular shape bearing such a resem- 
 blance to rivet-heads, are almost an affliction to the artist, and 
 to be ranked among those incurable cases referred to under 
 the head of "Portraiture." The moment a pupil is introduced 
 flatness occurs, and the expression which it had is quite alter- 
 ed ; hence it is better to endure the fault than to make bad 
 worse by endeavoring to cure it. If the picture in hand be a 
 copy, there is no alternative. Light eyes are scarcely ever sub- 
 ject to this rotund appearance, the pupil being almost invaria- 
 ably distinct. 
 
 Now proceed to wash in the local color of the iris, and follow 
 with the shadow-tints as prescribed hereafter. By this time the 
 high-light or white-spot of the eye has been somewhat obliter- 
 ated ; but its exact position must be remembered, unless there 
 is a duplicate photograph by which to guide the working. If 
 the local wash does not entirely obliterate the white-spot, do so 
 with a slight use of color or Lampblack, which is opaque. In 
 the absence of a duplicate, the intelligent student will in most 
 cases be able lo re-locate the white-spot by judging the direc- 
 tion and mannei in which the light falls upon the whole face 
 and picture. 
 
76 HOW TO PAINT PHOTOGRAPHS. 
 
 Our reason for recommending that the white-spot be painted 
 out in most cases is, that in photographs it is always too large! 
 whilst it can be easily restored, and with additional brilliancy, 
 by using Chinese White; and further, because it would bean 
 excess of trouble to reduce it in size by working around it. 
 
 In adding this light-spot, it must be done with a good point- 
 ful of White, and by a single touch — or at least seem as though 
 it was so done — and for this purpose a rather blunt brush, is. 
 preferable. The spot should be located upon the iris just at 
 the edge of the pupil, in the direction whence comes the light 
 into the eye ; and the student will discover that to place it cor- 
 rectly is no less easy than it is simple and delicate. He will 
 perhaps create many squinted and blind eyes in his first, at- 
 tempts, but the alternative is to paint out with the local or 
 shadow color of the iris and try again. The white-spot must 
 not cover the pupil in the least degjee. In the larger-sized 
 heads, however, it must not be located precisely in this way, 
 lest when viewed at the proper distance it will appear to be on 
 the pupil. Allowance must therefore be made for this circum- 
 stance. 
 
 [Although the high-light spoken of is denominated the 
 ' ' white-spot, " it will not always do to make it white I As was 
 observed concerning jet black for the pupil, in like manner 
 pure white may sometimes prove too definite for the light-spot. 
 In eyes of very mild expression, therefore, the ' ' white " should 
 be broken down to a light gray, as the case may demand.] 
 
 That portion of the iris'which lies in a direct line opposite the 
 high light must be illuminated as it is seen in nature, and with- 
 out which the painted eye will look opaque and very dull. In 
 most cases this is done by simply adding Chinese White to the 
 local color of the iris, or that part of the iris may be reserved 
 light in the previous shadowing ; but the first method imparts 
 the most life and brilliancy. 
 
 The sclerotica or "white of the eye" (as it is commonly 
 called) is not to be made white, or left so in the photograph ; 
 
COLORS FOR THE EYES. 77 
 
 but modified with blue for children and young persons, a pearly- 
 tint for middle life, and a slight yellowish tinge for aged people. 
 The eye is also the most pleasing when its effect is soft ; hence, 
 if the edge of the iris be too rigidly defined upon ' ' the white, " 
 it is well to subdue it with gray or Neutral Tint. 
 
 The caruncles, or red fleshy substances within the inner cor- 
 ners of the eyes will require some bright color. Use Venetian 
 Red and Pink Madder, or the Madder alone. If the corner be 
 dark, use Vermilion — carefully. A little cool g^een may some- 
 times be stippled around the socket of the eye ; and if the 
 upper lid be hanging (as in looking down), touch the edge of 
 it with Indian Red. 
 
 The colors of the human eye may be designated by these 
 general terms : Blue, Gray, Hazel, Brown, and Black. The 
 pigments to be used for each kind are prescribed as follows : 
 
 Colors for the Byes. 
 
 Blue Eyes. — If they are light blue, use thin Cobalt ; shadow 
 delicately with the same and a touch of Indigo ; add White to 
 Cobalt for the illuminated part of the iris — if it is not left suffi- 
 ciently clear in the photograph. If they are dark blue, use a 
 deeper tint of Cobalt, and shadow with Indigo. If ' ' deeply, 
 darkly, beautifully blue " (as are some children's eyes), the effect 
 can be heightened by using French Blue ; but carefully, as it 
 is a powerful color. 
 
 Gray Eyes. — Define them delicately with India Ink and a 
 tinge of Cobalt ; if the eye has been photographed with suffi- 
 cient distinctness, use Cobalt alone. If of a bluish-gray, use' 
 Indigo instead of the Cobalt. Add White for the illuminating. 
 Gray eyes often change to yellow hazel as the person grows 
 older, and are to be painted in this transition state by tinting 
 the illuminated part slightly with Yellow Ochre, which will pro- 
 duce a greenish-yellow tone. 
 
 Light (or Yellow) Hazel Eyes. — ^Use Yellow Ochre, 
 
78 HOW TO PAINT PHOTOGRAPHS. 
 
 slightly toned with Neutral Tint for the local color. Shadow 
 with Vandyke Brown, and illuminate delicately with White 
 added to the local. 
 
 Dark (or Brown) Hazel Eyes.— For the local color use 
 Vandyke Brown, or if the print is dark, use Burnt Sienna. 
 Shadow with Sepia. Illuminate with Burnt Umber and White, 
 and sometimes Burnt Sienna and White. 
 
 Black Eyes. — Although all dark-colored eyes are generally 
 called "black," reference is now specially made to that descrip- 
 tion of eye which has its iris of so deep a brown as to be scarce- 
 ly distinguishable from the pupil. They are peculiar to bru- 
 nettes and people generally who are from tropical countries. 
 Use Sepia and Vandyke Brown for the local color. Shadow 
 with the same, mixed with Neutral Tint or India-Ink. Illumi- 
 nate with Burnt Sienna and Chinese White. 
 
 Painting the Cheeks. 
 
 The nearest approach to the color of the cheeks will be found 
 in a mixture of Pink Madder and Vermilion, either color pre- 
 dominating according to the subject. It should be kept in 
 mind that children ought to have more Vermilion, adults more 
 Pink Madder, and old people more of a purple tone, — this last 
 being made by adding a little Cobalt to the former mixture, 
 provided the photograph itself does not give a bluish tone. 
 
 Remember that the use of Carmine or Crimson Lake is not 
 recommended for carnations ; the one being too bright, the 
 other too purple, — and both are fugitive. On the contrary, all 
 the Madders are durable and in every respect better. Pink and 
 Rose Madder seeming to differ only in intensity, may be used 
 according to the option of the student. Either can be used for 
 men, but Vermilion should be added for young women and 
 children. 
 
 In applying the carnations, observe the grades of color and 
 light on the cheek-bones, and do not lay out the cheek-tint in 
 
PAINTING THE LIPS. 79 
 
 a circular, but in a triangular form, having its angles at the tem- 
 ple, lower jaw, and the nostrils. In no case should the carna- 
 tions be washed on, but always stippled ; although in very large 
 pictures they can be hatched. 
 
 Painting the Chin. 
 
 In nature the chin being somewhat of a redder tone than the 
 surrounding color, it is to be treated in like manner as the 
 cheeks, though in a very slight degree ; and care must be used 
 not to commit the error of over-tinting. 
 
 Painting the lAps. 
 
 The upper lip being nearly always in shadow, is both darker 
 and less bright in color than the lower lip. If the mouth in 
 the photograph be not too dark, use Indian Red with a little 
 Crimson Lake for the upper lip ; if dark, use Pink or Rose 
 Madder heightened with Vermilion. For the lower lip, wash 
 it first with thin Vermilion, or Orange Chrome and Rose Mad- 
 der, and in either case model and shade it afterwards by stip- 
 pling with Pink Madder. Observe that in painting both lips, 
 the more distant parts are to be less vivid in color. 
 
 The lips of children require more Vermilion, and those of 
 aged persons more Pink Madder, — not unfrequently approxi- 
 mating a slight purple tone. 
 
 The painting of the mouth is perhaps the most delicate and 
 hazardous of all the features, on account of its variableness of 
 expression. In defining the partition-line between the lips, the 
 slightest deviation will alter its character and damage the por- 
 trait. Especially so at the corners of the mouth, wherein most 
 of the expression lies. Hence it behooves the student to con- 
 sider well its distinctive marks as photographed, before com- 
 mencing, and work throughout with the utmost care. 
 
 As has been already observed respecting the carnations, it 
 will be well to paint the lips with a. full tone 0/ color, in order to 
 provide against the unavoidable deterioration which time will 
 effect. 
 
8o HOW TO PAINT PHOTOGRAPHS. 
 
 Painting the JEars. 
 
 In painting the ear, which is semi-tiansparent, let the shad- 
 ows be made warm and inclining to red. The inside of the 
 ear should be colored with Pink Madder and Indian or Vene- 
 tian Red, and the tips very lightly with Rose or Pink Madder 
 alone. 
 
 The ear should always be well toned down, so that it will set 
 back, and be wholly secondary to the more important lights. 
 A large or prominent ear is considered ever an ugly, unsightly 
 object : and as it is an organ without being a feature it should 
 never be painted in a manner that would increase its conspi- 
 cuity. If practicable, it is more judicious to partially cover it 
 with the hair, — ^which can be done in most pictures without 
 materially changing the drawing. 
 
 Painting the Neck and Bosom. 
 
 The general tint of the neck, as it will be noticed in nature, 
 is much below the color of the face, and invariably of a grayer 
 tone. The flesh-wash might therefore be somewhat reduced 
 for the neck, and the pearly tints added to a more considerable 
 degree. The clavicles or collar-bones peering through the 
 flesh, are to be sometimes tinged slightly with Pink, but great 
 care should be used to avoid rendering them too distinct and 
 angular. The shadows of the bosom are usually of a bluish 
 tint. 
 
 Although a well-curved neck, and round, plump shoulders 
 do not by any means appear in the majority of photographs of 
 ladies so taken, the colorist may very safely assume the privilege 
 oi correcting the drawing of his picture, so as to produce these 
 desirable elements of physical beauty. Few ladies will objecl to 
 any roundness of the neck or graceful droop of the shoulders 
 which it may be possible for the artist to bestow on their pic- 
 tures. Some delicate touches of Pink Madder can be put on 
 the extreme point of the shoulders ; whilst Indian Red and 
 Cobalt will serve to. shadow the flesh around the arm-pit. 
 
PAINTING THE ARMS AND HANDS. 01 
 
 Painting the Arms and Hands. 
 
 The foregoing remarks apply somewhat to the painting of 
 the arms, although the lower arm often partakes of a very slight 
 purple hue. Indian Red alone can be used for the first tints, 
 working over them, when necessary, with Blue ; and observing 
 the reflected lights, which are always to be kept warm. The 
 elbows should be tinted with Pink Madder, but delicately ; and 
 any disagreeable angularity rounded off — as before observed. 
 
 The HANDS in most photographs, by reason of their distance 
 from the focus-point of the camera (generally directed to the 
 face), are disagreeably enlarged ; and in some cases partially 
 shadowed. For these reasons it is often desirable to but them 
 down, shorten the fingers, cover them with thin dig,pery, or 
 ' ' paint them out " entirely. f 
 
 When the division-lines of the fingers are light or somewhat 
 indistinct they may be drawn with Brown Madder, or Sepia and 
 Crimson Lake. If already rather dark, use Light Red or Burnt 
 Sienna. 
 
 The tips of the fingers, the knuckles, and the outside of the 
 hands are more rosy than the other parts, and require to be 
 hatched with a little Pink Madder. Before doing this, how- 
 ever, it may be advantageous to rub out the flesh-wash a little in 
 these particular parts ; and when the hands are perfectly flat — 
 as in old copies — and without definition and modelling, this 
 rubbing out of a portion of the flesh-wash assists very greatly 
 the raised appearance of the knuckles, and other lights. 
 
 A liberal use of Cobalt in the hands is recommended — par- 
 ticularly for those of women and children— in order to attain 
 clearness and the appearance of veins. This effect is also more 
 necessary ior female hands, the skin of which is intended to ap- 
 pear very fair and transparent. 
 
 The general tone of color in the hands should be very much 
 below that of the face (except when the head rests upon one of 
 them), so that they shall not first attract the beholder's eye, 
 which ought sX-ways to be drawn involuntarily to the face, — ^the 
 portrait ! 
 
iti«tirm«3 J)ra|tir^> 
 
 The Selection of ColorSk 
 
 It is not at all an unfrequent circumstance that photograph 
 painters are desired, and even necessitated to choose the colors 
 for the drapery of the work in hand ; although the general 
 practice is to obtain full directions on a!l points from the origi- 
 nals or their friends. This is decidedly the sa/esi plan, as it is 
 not impossible that the painter mtgAi select a color which the 
 original never wore (perhaps disliked !) ; whereas the painter's 
 duty aims fo realize the exact life-look and color of his subject. 
 
 The object of all decoration in dress being to improve or set 
 off to the greatest advantage the personal appearance of the 
 wearer, it follows that the colors employed should be suitable to 
 the complexion, in perfect harmony with the rest of the attire, 
 and have reference also to age and condition. 
 
 In regard to pictures of men there is scarcely room for choice ; 
 and hence the student will have no difficulty in adapting the 
 few sober colors which the palette affords, in addition to the 
 ' ' customary suit of solemn black. " But for pictures of women 
 and children the opportunity of selection is a great one, and 
 furnishes ample scope for the display of knowledge and taste. 
 
 For the benefit of those who have not previously regarded 
 colors in a scientific or artistic light it may be very proper to add 
 some general directions relative to the juxtaposition of complex- 
 ions and their appropriate drapery-colors. 
 
COLORS FOR THE DRAPERY. 83 
 
 The following paragraphs are condensed from the excellent 
 treatise by M. E. Chevreul, the Philosopher of Color, and the 
 best of all authorities on this subject. 
 
 Red Drapery. — Pink-red cannot be put in contact with the 
 rosiest complexions without causing them to lose some of their 
 freshness. If it is unavoidable, however, separate the pink from 
 the skin in some manner ; and the simplest way of doing this 
 is, to edge the draperies with a bordering of lace or tulle, which 
 produces the effect of gray. 
 
 Dark red is less objectionable for certain complexions than 
 pink-red, because, being higher than this latter, it tends to im- 
 part whiteness to them on account of the contrast of tone. 
 
 Green Drapery. — ^A delicate green is favorable to all Mr 
 complexions which are deficient in rose tint, and which may 
 have more imparted to them without objection. But it is not 
 as favorable to complexions that are more red than .rosy, nor to 
 those which have a tint of orange mixed with brown, because 
 the red they add to this tint will be of a brick-red hue. In the 
 latter case a dark green will be less objectionable than a deli- 
 cate green. 
 
 Yellow Drapery. — Yellow imparts violet to a fair skin, and 
 for this reason it is less favorable than the delicate green. To 
 those complexions which are more yellowish, it imparts white ; 
 but this combination is very dull and heavy, if used for a fair 
 complexion. 
 
 When the skin is tinted more with orange than yellow, we 
 can make it roseate by neutralizing the yellow — which makes 
 it thus appropriate for brunettes. 
 
 [Pale yellow or greenish-yellow suits no one, especially those 
 with pale complexions. Its effect is to diffuse, by contrast, a 
 purple hue over the complexion, and this is certainly no addi- 
 tion to beauty. ] 
 
 Violet Draperies. — Violet, the complementary of yellow, 
 
84 HOW TO PAINT PHOTOGRAPHS. 
 
 produces contrary effects ; thus it imparts some greenish-yellow 
 to fair complexions. It augments the yellow tiiit of yellow-and- 
 orange skins. The little blue there may be in a complexion it 
 makes green. Violet is therefore one of the colors which har- 
 monize least fiivorably with the skin ; and especially if it is not 
 sufficiently deep to whiten it by contrast of tone. Mauve, and 
 its varieties, are also included in this category. 
 
 Blue Drapery. — Blue imparts orange, which is susceptible 
 of allying itself favorably to white and the light flesh tints of 
 fair complexions, which have already a more or less determined 
 tint of this color. Blue, especially sky-blue, is consequently 
 suitable to most blondes ; but will not suit brunettes, since they 
 have already too much of the orange-tint. 
 
 Orange Drapery. — Orange is too brilliant to be elegant. 
 It renders feir complexions blue — whitens those which have 
 an orange-tint — and gives a green hue to those of a yellow tint. 
 
 White Drapery. — Drapery of a lustreless white, such as 
 cambric muslin, accords well with a fresh complexion, of which 
 it relieves the rose-color ; but it is unsuitable to complexions 
 which have a disagreeable tint, — because the effect of white is 
 to exalt a color by raising its tone — and hence whatever may 
 be objectionable in the flesh-tint, the contrast with white will 
 only render it more so. 
 
 Very light-textured fabrics, however, such as lace or open- 
 worked drapery, produce an entirely different result. They ap- 
 pear more gray than white ; the threads, which reflect light, and 
 the interstices, which absorb it, producing the effect of a mixed 
 surface of black and white. In this respect, all white drapery 
 which allows the light to pass through its interstices must be 
 regarded as being gray rather than white, and can be used for 
 the purposes of gray. 
 
 Black Drapery. — Black draperies, lowering the tone of the 
 colors with which they are in juxtaposition, whiten the skin. 
 
PAINTING THE DRAPERY. 85 
 
 But while this lowering does not take place to any very great 
 extent, unless the black is in actual contact with the color, it 
 has the effect of heightening the cheeks, if the white skin inter- 
 venes ; the former appearing redder, and the latter whiter than 
 they would if the black drapery did not exist. 
 
 No matter whether the complexion be dark or fair, the color 
 should never be placed next the skin, but should be parted 
 from it by the hair or by a ruche of tulle, which produce the 
 neutralizing effect of gray. 
 
 Colors for the Head-Dress, 
 
 If we notice the tints which are generally considered as har- 
 monizing best with light or dark hair, we will discover that they 
 are those which produce the greatest contrast. Thus, sky blue, 
 which is known to accord well with blondes, is the color ap- 
 proaching nearest to the complementary of orange, which is 
 (philosophically considered) the basis of the tint of their hair 
 and complexions. 
 
 In the same manner, yellow and red — more or less orange- 
 are two colors which accord very favorably with black hair. 
 These colors, yellow and orange red, contrasting by color and 
 brilliancy with black ; and their complementaries, violet and 
 blue green, in mixing with the tint of the hair, are far from pro- 
 ducing a bad result. 
 
 JS®° The student will not forget that his colors must be 
 chosen as a harmonious wfiole ; for a color which may be favor- 
 ably adapted to the hair may yet produce a disagreeable effect 
 with the skin, and vice versa. 
 
 Fainting the Itra/peficy. 
 
 The quality and style of drapery being already indicated in 
 the photograph, the student will find that his special attention 
 must be given to the preservation of the natural folds and other 
 general characteristics of the fabric. As the application of his 
 
86 HOW TO PAINT PHOTOGRAPHS. 
 
 local color will to some extent obliterate many of the lighter 
 lines of the photograph, he will also perceive how very advan- 
 tageous it is to possess himself of a previous knowledge of the 
 manner in which various fabrics — cloth, silk, satin, velvet, linen, 
 damask, etc. — break up into folds ; together with ability to dis- 
 cern their characteristic lights and shadows. 
 
 This knowledge indeed may be considered as absolutely neces- 
 sary, from the fact that in many photographs the lights are so 
 intense and the shadows so deep that all the intermediate lines 
 disappear, and the student is left to depend wholly on his own 
 ability to supply the deficiency. Experience teaches also that 
 occasionally in restoring pictures from old 'types and bad pho- 
 tographs the artist must supply the drapery entirely. 
 
 With this exigency ever likely to occur, the diligent student 
 will feel it a duty to inform himself concerning the fundament- 
 al rules on this subiect. Let him remember that drapery is in- 
 tended to cover but not to hide the form ; and that, as the in- 
 equalities of the stream's bed are discoverable by the rippling 
 water that runs over it, so the posture and shape of the mem- 
 bers ought to be discernible by the folds of the garment that 
 covers them. The drapery should cover the body as if to show it 
 
 Endeavor to comprehend the rationale of drapery ; how the 
 folds originate from those points where it is held, enlarging as 
 they recede, spreading where unconfined, or changing their 
 course where they .meet with resistance. On the whole. Dra- 
 pery is one of the most important branches of our art, — con- 
 tributing very materially to the life, character, and success of 
 the picture, — and it therefore demands attention and study. 
 
 The practical operation of drapery-painting is reducible to 
 two general methods, the choice being left to the student, who 
 will decide according to the folds whether they be distinct (i) or 
 obscure (2) in the photograph on hand. 
 
 These methods may be described respectively as follows : 
 
 First. — Go over the fabric with a thin wash of the local color, 
 principally to moisten the surface. Then define the folds, be- 
 
PAINTING THE DRAPERY. 87 
 
 ginning with the larger ones which give shape to the masses. 
 After these are completely absorbed proceed with additional 
 washes — three should suffice for any case whatever — until a 
 proper weight or body of color has been reached ; all of which 
 must be governed by the photograph itself, whilst also keeping 
 in view the tone desired for the drapery when finished. Upon 
 this basis the deeper shadows are to be worked before it is en- 
 tirely dry, so that their edges will blend into the local color. 
 The high lights should not be laid on until the previous work 
 is entirely dry. 
 
 By laying the washes one over the other as directed — 'instead 
 of applying the local with its requisite strength at once — the 
 effect of texture is gained, and an evenness of tint which would 
 not result otherwise. If the photograph be quite strong in the 
 shadows and bright in the lights, there will be no necessity for 
 defining the former until the local color has been decided, be- 
 cause (it may be presumed, ) they will be sufficiently discerni- 
 ble through the local. 
 
 As has been before observed, the shadow-tint should in all 
 cases not be too strong or thick, as it is intended only partially 
 to obscure the local color, not to hide it ; which it would do if it 
 were made too powerful, besides imparting a hard, patchy ap- 
 pearance. 
 
 In shadowing, never work across the folds, but always carry 
 the brush in the direction which they run ; and from, not to, 
 the outline. A camel's-hair brush is perhaps better adapted 
 for laying in the draperies than a sable one, because the color 
 flows from it more freely and the markings of the brush are not 
 perceptible. 
 
 Second. — This is only a reverse manner of working, necessi- 
 tated by the want of definition in the photograph — occasioned 
 by bad focussing, poor negatives, and a variety of ills that pho- 
 tography is heir to. 
 
 In this method, work up the folds — guided by the duplicate 
 photograph or original, which this process renders necessary to 
 
88 HOW TO PAINT PHOTOGRAPHS. 
 
 have at hand — until they are suflSciently distinct to permit a 
 good wash of the local color. In order to soften the edges of 
 the shadows in defining the folds, it is preferable to lay them 
 out broadly at first with a rather thin tint, adding the stronger 
 touches inside ; and others if necessary still inside the last. 
 There are instances, however, where the edges of the fabric over- 
 lap, as in gentlemen's coat-collars, etc. , when harder lines should 
 be used. The student should also guard against too great 
 minuteness in detailing every fold ! He mu%t omit repetitions 
 and continuations, and endeavor to maintain breadth and char- 
 acteristic variety of line. 
 
 The shadows being fully defined add another wash or so, of 
 considerable strength, and the work should be complete. 
 
 In making the wash over a shadow already defined, it must 
 be done at once, with one sweep, not allowing the brush to work 
 back — or twice over the same spot — else the shadows may 
 "wash up" and the smoothness of the work be destroyed. 
 Remember that each wash must be completely absorbed, and par- 
 tially dry, before another follows, and entirely dry before the 
 high lights are added. 
 
 As a general rule in regard to draperies, it may be remarked 
 that the lights and the middle tints are always cool, and the 
 shadow colors should be warm. The larger shadows will per- 
 haps need hatching over to make them appear transparent. 
 
 White Drapery. 
 
 That portion of every photographic picture designated (and 
 intended to represent that which was in the original subject) 
 "white," will upon examination prove to be anything but white. 
 This is readily proven by laying a piece of clean white paper 
 beside it — the discoloration being attributable to the action of 
 the various chemical processes which the photograph must un- 
 dergo, and somewhat to the printing. Hence it becomes as 
 necessary to paint white (although the picture is supposed to be 
 upon white paper, ) as it is any of the acknowledged colors. 
 
WHITE DRAPERY. 89 
 
 In treating white drapery : for the middle shadow-tints use a 
 gray composed of Cobalt, Yellow Ochre, and a little Crimson 
 Lake. Another useful gray for delicate shadows is composed 
 of Cobalt, Raw Sienna and Rose Madder. Work the shadows 
 with Cobalt and Vandyke Brown, and a further use of Cobalt 
 and Sepia, or Neutral Tint and Vandyke Brown is necessary 
 for still deeper effects. 
 
 For ordinary purposes use Chinese White on the high lights ; 
 although Flake White is sometimes preferable (especially for the 
 smaller pictures), as it is more delicate, and will not give the 
 lights quite such a solid appearance. In painting laces, how- 
 ever, and all articles which want the effect of body and need to 
 be manipulated with touches. Flake should give place to Chi- 
 nese White. 
 
 When the white drapery occurs in actual contact with any 
 other, especially the dark colors — ^as in the case of the linen 
 bosom under a black vest, the cravat as it appears against the 
 shirt collar or its ends lie upon the bosom, and any part not in- 
 tended to appear sharp or protrusive — the strong contrast causes 
 the edges of each to appear very hard. Consequently it will 
 become necessary to interpose a connecting tint that shall mod- 
 ify the harsh contrast and give softness to both. This can be 
 done by breaking down the edges of the white with gray — one 
 of those before mentioned — according to circumstances. 
 
 It very frequently happens in vignette photographs of gentle- 
 men, that the body (bust) will be completely sundered by having 
 the print cut off in vignetting at a point before it reaches the 
 first button of the vest. This effect also results in a vignette 
 where the gentleman has not worn a vest. It remains there- 
 fore for the painter to interpose a connection between the two 
 masses of drapery ; and this can be done by shading the lower 
 part of the shirt bosom, keeping the upper part in full light. 
 Without this, the body looks like a map, the bosom remains 
 too flat, and the whole would be very incomplete. It is vastly 
 preferable that when the vest is a low, double-breasted one, the 
 photograph should be printed as far as the first button. 
 
90 HOW TO PAINT PHOTOGRAPHS. 
 
 White drapery is usually somewhat modified by the colors of 
 surrounding objects and background, and, of course, its shadows 
 and middle tones will also partake of the same. 
 
 The Use of the JPHmary Colors : For 
 Yellow Draperies. 
 
 The principal of these are as follows : 
 
 Lemon Yellow — ^Which may be shadowed with Roman 
 Ochre and Vandyke Brown ; it is semi-opaque and does not 
 answer for delicate washes. 
 
 Indian Yellow — ^Which is very warm, and the shadows of 
 which should be brown, slightly purple — ^Vandyke Brown and 
 a littie Purple Madder. 
 
 Yellow Ochre — -Which is a pale, sober tint ; the shadows 
 of which can be made with Raw Umber and Roman Sepia. 
 
 Cadmium — Which is a rather orange tint ; can be shaded 
 with Cadmium itself, Burnt Sienna, and Sepia for depth. 
 
 Roman Ochre — Which is a brownish-yellow, semi-opaque ; 
 and can be shaded with Burnt Sienna and Vandyke Brown, 
 using them separately in the order named. 
 
 For the high lights of all the above yellows, add Chinese 
 White to the local color. 
 
 Med Draperies. 
 
 Under this general head may be classed three general divi- 
 sions, as follows : 
 
 Pink — Is simply a reduction, with water or Chinese White, 
 of Lake or Carmine ; although Rose or Pink Madder alone 
 answer mucA better for this color. It may be delicately shadow- 
 ed with its own stronger tint, or a lilac by adding Cobalt to the 
 local color, and the deeper shadows with Scarlet Lake. The 
 lights may be heightened with a thin over-wash of Flake White. 
 
RED DRAPERIES. 9 1 
 
 The delicateness and permanency of the Madders render them 
 by far the most desirable for pink drapery. 
 
 Crimson. — Lake will be found sufficient for all ordinary pur- 
 poses and susceptible of beautiful effects. Carmine is more 
 brilliant and powerful, though not so desirable. The addition 
 of Sepia will shadow the Lake. When Carmine is used the 
 addition of Lake will do for the lighter shadows, and Sepia and 
 Lake for the heavier. When a crimson hue is to be laid upon 
 a rather dark basis — as a heavy curtain — Carmine is preferable, 
 because it is more effective to "kill" the black. For high 
 lights on the Lake add White ; on the Carmine, a few lines and 
 touches of red pencil or hard pastel gives the finest result. 
 
 Scarlet Lake also affords an excellent high-toned crimson, 
 and should be used whenever the purplish tinge of Crimson 
 Lake renders it too dull and undesirable ; but it is not quite 
 transparent. 
 
 Among the crimsons it will be proper to class Garnet, which 
 only requires that Sepia or some other cool brown be added to 
 Crimson Lake ; and Wine-color, a beautiful hue which results 
 from first washing with Dragon's Blood and afterwards deepen- 
 ing with Lake. Put on high lights of the latter with red pencil. 
 
 Scarlet. ^ — -The different hues can generally be produced with 
 the Vermilions. Scarlet Vermilion and Carmine make a splen- 
 did but opaque tint ; whilst another more transparent — applica- 
 ble for silks, etc. — can be made with Indian Yellow and Car- 
 mine. Vermilion, if used alone, can be increased in brightness 
 by laying under it a strong tint of Cadmium or Indian Yellow. 
 The shadows of scarlet may be worked with Lake and Sepia ; 
 and for the high lights add Indian Yellow or Cadmium and 
 Chinese White to the local color. 
 
 The other red pigments. Light, Indian, and Venetian, are 
 not likely to be wanted in photographic draperies ; at least not 
 for general application, although they may often serve as bases 
 or first-washes for those above mentioned. 
 
92 HOW TO PAINT PHOTOGRAPHS. 
 
 The red parts having been transmuted to dark in the photo- 
 graph, and which are to be painted red again, are usually much 
 assisted by a wash preparatory to the local color. Vermilion, 
 especially Scarlet Vermilion, and sometimes Orange Chrome 
 may be used to "kill " the blackness. 
 
 When it is intended the picture shall contain a large quantity 
 of red, it is always best to put on the local-washes of these red 
 parts before giving attention to the flesh ; if this is not done and 
 the flesh is worked first, disappointment will ensue — as the over- 
 powering mass of positive red will "kill "the carnations, and 
 oblige the student to repeat his work. He may be able to do 
 otherwise after some experience, but this plan is always the 
 safest. 
 
 ^lue jyrfvperies. 
 
 Except as an accessory, blue is regarded to be a cold, disa- 
 greeable color and extremely difficult to harmonize with others ; 
 at least within the limits of a photographic painting. There- 
 fore if blue must be used, the student should endeavor to "kill " 
 it as far possible with warm, brownish shadows, so as to make 
 the local color appear negative or only hlutish ; and use pure 
 blue only in the highest lights. In like manner, when painting 
 military uniforms, the tone may be rendered warm by killing the 
 mass of raw blue with a slight addition of Lake. Blue is often 
 a favorite color with ladies, and hence if it becomes necessary to 
 paint a dress blue, the colors of all the accessories should be 
 determined with a view to destroy its obtrusive predominance. 
 
 The respective merits of the blues have been elsewhere men- 
 tioned. In draperies of this color the lights and half-lights are 
 cold, but the shadows must be warmed with Lake or Sepia. Co- 
 balt may be used as a local color for the lighter tints ; French 
 Blue for the more intense, and to this add Indigo for the deepest. 
 
 When black — black lace, for instance — is contrasted with a 
 deep blue, the former should be made warm ; instead of actual 
 black, warm browns may be used— and these by contrast will 
 appear black. 
 
COMPOUND COLORS FOR DRAPERIES. 93 
 
 Compound Colors for Draperies, 
 
 Green — Is a ver}' powerful color and a disagreeable one if 
 used in large masses. The simple compound of any yellow 
 with a blue forms green, but the respective gradations of hue 
 and tone in each component produces corresponding results 
 when mixed together. If clear, bright green is desired it must 
 be formed oi positive hues of yellow and blue — and vice versa. 
 
 The different varieties of green may be composed as follows : 
 Indian Yellow with Prussian Blue or Indigo ; Burnt Sienna 
 and Indigo, a beautiful russet ; Sepia and Indigo, a drab, dull 
 green ; all of which are transparent and reducible to the lightest 
 washes. 
 
 Gamboge and Cobalt form a pea or cold light green ; Gam- 
 boge and Prussian Blue make the brightest, most positive, and 
 best known green ; and additional low-toned hues can be form- 
 ed by adding the broken yellows (Roman Ochre, Raw Sienna, 
 Brown Pink, Yellow Ochre, etc.), or some of the lighter and 
 warmer browns (Burnt Umber, Vandyke Brown, Roman Sepia, 
 etc.), to the blues and Indigo. These are not entirely trans- 
 parent and not so useful for the more delicate draperies. Add 
 Chinese White for the lights. 
 
 However, when blackness is to be overcome, the transparent 
 mixtures named must yield to the green containing Gamboge, 
 which on account of its turbidness is only the more valuable 
 for this purpose. 
 
 The pigment known as Prussian Green furnishes to hand a 
 splendid hue in drapery, and is suitable and useful for curtains, 
 cushions, and dark silk dresses. Its proper high light is the 
 prepared Emerald Green, which can be still further heightened 
 with Chinese White. 
 
 Purple. — The various hues of purple — lavender, violet, lilac, 
 plum, etc.^ — are formed with the blues and crimsons. Enough 
 has been said of these as simple colors, to direct the student's 
 choice in compounding them. The lighter and more delicate 
 
94 HOW TO PAINT PHOTOGRAPHS. 
 
 can be produced with the Madders and Cobalt ; the darker and 
 stronger with Carmine or Lake and Prussian Blue or Indigo. 
 French Blue and Crimson Lake form a very bright and clear 
 shade which is of great use. All purples may' be subdued with 
 Sepia. Make the shadows with local color and Madder Brown ; 
 and if they are to be very heavy, the dark shade may be obtain- 
 ed with Madder Brown and Purple Lake. High lights, local 
 color and Chinese White. 
 
 Orange. — The ordinary compound is formed in various de- 
 grees by mixing the yellows with Vermilion or the Crimsons ; 
 and also in the already prepared Orange Chrome. Cadmium, 
 with Carmine and Lake, produces gorgeous tones. Shadows 
 are found in Carmine or Lake added to the local color and 
 qualified with warm Sepia ; the lights require a preponderance 
 of White. 
 
 Maroon. — A very fine hue of this color exists in Madder 
 Brown alone. Others are formed of Sepia and Lake, with or 
 without the addition of a little Cobalt ; and also with Lake or 
 Madder Brown and Burnt Sienna. Modify the shadows with 
 Vandyke Brown and Sepia. 
 
 The Browns. — Under the head of Pigments, their Qualities 
 and Adaptations, much has been said concerning the various 
 browns. It is not, however, a generally desirable color for 
 dress in pictures, and seldom used, except to give variety, or 
 where its use may be necessary on account of the number of 
 figures in the picture. The browns as already prepared, either 
 alone or by intermixture, will suflSce ; and should be selected 
 according to the photographic base on which they are to be 
 laid. " SnufF-colored " brown, used for very old-fashioned 
 coats, may be found in Burnt Umber or Venetian Red and 
 Lampblack. Work the shadows with the deeper kinds, lowered 
 if necessary with Neutral Tint or Lampblack. For high lights 
 add White. 
 
 Black. — This may almost be considered the universal color 
 
COMPOUND COLORS FOR DRAPERIES. 95 
 
 for male apparel and is in constant demand by the photograph 
 painter. The very best transparent black for cloth, silk, and 
 other black fabrics (except velvet) is the compound of Indigo, 
 Lake and Sepia ; which, if properly mixed and the right tone 
 (a deep violet) obtained, will produce as fine a color as can be 
 desired. Instead of Sepia the use of Gamboge has been ad- 
 vised, but the working qualities of the former are so very supe- 
 rior to those of the latter, the first-named is most generally used. 
 
 The preparation of this valuable compound is a matter of no 
 little consequence, and of some diflBculty in obtaining just 
 the depth and tone wanted. To succeed well, the student will 
 find that it must be done systematically, and that if the three 
 are mixed together hodge-podge he will be compelled to add 
 now a little of one, and then another, to obtain the desired 
 tone — and dirtiness will be the sure result. Instead of that, 
 choose one of the following methods as suits best, and proceed 
 understandingly : (i.) With Indigo and Lake form a deep 
 purple, then add Sepia until a satisfactory black is produced. 
 (2.) With Indigo and Sepia make a deep green, and neutral- 
 ize this by adding Lake. (3. ) With Lake and Sepia make a 
 strong maroon ; neutralize this by adding Indigo. 
 
 Inasmuch as the compound is based principally on the Indi- 
 go, perhaps the third method may be less desirable than the 
 other two. The chief difliculty will be found in deciding just 
 when to stop adding the color which neutralizes the others into 
 blackness ; and to this end the mixture should be constantly 
 stirred with a brush, so that its depth and tone are understood 
 while the third color is being added. 
 
 The shadows are to be worked with local color, used strongly, 
 and deepened with Indigo, if necessary. The high lights must 
 be put on with a body-color of pure gray — Lampblack and 
 Chinese White — used sparingly. 
 
 Lampblack cannot be used much in draperies, for the sim- 
 ple reason that it is opaque and will necessarily obliterate the 
 shadows of the photograph, whereby many of the lines and folds 
 
g6 HOW TO PAINT PHOTOGRAPHS. 
 
 of the drapery would be lost. It may be used, however, for the 
 very deepest shadows in connection with the Compound Black, 
 and also for the local color of black velvets — in which case all 
 the lights are to be worked on afterwards with the gray afore- 
 said. 
 
 India Ink, as a black for drapery, can be used only where a 
 dullness of the fabric renders it appropriate, as in the case of vel- 
 vets. It can be toned cold or warm as circumstances require, 
 and being transparent, is perhaps more desirable than Lamp- 
 black. Nothing can render it brilliant or powerful, however, 
 like the Compound black, and its greatest use will always be 
 confined to working the flesh. 
 
i)rtt^tttt^tn$+ 
 
 Gold, Jewelry, Precious Stones, etc. 
 
 The gold ornaments almost inseparable from photographs of 
 women, gentlemen's watch chains, and the buttons and tinsel 
 upon military uniforms, should not be painted too bright, for 
 gold is of a rather quiet and unobtrusive color. When the 
 lights upon the jewelry offer for the most part a clean surface, 
 Roman Ochre furnishes the best wash, except for Etruscan gold, 
 which requires more intense color and demands Indian Yellow 
 as its local. In both cases the shadows can be put in with 
 Burnt Umber, and Burnt Sienna for the stronger touches. The 
 high lights require Indian Yellow and Chinese White, on ac- 
 count of their unmistakable permanency and brilliant effect, — 
 and this may be further increased by very light after-touches of 
 pure white. 
 
 Jewelry is not unfrequently taken so dark, however, that it 
 becomes necessary to give it a preparatory wash of Indian Yel- 
 low, else the Roman Ochre alone will appear too dull. 
 
 To delineate the ornamental work of gold jewelry when the 
 exact drawing is obscure, there is no more effective manipula- 
 tion than dois, the high lights on which give the appearance of 
 raised points, chased surfaces, etc. ; but they should be aptly 
 located on the edges and wherever it might be supposed the sur- 
 face would be raised, or points occur. This is specially appli- 
 cable when the ornament is small or indistinct — these high- 
 light dots being sufficient to impress the imagination and create 
 a form though none really exists. 
 
 5 
 
98 HOW TO PAINT PHOTOGRAPHS. 
 
 Precious Stones. — For the various colors of the precious 
 stones the student is advised to examine the originals and copy 
 his local color from the stone itself, as instructions here would 
 be for the most part insufficient. The photograph will be 
 found to give dark bases for most of these stones, and the use 
 of body-color becomes necessary. The pale red Coral will also 
 require a preparatory working with Scarlet Vermilion, whilst the 
 deep red must be done with Vermilion bodily. Garnets will 
 photograph like jet, and then again be almost white. 
 
 The beauty of the stone nearly always centering in its brilliant 
 light, the student will see that his important task is comprised 
 in designating the exact tint of these lights, which are not always 
 found by simply adding Chinese White to the local color. In 
 general, however, this is practicable ; and the hght should be 
 increased by an additional minute touch of pure white. Gum 
 Arabic should be applied freely, and no effort spared to pro- 
 duce the most intense effect ! 
 
 In cases where the jewelry is extensive and elaborate and 
 constitutes a striking point in the photograph, the painting 
 should be AoTx&from the thing itself, instead of depending on 
 notes, or from memory. If much of it is worn upon the neck 
 and bust, as a necklace, watch-chain and brooch, considerable 
 of their exact drawing is lost by the motion of breathing while 
 sitting for the negative. Nor is it easy, without having exam- 
 ined the jewelry, to decide positively which of the high lights 
 belong to the gold and which to the stones. 
 
 Bronze. — If anything like a bronze vase or table ornament 
 occurs in the photograph, it can be done with a mixture of 
 Burnt Sienna and Prussian Blue, which' upon the dark basis 
 will answer very well. Put on the high lights with a yellow 
 pencil. 
 
General Hemarks. 
 
 Although the subject of accessories might with propriety be 
 included under the general head of Background Painting, it is 
 a matter of sufiBcient importance to merit a special chapter. 
 
 By the term accessories is meant the various auxiliaries intro- 
 duced in the picture to assist the position, explain the idea, re- 
 lieve the figure^ etc. — such as curtains, tables, chairs, footstools, 
 libraries, flower-vases, and whatever may be natural to, or sug- 
 gested by, the subject in hand. 
 
 To elaborate these accessories overmuch is a very common 
 error with beginners, who lose sight of the feet that it detracts ■ 
 from the importance of the figure. On the contrary, by treating 
 accessories with breadth and freedom and massing them ju- 
 diciously, we obtain a result at once advantageous to the figure 
 and easily practicable as to finish. When such an effect is ob- 
 tained, there is no difficulty in fixing upon the necessary degree 
 of elaboration, as it is then easily perceived how extreme detail 
 would be injurious. [The foregoing remarks apply also to 
 Landscape painting : there should be no precise definition of 
 leaves in the near foliage ; no minute laying out of branches : 
 but rather truthfiilness oiferm, and completeness in massing the 
 foliage. J 
 
 In simple bust pictures the introduction of an accessory is, 
 to say the least, injudicious. Nothing will be more suitable 
 for such pictures than a plain background ; but in larger pic- 
 tures some kind of accessory frequently becomes indispensable. 
 
100 HOW TO PAINT PHOTOGRAPHS. 
 
 For instance, where the arms are introduced, some object, as a 
 chair or table, or both, may be necessary to account for the po- 
 sition ; but it should be constantly remembered that unless the 
 accessory does assist the picture or harmonize with the age, po- 
 sition, or character of the person represented, it must be omitted. 
 
 It is not an uncommon thing to see pictures so overloaded 
 with gaudy bed-furniture curtains ; walls entirely covered with 
 lines and panels; vases filled with artificial flowers; columns 
 and plaster of Paris statues ; windows, arches, old-fashioned 
 furniture, etc. ; while the colors of these may be so glaring, and 
 the details of form so precise, that it is well-nigh impossible to 
 determine the actual intention of the photographer or the col- 
 orist — -whether it be to display the. figure or the accessories ! — 
 and of course the portrait is rendered wholly a matter of second- 
 ary importance. 
 
 The accessory most usual in common practice "besides the 
 chair or table which nearly all portrait-photographs contain, is 
 the introduction of a curtain ; and it must be conceded that 
 this can be made of very great use in assisting the general effect. 
 In undertaking to put in a curtain, the first important thing is, 
 to be able to draw an outline and obtain folds which will really 
 imitate the thing itself, so as to produce a graceful flow and 
 avoid stiffness. After that, the addition of cord and tassels, if 
 desired, will claim a like degree of ability and judgment. 
 
 As already mentioned in the chapter on painting drapery, the 
 general line of the folds and masses should indicate the nature 
 of the fabric ; whether it be intended for velvet, brocade, silk, 
 etc. Brocade (or brocatelle) will be more easily distinguished 
 and represented by the lines and figures that should be worked 
 upon it — another point to study. White lace curtains may some- 
 times be introduced with excellent effect, but must never be 
 painted as though it was essential to define their every interstice ! 
 It will quite suffice to give a certain amount of detail along the ' 
 edges and on the higher lights, but it should be left to the im- 
 agination to supply all the rest. 
 
PAINTING OF CURTAINS. 1 01 
 
 Painting of Curtnins. 
 
 It being quite probable that the student will be employed 
 more on curtains than on any other of the various accessories, a 
 few practical methods for painting them are herewith given : 
 
 Red Curtain. — Mark out the folds and shadows with Sepia ; 
 then lay on a wash of Carmine or Crimson Lake ; and over 
 that, when dry, others of the same, until a proper strength is 
 reached. Deepen the shadows with Sepia and Lake, or Madder 
 Brown. If it becomes necessary to Ireak down any part that ap- 
 pears too glaring, lower the red tint by hatching upon it with 
 broad touches of Madder Brown — or still more, with Sepia alone 
 or with Lake. For high lights mix Chinese White with the 
 local color, or touch them on with a red pencil or hard pastel 
 of the proper tint, which is the best way. 
 
 Amber-colored Curtain. — Wash with Indian Yellow modified 
 with Burnt Sienna ; shadow with Burnt Sienna and afterwards 
 with Vandyke Brown or Sepia. High lights, use Indian Yellow 
 and Chinese White, or the yellow crayon. If it is desired to 
 give it a retiring effect, paint a black pattern upon the curtain, 
 or cross it with fine diagonal lines. 
 
 Green Curtain. — Under the head of Drapery many combina- 
 tions are given for green. The already prepared Prussian Green 
 is a very good local color for a brilliant, strong and cool tone. 
 Shadow in the same manner as for green drapery, using Emerald 
 Green for the high lights. 
 
 For other hues appropriate to curtains,' see Compound Colors 
 for Draperies. In a truly artistic sense the Secondary colors are 
 preferable and sufficiently decided for curtains. The pure and 
 unalloyed tones of yellow, blue, and scarlet-red are rather too 
 attractive for the subsidiary position of a curtain, and would be 
 too apt to overwhelm the figure. The more grateful hues of 
 purple, green, and brown will be found much more proper and 
 agreeable. 
 
102 HOW TO PAINT PHOTOGRAPHS. 
 
 It is to be regretted, however, that the professional photo- 
 graphic painter is frequently compelled to do what is not alto- 
 gether in strict accord with true art ; though the conscientious 
 artist will always aim to direct his judgment as far as possible in 
 harmony with a correct standard. In the end he will be likely 
 to please the majority of his patrons and achieve a good reputa- 
 tion. 
 
 The wood-work of furniture may be represented as Mahog- 
 any, Rosewood, Walnut, and Oak, according to the local color 
 used. Venetian Red or Light Red will produce the Mahogany 
 color ; Crimson Lake and Sepia will give the various tints of 
 Rosewood ; Burnt Umber, lowered with Sepia, will furnish the 
 Walnut color ; and for the Oak use Yellow or Roman Ochre 
 as the case requires. Warm Sepia and Lake, Burnt Sienna and 
 Carmine, with an after-wash of Sepia, also form good furniture 
 colors. Madder Brown may sometimes be used when the basis 
 is dark. 
 
 The high lights on furniture are grayish-blue (body-color) 
 and should be touched on with distinctness. A feW delicate 
 after-touches of white increases the brilliancy of the lights, which 
 is very essential in correctly representing the highly polished 
 wood. The free use of Gum Arabic is also as necessary to imi- 
 tate furniture in a picture as varnish is to complete the bright 
 effect of the thing itself 
 
 The colors of the velvet, brocatelle, or doth furniture-cushioh 
 should be discreetly chosen ; for the reason that in many pic- 
 tures it is the only place for the introduction of a positive hue 
 with which to harmonize the flesh or drapery. 
 
 Ca/fpets and Table Clovers. 
 
 These should for the most part be kept in great subjection 
 to the figure. If it is necessary to work somewhat in detail the 
 various parts of the pattern-figure, the colors should not be 
 
CARPETS AND TABLE COVERS. IO3 
 
 applied with too great nicety and precision ; and no attempt 
 should be made to work out the exact pattern — else the result 
 will look like a piece of mosaic work, and the effect be hard 
 and disagreeable. 
 
 While the student is recommended, as a general rule, to treat 
 the pattern of carpets indifferently when they occur in shadow 
 and along the edges of his picture, he must also be able to con- 
 centrate his light in a particular spot by working out with more 
 distinctness, and with brilliant colors, the pattern as defined by 
 the photograph. With this idea in view, let him work the car- 
 pet in fiill light only at the feet of the figure, the borders being 
 kept in shadow — especially that which lies along the bottom or 
 front of the picture. If this is in shadow, and the light kept up 
 at the feet of the figure, it necessarily follows that the figure will 
 be thrown back and so placed as to attract the eye instantly, 
 involuntarily, and pleasurably. 
 
 An exception to the foregoing occurs when it is necessary to 
 make a tessellated floor, which, so far as light and shadow are 
 concerned, can be regulated in the manner spoken of; but the 
 geometrical drawing, according to the rules of perspective, must 
 be rigidly maintained throughout. The tessellated floor is sel- 
 dom introduced into photographic paintings now-a-days, and 
 scarcely demands particularization here. It is mainly suitable 
 for halls, terraces, porticos, etc. 
 
 The handling of the brush in working on carpets should as 
 much as possible be performed with short horizontal lines and 
 touches. If the lines which indicate the direction of the carpet- 
 pattern as a whole incline to the perpendicular, the carpet (or 
 floor) will too often seem to run up toward the back part of the 
 picture ; and for this reason it is better and easier — when the 
 carpet is not specifically defined in the photograph — to lay it out 
 diagonally with the base-line of the picture. This will not. only 
 aid in covering bad drawing, if there be any, but it gives variety 
 of line, as opposed to the perpendicular figure, the panels, and 
 lines drawn upon the wall. 
 
104 HOW TO PAINT PHOTOGRAPHS. 
 
 The same general directions given for the treatment of cur- 
 tains and carpets are equally applicable to Table-Covers. The 
 student must guard against over-finish and flatness. Only that 
 part of the cover next to the sitter should receive attention, al- 
 lowing the other side to remain in shadow. If the cloth be 
 figured, avoid such color and detail as will seem to lose the dis- 
 tinctness of the hand that may rest upon it. The cloth should 
 hang in easy folds at the side, and the tone of color be subdued 
 as it approaches the floor. Being of minor importance, it should 
 comprise very little variety of color, with few high lights. 
 
^mkjrmwk. 
 
 General Memarks. 
 
 A CONSIDERATION of most vita,l importance in the manage- 
 ment of a picture is the background, which may be understood 
 as comprising everything seen beyond the plane on which the 
 principal figure or figures are arranged. 
 
 The chief technical resources of background painting are to 
 be found in Landscape, Architecture, and Drapery. 
 
 It should, in general, be of a negative chara:cter and retiring, 
 in order to give prominence and force to the subject painted. 
 It affords the student an opportunity for showing his originality 
 in the introduction of striking and ingenious devices which shall 
 add grace and interest to the figure, — giving vigor and point 
 to some parts, softness and repose to others, and union, har- 
 mony, and effect to the whole. Whatever is introduced, there- 
 fore, should be in perfect agreement y^i'Csx the character of the sub- 
 ject in hand. 
 
 It will be desirable that the photographic basis — the print — 
 should possess a tone midway between the highest lights and the 
 deepest shadows, in order to give due relief to all parts and 
 produce the best results in coloring. But this is not always the 
 case, and except when the photograph has a white ground, the 
 student is unfortunate (as professional painters usually are) in 
 not being able to select his tint of background, and must yield 
 whatever desire he may have to the necessities of the case. 
 
 In the treatment of backgrounds two essential points are to 
 be considered — tone and color. The color is to be chosen in 
 
Io6 HOW TO PAINT PHOTOGRAPHS. 
 
 the same manner as those for draperies — with respect to the 
 head and figure. The tone must be always different from the 
 mass it supports and of which it is the ground, so that the ob- 
 jects coming upon it may not seem transparent, but solid and 
 raised — "reheved." The color of the hair usually determines 
 the .tone of the ground in portraits or vignettes, but in figure 
 pictures the hue of the drapery should be regarded, so long as 
 the color selected does no violence to the face. 
 
 When the ground is neither a curtain nor a landscape, but is 
 plain and intended to represent a wall, it should consist of bro- 
 ken tints and not of one uniform color, while it should also be 
 lighter in some parts than others, so that the figure may not ap- 
 pear "inlaid." 
 
 This is usually effected by introducing pilasters, panels vari- 
 ously hued, etc. 
 
 After the head and drapery are painted, it is the background 
 that really completes the picture ; and its use is not merely to 
 throw out the principal object, but (as before mentioned) to 
 control and harmonize the whole. 
 
 The student must remember the simple principles of cA/a/'o- 
 oscuro ; always to relieve his figure and accessories by placing 
 light against dark and dark against light. Hence if the head 
 or figure to be painted has one side in shadow, his back- 
 ground must be kept lighter against that side,- and made darker 
 against the other side which has the higher light upon it 
 
 There are two principal methods of " relieving " a figure: 
 first, when the light is on the subject ; and second, when the 
 subject appears dark on a light ground. For portraits, the 
 former is best adapted ; and the tint of the background — the 
 tone of which is always to be kept low in order to throw out the 
 lights upon the head — may be varied through all possible grada- 
 tions, from the shadow thrown upon a light-tinted wall to the 
 depth and obscurity which surrounds a figure placed just within 
 an open door. Light backgrounds involve less labor but they 
 have not the force of dark ones, for it is obvious that light will 
 
REPETITION OF LIGHT AND COLOR. I07 
 
 always appear brightest when it is surrounded with shadows or 
 darkness. Certain parts of the figure may sometimes almost be 
 lost in the ground whilst other parts should come sharply out 
 of it. 
 
 These facts will very naturally suggest the appropriateness of 
 the method first-named for men, and of the second for women 
 and children. In the former, our ambition is to depict charac- 
 ter and strength, which would demand the force and solidity of 
 a dark ground ; whilst in the latter our aim is to portray soft- 
 ness, repose, and beauty, which would require a light ground, 
 or the moi-e' suggestive and harmonious ' ' clouding " of a vig- 
 nette. 
 
 In solid backgrounds it is a good plan to keep the warmest 
 colors near the centre of the picture and the colder colors out- 
 side. 
 
 Repetition of Light and Color. 
 
 An open window or door, affording a glimpse of landscape 
 outside, may sometimes be introduced to great advantage, for 
 the purpose of extending the light which would otherwise be 
 confined to the figure, as well also for the repetition of color. 
 For instance : if the interior color be dark-tOned, the introduc- 
 tion of a few warm tints into the sky (as seen through the win- 
 dow or door), serves to repeat the color of the flesh ; while 
 other tints of ground and foliage may repeat the color of the 
 draperies — and thus, by contrast or complementary effect, the 
 value of the whole is enhanced. 
 
 Concerning this repetition of color it may be observed, that 
 it is not intended to repeat the color with exactly the satne 
 tint in any case whatever, but by one 0/ its kind in general. 
 The object of this being to raise or to lower the tone of the 
 colors upon the figure, the reds, the yellows, and blues are to 
 be regarded as general colors, and not as individual tints of any 
 one color. 
 
I08 HOW TO PAINT PHOTOGRAPHS. 
 
 JPractical Directions. 
 
 With the foregoing chapter upon the nature and characteris- 
 tics of backgrounds in general, special directions for painting 
 the same may now be given. 
 
 In general practice it is advisable to use negative grays, blues, 
 and purples, especially for pictures of fair persons and children. 
 Dark complexions should have dark backgrounds inclining to 
 red or warm brown. Olive greens give additional value by 
 throwing up the carnations of the face. Never use a cold, blue 
 green, although the use of this color may otherwise vary from a 
 yellow-^re.tn to a drab. 
 
 The gray, blue, and purple tints above-mentioned can be 
 used to most advantage in vignette pictures when made on clean 
 white grounds. In these instances, the background should be 
 painted to represent clouds — atmosphere — (giving to the head 
 an appearance as if seen against the sky), and can be manipu- 
 lated as follows : 
 
 Having selected and prepared your cloud-color wash or 
 washes (as the case may be), proceed with a light tint of the 
 same over all the space intended, remembering to lay out the 
 edges with convolutions and broken forms, as seen in nature ; 
 then as quickly as possible go around the edges of this with a 
 brush just moist, which will absorb part of the color, and there- 
 by soften the edges of the cloud-mass into the . clean paper. In 
 doing this, break up the upper edges into delicate, fleecy trac- 
 ings, but occasionally leave some of the lower edges heavy in 
 color, to represent the shaded side of the cloud. In laying the 
 wash, occasional specks and lines should be reserved white, like 
 breaks and openings— in order to save rubbing out afterwards 
 ■ — ^which will produce a very fine effect in the end. 
 
 When this first wash is absorbed, lay on another and darker 
 tint, keeping it a little distance within the outline of the first, 
 but not always at a regular distance. Neither should there be 
 any uniformity of convolution or shape between the outer edges 
 
PRACTICAL DIRECTIONS. IO9 
 
 of the first and second wash, as nothing of the kind exists in 
 the natural cloud-forms which are now being imitated. Add a 
 third and still darker wash at the proper time, if necessary, in- 
 side of the edge of the second. Two washes are usually suffi- 
 cient, although the number and the strength of color must al- 
 ways be regulated by the work in hand. 
 
 Perhaps one, or, at most, two washes will be found quite 
 strong enough against the dark side of any face if three be used 
 to relieve the light side ; remember they should never be alike 
 in degree of tone. 
 
 If the clouding is to be composed of more than one tint, all 
 must be prepared and everything ready before commencing the 
 wash ; then the different tints can be placed as the color flows 
 and is absorbed. If this is dextrously 'accomplished and the 
 washes kept pure, a great point is gained ; and — barring the 
 flatness, and want of " atmosphere "■ — a beautiful effect pro- 
 duced. 
 
 For a shadow-cloud (or rather a shadow of the head upon the 
 cloud) designed to relieve the dark side of the face — just as it 
 would be proper to execute a shadow upon a wall background 
 — it may be necessary to increase the strength of the color in 
 hand, or use an additional darker one. 
 
 Although the foregoing method of producing cloud back- 
 grounds by washing is expeditious, and may suffice for pictures 
 that are not intended to be wrought finely — and may also do 
 for the beginner in photograph painting — it is nevertheless in- 
 complete ; and lacks the artistic finish that is essential to an ex- 
 cellent Y^ctax^, — especially a vignette-head on a white ground. 
 
 Therefore if the work is intended to be elaborate and com- 
 plete, the best aerial eflfect will be obtained by hatching over the 
 entire ' ' cloud surface " which has been already washed. When 
 the clouding is to be finished in this manner, the selection of 
 the wash-tints must be done with reference to the hatching-col- 
 or, so as to avoid muddiness in the end. This process will re- 
 quire a very great amount of time, patience, and labor ; but if 
 
no HOW TO PAINT PHOTOGRAPHS. 
 
 the proper handling has been used the superior result will am- 
 ply repay. 
 
 Cloudings for children's heads should be composed of what- 
 ever tints harmonize best with the face ; a subdued green can 
 sometimes be introduced freely with good effect For women 
 the tints should be more sedate but still fresh and rather varied ; 
 and for men the cooler and stronger grays, drabs, and greenish- 
 browns will be appropriate. 
 
 Reference has already been made to the "shadow-cloud :" 
 the darker side of the face is always greatly relieved and a good 
 effect produced by projecting a moderate shadow upon the 
 clouding at a little distance from the head. It should be worked 
 somewhat along the lower edge of the clouding ; and, gradually 
 rising, seem to lose itself in the general tone as it rises. If the 
 shaded side of the face be very dark, it can be made to lessen 
 one-half its blackness by putting in this effect of shadow-cloud 
 sufficiently strong ; but care must be had so that, while a due 
 strength of color is used, the idea of atmosphere be not destroy- 
 ed ; lest that which is intended to be aerial may prove to be 
 ' ' of the earth, earthy. " 
 
 Indeed, all the hatching and stippling used to obtain a cloud- 
 effect must be done with comparatively faint but decided lines 
 and touches. Remember that the former should never inter- 
 sect each other at right angles, or run too much in parallel lines. 
 Crossed hatching-lines, drawn somewhat less than forty-five de- 
 grees from the right or left of a perpendicular, produce the 
 aerial effect, if not too distinctly drawn. They should be light 
 or heavy according to the depth of the wash upon which they 
 are worked. The edges of the clouds must always be lighter 
 and more delicately handled than the central parts. 
 
 Opaque Backgrounds, 
 
 Although it is the practice of some artists to meet the diffi- 
 culties arising froin very dark or otherwise objectionable back- 
 
BACKGROUNDS IN SOFT PASTEL. Ill 
 
 grounds in the photograph by painting them entirely in " body 
 color", (mixing all the colors used with Chinese White), the 
 practice is at best considered inartistic and open to many ob- 
 jections. It is not meant here that body-color is never to be in- 
 troduced ; but the exclusive- and entire use of it is not advised, 
 for these reasons, viz., — 
 
 Water color painting is, for the most part, a method of using 
 transparent pigments ; consequently any attempt to engraft the 
 capabilities of other styles totally different in this important 
 quality, cannot end otherwise than in a loss of the chief beauty 
 of water colors. This is the theory of its application to photo- 
 graphic painting. 
 
 The handling of the body-color method must necessarily be 
 akin to the practice of oil rather than water ; and though it 
 gives more power than the latter style, it causes a total sacrifice 
 of all the beauty of transparent color. To complete a back- 
 ground in this manner is sure to destroy the general softness of 
 the picture, and is equally certain to make the head or figure 
 look "inlaid," or as if cut out and pasted against the ground ! 
 
 If the background is to be made an important feature of the 
 picture, it is infinitely better to have the photograph taken 
 with a white ground at first ; or else have the figure cut out and 
 printed without the original background. Then the artist has 
 a basis upon which he can exercise his choice, and a field is 
 opened to him in which to display his ability in the true style of 
 water color. 
 
 But when the ground is to be plain and of one shade, very 
 beautiful effects are afforded with soft pastel, to which attention 
 is now directed. 
 
 Backgrounds in Soft Pastel. 
 
 The objections generally urged to opaque grounds must be 
 yielded in this species of work ; for, while there is no better way 
 of covering over a scratched ot speckled surface in the photo- 
 graph, there is also no other means of producing a new one 
 
112 HOW TO PAINT PHOTOGRAPHS. 
 
 which can rival it in evenness of tint or shade, softness, and at- 
 mosphere. 
 
 Perhaps the most valuable characteristic of pastel is its great 
 use to the artist when he has in hand a copy of some old da- 
 guerreotype that has a horrid background of streaks, dust-marks, 
 scratches, stains, etc. Whether the copy is to be worked in 
 India-Ink or color, he will be surprised to find how readily and 
 expeditiously he can get rid of an abominable task, in which, 
 but for pastel, he would be compelled to exhaust his patience 
 by stippling to smoothness. 
 
 Gray Pastel — for India-Ink Work.- — First touch out all 
 the ^'prominent spots, lines, etc. , that appear white ; then by 
 washes of Lampblack bring the photographic ground to about 
 the tone, ot if anything darker than the shade of the pastel about 
 to be used. For this particular purpose Lampblack is superior 
 to any other pigment, on account of its ' ' body, " which creates 
 a ' ' tooth " on the surface, to catch arid hold the pastel when 
 subsequently applied. 
 
 In preparing the ground for the pastel it should be done as 
 evenly as possible, and as the powder is not to be rubbed on 
 too thickly it is plain that the more equal in tint the basis is 
 obtained, the smoother in surface and tone will be the ground 
 when finished. 
 
 No attempt 'must be made to apply the pastel until the washes 
 have become entirely dry, else the powder will stick or ' ' cake " 
 instantly, and the wash will rub up. Neither should the fingers 
 or hand be allowed to touch the surface, as they are likely to 
 impart just enough of greasiness to keep the pastel from adher- 
 * ing ; indeed the sure preventive is always to wash the finger or 
 fingers intended to be used in rubbing the powder. 
 
 Now crush the pastel to a fine powder with the spatula or by 
 rubbing it on a piece of moderately smooth board (or cardboard) 
 and mix the shades according to whatever depth the work de- 
 mands. Place the drawing-board in a horizontal position, or 
 
BACKGROUNDS IN SOFT PASTEL. II3 
 
 nearly so, and with the spatula gently sprinkle a quantity of the 
 powder over the surface previously washed. Then begin to 
 spread it over the part by rubbing it with the finger over the 
 broad spaces, and with the aid of a Stump carry it into such 
 corners as the finger cannot reach. Spread what is there as far ■ 
 as it will go before adding more, and if the ground-wash is even 
 it can be rubbed very thinly. 
 
 Always put on the lighter shades_;frj'/ and rub the darker ones 
 into them, finishing with the deepest. The finger should be 
 worked with a circular motion, occasionally reversing it, bearing 
 very lightly on the paper, and leaving no marks or any trace 
 whatever of hmju the powder was applied. Do not press the 
 finger too heavily on the powder when the rubbing is com- 
 menced, or it will likely not spread well from that particular 
 spot, and smoothness will be impaired. 
 
 Remember the general rule, to apply the shades of the pastel 
 light against the darker side of the face or figure, and vice versa ; 
 and if the shadow be laid out correctly on the background, the 
 effect will be wonderfully soft and atmospheric. In applying 
 the pastel powder, if some of it is accidentally rubbed beyond 
 the limits of the space to be covered, or upon the figure, it 
 can be removed with a dry brush or soft India Rubber, used 
 very lightly. 
 
 About three tints of normal gray (white and black^ — ^as it is 
 found in boxes), will be sufiScient to compose a good back- 
 ground for India-Ink work, if the Ink has been kept neutral in 
 tone ; but if not, it will be necessary, by the use of colored cray- 
 on, to harmonize the pastel ground with the subject. In ad- 
 dition to the black furnished in soft pastel, it may be preferable 
 to grind down some hard black (Conte) crayon, which is likely 
 to produce a cleaner and less sooty effect. 
 
 To avoid the inlaid appearance and give nature's softness to 
 the outline of the figure, go all around the edges with a moisten- 
 ed (not wet) brush ; this will just break the tone of the pastel 
 where it comes hard against the figure, and give a more pleasing 
 
114 HOW TO PAINT PHOTOGRAPHS. 
 
 result. But even this is unnecessary if cautioji is taken in rub- 
 bing just to, and not over, the outline of the figure. 
 
 Should it become necessary to add other washes to the dra- 
 pery, curtain, or anything else after the pastel has been kid, be 
 very careful that the motion of the brush shall keep the flow of 
 the vi&sh frotn the edges of the part to which it is being applied ; 
 otherwise if the color strikes the pastel, it will spread instantly 
 and the work be damaged, if not entirely ruined. 
 
 If facility is once attained in the manipulation of pastel, the 
 student will be not only surprised and pleased with the beautiful 
 finish which this smooth background is able to -give to his pic- 
 ture, but also with the very simple and easy process by which 
 a result so excellent has been obtained. 
 
 Pastel for Colored Work. — The foregoing directions ap- 
 ply equally to the use oi Colored Pastel, in manipulating grounds 
 for painted pictures ; except that, if the finished ground is to be 
 of a light tint, it will be advisable to give the paper its required 
 "tooth" by adding a little "body" (Chinese White) to a suit- 
 ably colored wash. If for browns or stone color, the Lamp- 
 black will answer as well. 
 
 In addition to the grays, white, and black pastel above men- 
 tioned, it will be necessary to have red, blue, yellow, green, 
 brown, and a few others ; but all should have a negative tone. 
 Enough has already been said to fix the fact that a subdued hue 
 for the background is always most desirable. 
 
 fl®" Pictures with pastel backgrounds — ^whether plain or col- 
 ored — should always be set off with a white-edged mat, and 
 framed at once, to keep them from being touched or rubbed 
 and the dust ; unless they be well covered with tissue or soft 
 Manilla paper. 
 
 Landsca/pe JB'ackgrounds. 
 
 Landscape painting is an art in itself. It is so distinct and 
 separate as a department of the water-color art that no attempt 
 
LANDSCAPE BACKGROUNDS. II5 
 
 will be made to treat of it at length here, and the student is 
 therefore advised to consult works written especially on this 
 branch, or seek instruction from competent teachers. This 
 book, however, will doubtless bC' studied by many who have 
 neither of those advantages by which to obtain this particular 
 knowledge ; and it may not be amiss therefore to treat a few 
 general ideas under this head, though they must necessarily be 
 very brief. 
 
 To obtain the_/J>r«j with which this description of back- 
 ground must be composed — if it is desired to originate one of 
 his own and not to copy the design of another — there is but 
 one rule for the student's guidance : " Study Nature !" and as 
 she is read, so let her be depicted. 
 
 The general design being settled and his drawing made, he 
 must endeavor to obtain a handling of the brush which will in- 
 dicate _/o/!fl^«, and varying according to the peculiar character- 
 istics of the tree or bush he would represent. It may be said 
 that no two persons ever painted a tree with precisely the same 
 feeling ; the difference observable in the representation of foliage 
 as painted by various artists being considerable, and worth 
 studying. 
 
 Some employ the color as wet as possible, and merely blot in 
 the/brms of the trees, mingling light and shadow together, and 
 trusting to the lights intended to be iaken out by rubbing with a 
 moist handkerchief, when the wash is dry. 
 
 Others use their color in a state almost dry, and the hairs of 
 the brush, spreading abroad like a fan, are made use of rather 
 to scumble the forms in than to define them properly. The 
 distinguished English water-colorist Rowbotham, advises that a 
 method between these extremes is the best. 
 
 In a former chapter on the properties and adaptations of col- 
 ors, many are spoken of as being the constituents of various 
 greens suitable for landscape, to which the student can now re- 
 fer, and by practicing somewhat he will discover their adapta- 
 tions to the different parts of the background. 
 
Il6 HOW TO PAINT PHOTOGRAPHS. 
 
 He must not, however, lose sight of the fact that his trees, 
 etc. , are only auxiliary to the idea centered in the figure, and 
 that his landscape effects must be of secondary importance. 
 If by study and practice he happily succeeds in obtaining the 
 correct position and form of natural objects — evincing in the 
 handling thereof that easy, broad and " sketchy" manner so 
 peculiar to the water-color art — it will be found that compara- 
 tively little work is required to furnish what will suggest to the 
 imagination a much more pleasing result than, with extraordi- 
 nary particularity and labor, could have been produced to satisfy 
 the eye. 
 
 These remarks are particularly applicable where it is purposed 
 to execute the landscape ground in one tint, as for instance, 
 an India-Ink picture. Let the figure be photographed against 
 a screen that will produce an ordinary tone of light gray ; then 
 with various shades of Lampblack washes, throw in \h& forms of 
 trees, shubbery, rocks, water, straggling vines, clouds, etc. (ac- 
 cording to design) ; strengthen these with shadow-washes blot- 
 ted in according to the direction of the light, deeper and various 
 as the situation requires. With a smaller brush and thicker 
 color trace the shadows on trunks, branches, stalks, and add the 
 more delicate 'as 'well as decided lines in the foreground — for 
 grass, flowers, stones ; remembering, that the merest spots of 
 color and seeming indifference of line if aptly given will appear 
 to the mind's eye as a graceful abandon of nature. The lights 
 should be done with pure gray, and certain salient points with 
 touches of Chinese White. If properly done, this method will 
 be found quite useful and popular ; and if the student has pre- 
 viously acquired the proper manipulation and the ability to re- 
 produce nature's forms,^ he will find it more of pleasure than 
 labor. 
 
 Much of the chromo-lithography of the present day serves a 
 valuable purpose to the student who aims to possess himself 
 with the true ideas of landscape in water-color, affording con- 
 venient opportunities for studying the color and effects of the 
 
LANDSCAPE BACKGROUNDS. I I 7 
 
 great English masters ; and to a minute examination and imi- 
 tation of these works — as well as the writings of Barnard, Penley, 
 Rowbotham, and others — the more ambitious are referred. 
 
 Beyond all question, the ability to complete a good landscape 
 background will demand of the beginner as it does of the artist 
 study, earnest attention to nature, and care in the arrangement 
 of all the parts. Above all, he should endeavor to attain a de- 
 gree of ' ' feeling " for the. subject, in order to comprehend and 
 imitate nature ; not with a mincing particularity, but with a 
 dignity, ease and breadth that will bring the imagination and 
 the eye into complete harmony. 
 
Introductory. 
 
 Having given the manner of painting the various deiai'h it 
 may now be considered advisable, if not essential, to recom- 
 mend /o beginners a convenient order to be pursued in treating 
 the whole. Not that there is (as in oil painting) a certain nec- 
 essary routine ; but first, because this work will doubtless be 
 used by persons having no opportunity to witness the manipu- 
 lations of professional colorists ; and, second, because a place 
 is afforded here to record certain incidental diitz'aaa.'s, which can- 
 not be properly classed under any other special heading. It is 
 not intended, by any means, to furnish an unalterable pro- 
 gramme, but merely a light upon the student's pathway, which 
 will enable him in a little while, perhaps, to travel alone. 
 
 In this general summing up, too — as it might be natural to 
 expect — there will no doubt occur many repetitions of ideas which 
 have been expressed in previous chapters ; but it is assumed 
 that they have been suflBciently studied there, and will only be 
 alluded to here. If they become tedious, our excuse is that we 
 desire to leave nothing undone which may be considered necessary 
 or advantageous to the student's progress. 
 
 It may be further remarked at the outset, that the considera- 
 tion whether anything shall be done upon the drapery, acces- 
 sories, or background before working the face, is a matter to be 
 determined by the colors which it is intended the picture shall 
 contain. If it is to include any considerable masses of red or 
 
WORKING DIRECTIONS. II9 
 
 yellow (which in a reduced form constitute the basis of the 
 flesh), these must be introduced, to some extent at least, first, 
 else the flesh will be overpowered. 
 
 Il^~ It may not be inappropriate just liere to call attention to a mat- 
 ter which, if not of necessity, is certainly one of advantage, viz., the order 
 in which the colors should be rubbed on the palette ; for a judicious and 
 exact arrangement with respect to the various hues, saves time and affords 
 considerable assistance in after-practice. Ultimately the student will be • 
 best able to judge for himself, but at present he is recommended to place 
 his Cobalt in proximity with Indian Red, Vandyke Brown, Light Red, 
 Pink Madder and Madder Brown; Neutral Tint adjoining Vandyke- 
 Brown and Light Red ; Indi&n Yellow between Venetian Red and Prus- 
 sian Blue ; Crimson Lake between French Blue and a little Sepia ; Burnt 
 Sienna between Indigo and Madder Brown ; Yellow and Roman Ochres 
 side by side ; apd the browns (the Sepias, Umbers, Bistre, etc.), by them- 
 selves — say, on the under side of the palette. India-Ink and Lampblack 
 must be kept away, from color, and should have their own separate palette, 
 wash-dishes, etc. — for the sake of purity. Tints mixed in body-color, and 
 those mixed with Gum Arabic for porcelains, must also be kept separate. 
 These suggestions are based upon experience, and the arrangement is more 
 especially conformed to the directions and mixtures given generally in 
 this work. The Vermilions, Whites, Emerald Green and Orange Chrome 
 should be rubbed fresh. 
 
 Working Di/rections. 
 
 1. With a clean brush and pure water, go over thoroughly 
 — but very lightly — 2\\- the flesh parts of the picture. 
 
 2. While that is becoming absorbed and partially dry, com- 
 pound the flesh-wash according to the tint of nature — keeping 
 in view the tone of the photograph (whether light or dark, 
 brown, or purple) — and apply it expeditiously with a good-sized 
 brush. To do this, commence with the parting of the hair, and 
 as the wash flows downward, carry it into all the corners of the 
 face (but not allowing it to settle there, ) and upon the ears ; 
 but carefully avoid washing it inside the line of the eyes. Keep 
 an abundance of the wash-color afloat, and constantly moving, 
 so as to avoid streaks — the result of too rapid absorption or dry- 
 
I20 HOW TO PAINT PHOTOGRAPHS. 
 
 ing. The rapidity of the flow can be regulated by the inclina- 
 tion of the board or easel. If one application of the wash pro- 
 duces a too feeble tone, do not apply a second until the ^rsi is 
 thoroughly absorbed ; and whatever deficiencies in tint become 
 apparent after the first wash, they should be corrected in apply- 
 ing the second. As the student will find that the subsequent 
 painting has the effect of lessening the strength of the flesh- 
 wash, it will be found of advantage in the first place to com- 
 pound it to a degree aver, rather than under the tone ultimately 
 desired. It will also dry much paler, and if anything, the yel- 
 low should predominate. Securing a good flesh-wash greatly 
 assists the subsequent work, and the production of a successful 
 picture. 
 
 3. Go over the lower lip with a quite thin wash of Vermil- 
 ion ; if it is very dark, Rose Madder and a little Orange Chrome 
 may be used. As these washes are turbid, guard against pro- 
 ducing hard edges. Indian Red is the generally accepted color 
 for the upper lip (it being for the most part in shadow), though 
 it is often necessary to enliven this Red with Lake or a previous 
 wash of Vermilion. 
 
 4. Detail the most important shadows of the face (and as near 
 as possible to their full strength) with the proper shadow colors, 
 (see page 65) the red tone predominating. Many of the shad- 
 ows — particularly those under the chin, and sometimes the light- 
 er one on the brow, — can be put in with Indian Red alone. 
 The other general shadows are in the sockets of the eyes, on the 
 lower part of the nose and under it, and below or behind the 
 ear. These shadows are to be partly wa,shed and partly hatched, 
 according to position. 
 
 [The Illumination of Shadows. — It is here necessary to re- 
 mind the student of one very essential point : Keep all the flesh- 
 shadaws transparent. Endeavor to manipulate the color so as 
 to be able to look into the shadow ; and as photographers do not 
 always arrange their jcreens so as to save the artist this labor, it 
 
WORKING DIRECTIONS. 121 
 
 is important that the matter be understood and attended ta 
 Therefore, when a disagreeable blackness occurs beneath the 
 eyebrows, under the -nose, behind the ear, under the chin, or 
 on the shaded side of a three-quarter lace, a thin wash of Ver- 
 milion, Light Red, or Venetian Red, will suffice. If the shad- 
 ow is intensely dark, use the color stronger, avoiding a heavy or 
 daubed appearance — the Vermilion being opaque. When the 
 shadow is of an ordinaiy degree the last-named are preferable. 
 If a greenish tinge is wanted in the shadow, use a mixture of 
 Olive Green or Brown Pink and Pink Madder. 
 
 It may be remarked, however, that since the adoption of the 
 more recently introduced practice of Retouching the Negative, 
 these intolerably dark shadows may be easily dispensed with be- 
 fore the photograph is printed ; thus giving to the artist an un- 
 objectionable basis, and relieving him from a great deal of per- 
 plexing and unnecessary work. Except in copies and old style 
 photographs, the presence of intensely dark shadows should not 
 be found. With the advantages which photographers now 
 possess, a recurrence of the fault referred to is inexcusable. 
 
 While upon this topic of illumination it is proper to mention 
 the reflected lights, which are so necessary to produce rotundity 
 of the flesh parts. These should always be kept warm. For 
 this reflex — which usually occurs on "the outer edge of the 
 shaded side of the neck, on the shaded side of three-quarter 
 faces when rather dark, upon the arms when bare, and the 
 limbs of children — use very liquid Orange Chrome with a little 
 Burnt Sienna, sometimes Scarlet Vermilion alone. J 
 
 5. Now proceed to draw the lines of the eyelid, which may 
 be done with Burnt Sienna, Madder Brown, Lake and Sepia, 
 and Indian Red. The last is best adapted for children, but 
 must not be too strong. A mixture of the two first-named^ 
 sometimes allowing one or the other to predominate, accord- 
 ing to circumstances — is very useful. Do not draw the edge 
 of the lower lid too distinctly, as it is usually in full light, and 
 
 6 
 
122 HOW TO PAINT PHOTOGRAPHS. 
 
 a rigid line tends to make it look contracted, and the whole eye 
 sleepy. 
 
 With one of these mixtures the nostrils may also be indi- 
 cated ; although where they are large, and transparency is re- 
 quired in the shadowed cavity, Vermilion should be used. 
 The line of partition between the lips may now be drawn, but 
 as the exact course of this line is often indefinite, it is well to 
 progress somewhat in otherwise painting the mouth before 
 defining this line with too great exactness ; the slightest error 
 in so doing will alter the expression of this very susceptible 
 feature. 
 
 6. Paint the eyes; and as this feature is "the light of the 
 countenance " and the very climax of the portrait, considerable 
 attention has already been given (in a previous chapter) to the 
 manner of doing it properly. The student need not be urged 
 to the importance of being able to paint ^oa/ eyes, or be re- 
 minded of how far they serve to make up an excellent portrait. 
 He may otherwise succeed in developing a good picture, but 
 badly painted eyes will always prevent his rendering a satisiac- 
 tory portrait. 
 
 7. The coloring of the cheeks, ear-tips, chin, and the intro- 
 duction of the "carnations" generally may now be done. The 
 lips having already recetved a local wash, should be heightened 
 and finished with Pink or Rose Madder. The partition line 
 between the lips and the comers of the mouth can now be spe- 
 cifically defined. 
 
 8. Put on the local color of the hair, eyebrows, mustache, or 
 beard. If the picture is large-sized it is best to precede the 
 hair-wash with one of pure water. The form and direction of 
 the hair is generally well indicated in photographs, but as that 
 of the eyebrow is not (throughout its entire length), it is proper 
 to note here that they differ somewhat from the hair of the head, 
 and are usually darker. They are seldom or never perfectly 
 " arched" in nature, so that to paint them in that style is pal- 
 pably wrong. They are always heavier as they approach the 
 
WORKING DIRECTIONS. 1 23 
 
 nose, and instead of being parallel with the eyelids they are 
 always nearest the eye at its inner angle. Be sure to avoid 
 stiffness, and the wiry manner in which the eyebrow is too often 
 drawn. 
 
 9. Work on the bluish shadows — using Cobalt — over the 
 temples, at the comers of the mouth, under the lower lip, and 
 in men's faces, where may occur the bluish traces of a clean- 
 shaved beard. Most of this must be done by stippling ; and 
 the tone kept hhi-isA, not blue ! 
 
 10. The face being considerably advanced, it is time to wash 
 on the local tint of the background ; although some may pre- 
 fer doing this even before painting the hair. However, as the 
 hair still remains to be finished, this operation may be consid- 
 ered timely here. By so doing we can also better determine 
 the depth of color necessary for the fece and hair. The effect 
 of the untouched part of the photograph around the head is to 
 make the colors, by contrast, darker than they really are ; but 
 let a dark background be worked in, and then the flesh tints, 
 which before this appeared dark enough, will now look consid- 
 erably paler as compared with the dark background. 
 
 11. Whenever this is the case, as it not uncommonly is, ad- 
 ditional color should be added to the face ; but this time it can- 
 not be washed, and must be hatched on — the lines following the 
 direction of the features, and never crossing each other at right 
 angles. This exigency will remind the student of our former 
 observation respecting the advantage of a strong flesh-wash at 
 the commencement of the work. 
 
 12. The principal shadows of the fece having been all put 
 in, and the ligbts scrupulously reserved, if it appears that the 
 high lights — on the forehead (the chief one), tip of the nose, 
 and chin — are still insufficient to produce a good effect, they 
 can be increased in clearness by a slight "rubbing out" of the 
 flesh-wash with a piece of very soft and clean India-rubber. 
 Great care, however, must be used in this operation, lest the 
 rubbing — ^which should be done by a light, circular motion — 
 
124 HOW TO PAINT PHOTOGRAPHS. 
 
 may produce a hard edge around the light spot obtained, and 
 the surface of the paper also be made rougher than the rest of 
 the face. [It will perhaps be thought unnecessary to cover up 
 the lights which are afterwards to be taken out, but lights taken 
 out from a mass of color are more effective than those which are 
 leji during the painting.] This intensifying of the lights is 
 usually done by using Chinese White ; but it is very heavy, and 
 unless applied with extreme delicacy, produces a daubed effect 
 The use of a body-color, however, is unavoidable to obtain light 
 along the ridge of the nose, and for relief and rotundity at the 
 point of it. Flake White, possessing less body, might be pref- 
 erable to Chinese. 
 
 13. Detail can now be given to the hair, whiskers, mustache, 
 etc. Remember the former directions to avoid a stiff and wiiy 
 appearance of the lines. Such stray locks as lie against the fece 
 should be worked in a soft manner, using the color with less 
 strength, and leaving no hard edge-lines. Where the hair is 
 made to commence at the roots, at the parting, and along the 
 temples and ears, paint with delicacy (always vioTkmg/rom the 
 roots), so as to blend the hair with the flesh. Soften with gray 
 the entire line of the hair around the fece. Also give some 
 horizontal touches of strong color tn the eyebrows, where they 
 approach the nose or where the hair naturally grows the thick- 
 est. If what has already been done in the background is suffi- 
 cient, the outline of the head may now be softened, to avoid the 
 effect of appearing " inlaid." 
 
 14. Next, a general examination and correction may be given 
 to the entire face. Soften and round such parts as still require 
 it. Remember that shadows indicate the/brm ; therefore see 
 that the stronger ones are v^xy full and warm in color, accurate 
 in form, and let every shadow have a gray edge. Keep the 
 half-tints broad and cool. If any of the shadows have been 
 made too purple, neutralize them with green ; if too green, 
 work on them with purple ; if too blue, hatch them with orange 
 (Venetian Red and Yellow). The deep shadow under the chin 
 
WORKING DIRECTIONS. 12$ 
 
 may have a little Sepia with it. If the hatching has been done 
 with a too wiry eiFect, work very lightly over it with a brush just 
 moistened in plain water, to blend and soften the lines. 
 
 Although there is a little of the greenish tint in nearly all faces 
 it is noticeable that some contain a great deal — especially those 
 of women and children, where it serves greatly to enhance the 
 carnations. The edge of the shadow on the forehead is some- 
 times greenish, and in female faces it may be introduced deli- 
 cately on the neck, and in rounding the cheeks and chin. In 
 like manner it may be used at the angles of the eyebrows and 
 nose. In compounding a green for this purpose, make it of a 
 rather y^lowish tone. [In recommending the use of green, 
 however, we desire to explain to the student that this color is 
 not to be used with such force as to give to any part of the flesh 
 an actual green but a merely green-wA tone ; and he should 
 guard against the habit ofite over-use. Nothing is more of- 
 fensive to a discriminating eye than this abuse of green, because 
 it suggests disease !] 
 
 Strengthen the ' ' touches " if necessary ; but exercise care in 
 giving definition to these, lest the expression become changed. 
 Perhaps the carnations need intensifying and the lips some ad- 
 ditional roseate hue. Endeavor to give these last applications 
 on the cheeks in the spot which seems to be the very outer 
 point, and where the color naturally reaches a climax. In 
 females, and more particularly in children, this additional color 
 if done properly with Pink Madder and a very little Scarlet 
 Vermilion, produces that delicious effect termed "waxy" or 
 "peachy." 
 
 15. The face being now virtually painted, it needs a general 
 finishing and softening with the "cool gray tint," — Cobalt and 
 Indian Red — or Cobalt and Pink Madder, the "pearly" tint. 
 Make all the retiring and rounded parts gray. The general 
 tint of the neck being paler than that of the face, its shadows 
 are also to be made cooler. This will necessitate a liberal use 
 of the gray before mentioned, which should be of a bluish tint 
 
126 HOW TO PAINT PHOTOGRAPHS. 
 
 as its application nears the bosom and upon the Ught side of 
 the neck. Perhaps the working of Cobalt alone over the Indian 
 Red shadows will give the desired gray tone in many places. 
 It is not only proper but important to remind the student that 
 a clean and bright gray tone will only result when the blue is 
 worked upon the red ; but if in the opposite order the gray will 
 be muddy and bad. This gray should be used plentifully 
 around the eyebrows and every place where the hair comes in 
 contact with the flesh, in order to prevent harshness. The 
 outer terminations of the eyebrows should be so worked with 
 gray as to appear lost in the flesh. 
 
 1 6. Attention should now be given to the painting of the 
 drapery ; but as full directions have been given elsewhere it is 
 unnecessary to enlarge further here. However, attention has 
 not yet been directed to the fact that rows of dress-buttons, etc. 
 — especially prominent in photographs of women and children 
 — increase in size as they are distant from the focus-point, the 
 face. Remember to correct this faulty drawing, and define them 
 alike in size. 
 
 As a cardinal rule, the student should never " kill" the flesh 
 by the selection of an improper color for the drapery ! but 
 rather choose such as will harmonize with and enhance the tone 
 of the flesh, whilst it improves the figure. 
 
 1 7. If it appears singular to the student that nothing has thus 
 far been said respecting the Arms and Hands — except to assume 
 that they have already received the flesh-wash as directed in 
 Section 2 — our reason is, that when the photograph contains 
 arms and hands, it \% preferable to reserve the after-painting of 
 them until the local color has been given to the surrounding 
 drapery ; or even until it is finished, as by so doing the proper 
 degree of color for the arms and hands is more likely to be ob- 
 tained at a single painting. If painted before instead of after, 
 the probabilities are that "the strength of the drapery-color has 
 rendered the flesh too feeble in tone, and the work will have to 
 be gone over a second time. Directions for the painting of 
 
WORKING DIRECTIONS. I2f 
 
 these having been given fully elsewhere, it only remains to add 
 here, that all the edges must be softened against the drapery, and 
 the flesh itself kept to a tone subservient to that of the face. 
 
 [Indeed, it is a rare thing in photographic portraits, that the 
 hands and arms are found sufficiently well posed and propor- 
 tioned to add any beauty to the whole ; but on the contrary are 
 for the most part too large in men, and so lanky and angular 
 in women, that they puzzle both photographer and artist to ren- 
 der them in any degree picturesque !] 
 
 1 8. The painting of chairs, or table covers, the introduction 
 of curtains or other accessories, and a general finishing of the 
 background will almost conclude the student's effort. In so 
 doing, he will remember (i.) to soften the entire edge of the 
 head and figure against the background, and preserve such a 
 unity that the eye of the spectator is drawn involuntarily to the 
 PORTRAIT. (2. ) It is opportune also to warn the student against 
 bad taste in breaking down his pjcture with too many acces- 
 sories, or too much elaboration in the- background ; remember- 
 ing that it is only proper to add curtains, carpets, and the like, 
 when it is desirable or necessary to assist the position, or intro- 
 duce a color as complementary to the drapery of the figure, and 
 therefore give it additional beauty and power. 
 
 19. The work ol painting being supposed now finished, thin 
 Gum Arabic may be applied where it is deemed necessary to 
 produce brilliancy, and to give depth to the extreme shadows. 
 But as heretofore advised, it must be used with great caution, in 
 order to avoid harshness and a vulgar effect The less that is 
 used the better ! 
 
 Sometimes the surfiice to be painted contains small specks, 
 little discolorations, or foreign matter in the paper, which must 
 be got rid of; and which, if they have not been totally obliter- 
 ated in the process of coloring should now be touched out of 
 sight with opaque color. Flake or Chinese White, tinted to suit 
 the locality; especially on the lights, this operation must be 
 done with great delicacy, and the color used not too heavy, lest 
 
128' HOW TO PAINT PHOTOaRAPHS. 
 
 the touches will have the appearance of pimples. If it becomes 
 necessary to use the eraser, the spot must be burnished down a 
 little, and even then sometimes retouched with body-color. 
 
 20. In conclusion, the attention of the student is called to 
 the feet that, as he is supposed to have been gazing uninterrupt- 
 edly at the picture before him, his eye is apt to weary, and he 
 may overlook deficiencies which he would readily detect at an- 
 other time with his vision afresh. Therefore, it is recommend- 
 ed that he shall ease his eye by reversing the position of his pic- 
 ture, which can be done conveniently by viewing it in a mirror ; 
 and this being done, he will not only find the change agreeable 
 but he will also be the better able to discover any existing faults, 
 which otherwise might have passed unnoticed. The use of the 
 mirror is especially an excellent method of testing the correct- 
 ness of his drawing in the background and accessories. 
 
 Indeed, during the whole work — say about once every hour 
 — it is of advantage to leave the easel, or cast the eye upon 
 something distant for a few minutes ; thereby relieving the 
 strain upon its focus and giving it rest Furthermore, after 
 looking some time at a color the *eye becomes fetigued, blind, 
 and to a certain degree incapable of seeing it <m itis; where- 
 fore, unless it can be restored by looking at the coIch: compensa- 
 tory to that by which its strength was impaired, rest must be 
 had. 
 
 Note. — ^The foregoing chapter has been written on the sup- 
 position that there has been but one copy of the photograph in 
 hand, because it is more desirable that the student should exer- 
 cise care with one than indifference with tvoo. Nevertheless, the 
 advantage of a duplicate, when it can be had, is important, and 
 which if it does no good it certainly can do no harm. 
 
Origin and Characteristics, 
 
 To those who are unacquainted with the details of a photog- 
 rapher's labors we may say, that negatives are not always ma- 
 nipulated so perfectly as to render the prints made from them 
 totally free from speck or blemish, however slight. These imper- 
 fections, arising from the use of indifferent chemicals and bad 
 handling, and sometimes from causes even beyond the oper- 
 ator's knowledge and control, are much more likely to appear 
 in the production of large than in small-sized negatives and 
 pictures. 
 
 The occurrence of these imperfections and the consequent 
 necessity of ' ' touching them out " of sight in the photograph, 
 doubtless gave rise to that description of artistic labor of which 
 this chapter will treat. Commencing as a simple necessity with 
 the photographer, it has advanced in the hands of the artist to 
 results among the finest and most appreciable in modem art 
 
 The pigment known as India or Chinese Ink having been 
 always used by architects and draughtsmen in general as a con- 
 venient and an acceptable black, was naturally adopted by the 
 photographic profession ; and although its original use (for 
 Oriental chirography) is as a positive black, it is susceptible of 
 giving, with clearness and beauty, all the shades between white 
 and black, and has been permanently adopted by the profes- 
 sional colorist. 
 
 Notwithstanding it is beautiful, delicate and transparent, it 
 will generally be found wanting in pcruuer for the deepest effects 
 
130 HOW TO PAINT PHOTOGRAPHS. 
 
 in large work — Lampblack being preferable — although a certain 
 degree of strength may be obtained by adding the latter to the 
 former, without altogether impairing its characteristic beauty 
 and clearness. 
 
 The student should be particular in trying to obtain a piece 
 of genuine India-Ink — much of that in the market being coarse 
 in quality and only an imitation. The spurious article will be 
 found very highly scented with musk, and containing so much 
 gum that it is very hard, and too glossy. The possession of 
 genuine Ink having a neutral tone is no small advantage at the 
 outset, because it intervenes no drawback to the accomplish- 
 ment of good work, and can be toned to suit the photograph in 
 hand. 
 
 India-Ink Work is simply drawing with the brush and color 
 instead of the pencil or crayon. It is therefore very evident 
 that he who has the best acquaintance with the art of drawing 
 will accomplish the most in India-Ink work. The principles 
 which govern light and shade — chiaro oscuro — comprise the 
 very foundation of success in this branch, and should be per- 
 fectly understood. 
 
 The advantage of color to assist in imitating an object is 
 wholly absent here, and a favorable result must depend entirely 
 upon the correctness which has been given to the form, togeth- 
 er with its lights, shadows, reflexes, strength or delicacy, and 
 tone. Especially is this the case when working up the pictured 
 human countenance ; and whatever be the student's knowledge 
 or ignorance of facial anatomy, it will become the most appar- 
 ent in this particular kind of brush work. He may very often 
 be required to display his abilities upon photographic faces which 
 the old-fashioned, over-intense negatives have made perfectly 
 white and flat — devoid of half tones, and perhaps without any 
 graduated shadows at all — in which exigency he will at once 
 discover the absolute necessity of acquainting himself with ana- 
 tomical drawing — at least so far as it applies to the face. 
 
PRACTICAL DIRECTIONS. 131 
 
 The Proper Photograph. 
 
 Photographs to be finished as ' ' India-Ink Work, " should be 
 printed a Httle darker than usual, firom the fact that they work 
 up lighter, and in order to secure all the half shades. Those 
 are best adapted to this description of brush-work, and most 
 easily finished, which abound in the half shades ; and which, 
 being well developed, the student will have no difficulty in 
 working up the high lights or graduating to the deepest 
 shadows. 
 
 India-Ink work is always expected to be done on "plain" 
 paper ; but if it is desired to retouch or work up a face on albu- 
 men paper, it will be necessary to mix a very little Gum Arabic 
 with the pigment to give it sufiicient adhesion, and overcome 
 the " grease" of the albumen surface. 
 
 This method is receiving more attention than formerly, but 
 chiefly in the principal city galleries, where fine work is appre- 
 ciated and paid for ! Though the smoother surface of the albu- 
 menized paper affords a more distinct and brilliant ground for 
 the work, it is' undeniable that the picture cannot be considered 
 as entirely permanent, and the extraordinary patience and labor 
 required will scarcely render it popular or remunerative. . 
 
 Practical Directions. 
 
 The order of procedure with India-Ink work is mainly about 
 the same as with color : commencing by a definition of the 
 heavier lines and shadows of the face, and continuing the same 
 with the hair — thereby imparting a vigor quite different from 
 the untouched photograph. 
 
 Such details in regard to the manner of working — drawing 
 the features respectively — as have already been given, will suffice 
 to direct the student here ; besides which, the photograph itself 
 will assist him more than in the former case, where some of it 
 becomes partially obscured by local washes. 
 
132 HOW TO PAINT PHOTOGRAPHS. 
 
 In using the pigment itself the best form is that akin to a 
 wash. It should rarely be applied thick enough to accomplish 
 the desired shade at once — except in positive lines, such as occur 
 in the hair. The weightier tones, required to give strength to 
 the deeper shadows, ought to be obtained by successive applica- 
 tions, moderately thin, else transparency will be lost and sooti- 
 ness ensue. The student should take as his motto, "Little Ink 
 and much labor." 
 
 The flesh must be worked by hatching and stippling as here- 
 tofore mentioned, and reduced to evenness of shade by going 
 between and around such spots, harsh lines, and rough places 
 as have been photographed from the skin — in cases where these 
 asperities have not been softened or remedied by retouching 
 upon the negative. In so doing, commence with the stronger 
 portions and proceed toward the lights, at the same time reduc- 
 ing the strength of the Ink. If the print is of a neutral tone, 
 there will be no difficulty in obtaining a clear, silver-gray light 
 on the forehead, nose, and other prominent parts. If this tone 
 be desired, it is quite convenient to have two washes at hand — 
 one toned with blue (Cobalt), for use in the light parts, which 
 should always be clean and brilliant. 
 
 Concerning tones, however, there exists a great variety of opin- 
 ions. Formerly everything was neutral ; at present the tendency 
 is more for the so-called ' ' warm " tones ; but in general pho- 
 tography the practical results are about divided between reddish- 
 brown, gray, purple, and purplish-brown. To imitate any one 
 of these as a rule will scarcely do, nor would it be found very 
 easy to accomplish by z, process of the hand that which is simply 
 a chemical result. But on the whole it is easy enough to choose 
 between a cold and warm tone, and the student can decide 
 which is the more practicable and pleasing. To obtain the 
 former, if the Ink is not sufficiently neutral, use Cobalt ; for the 
 others, add Dragon's Blood alone, or with Sepia for ,a brow»isb 
 and Indigo for a purplish tinge. After all, there are so piany 
 photographs which baffle any fptpfi whatever — except a dirty 
 
PRACTICAL DIRECTIONS. 1 33 
 
 yellowish-brown — it is best to affect no special rule on this 
 subject 
 
 In general the face can be finished before the drapery and 
 background are touched, except it be a vignette head on a white 
 ground, in which case the washes that are to serve as a basis for 
 the "clouding" should be laid early in the work. This will 
 enable the student to better estimate his tone and strength of 
 shade, which would otherwise appear much lighter after the 
 cloud-washes are put on. The remaining portions of the pic- 
 ture are to be completed according to instructions given in 
 previous chapters. 
 
 It should be observed that, as the photograph does not give 
 a true indication of the natural color of the hair and eyes, it is 
 always best to ascertain what they are ; so that there shall be no 
 uncertainty concerning the tendency of your working, jvhether 
 toward light or dark, as the case may require. Without this 
 knowledge, the photograph itself may induce grave errors ; 
 whereas it is intended that in Ink-work the natural color shall be, 
 as near as possible, indicated by the tone and depth 0/ shade. 
 
 The drapery in most instances will have to be done with 
 Compound Black. India-Ink lacks power, except when used 
 very thick ; and that is not to be permitted, as it would not only 
 totally obscure the texture and smaller folds, but produce a sooty 
 and daubed effect ! Lampblack possesses abundant strength, 
 but it is also too opaque ; whereas the Compound Black — Indi- 
 go, Lake and Sepia — is no less transparent than powerful, fresh, 
 and permanent Nor has India-Ink, of itself, a good tone for 
 drapery, as it is too dull ; but it may sometimes be used in 
 vignette pictures, which as a rule do not require, and should 
 not have, the strength essential to the drapery of a bust or figure 
 with solid background. 
 
 The hands are most generally surrounded by the drapery, 
 and for this reason appear too white ; especially so as compared 
 with the fece. It is therefore necessary to break this whiteness 
 by a very light wash, preparatory to further working ; and then, 
 
134 HOW TO PAINT PHOTOGRAPHS. 
 
 when being modelled, if they are flat and deficient in rotundity, 
 great assistance is to be derived from "rubbing out" the lights 
 as they occur on the knuckles and joints. Remember, too, how 
 the outer edges along the black drapery need a blending-touch 
 oipure (normal) gray : — "colored" gray must never be used in 
 Ink pictures. 
 
 If blue (Cobalt) has. not been used in the modelling, as al- 
 ready suggested — to impart a brilliant tone to the delicate shad- 
 ing about the highest lights, clearing them up to a beautiful 
 gray tone — it must be worked in now ; but it must not be car- 
 ried so far as to disclose the presence of, and actually look, 
 blue. 
 
 In the smaller-sized pictures it is often desired (by customers), 
 that the cheeks be tinted ; and indeed — though it be not strictly 
 artistic 'or legitimate — it is not to be denied that Pink Madder 
 is of advantage in warming the tone, and giving freshness and 
 the effect of rotundity to the cheeks. 
 
 Sometimes also a delicate first-wash of Indigo may be laid 
 for the clouding about a vignette head ; but it should not be 
 done if the photograph has anything of a muddy or brownish 
 tone. The pure tint of the Indigo would conflict with any 
 photographic tone but the neutral or gray, while it also tests the 
 cleanliness in the working of the Ink. 
 
 Copied Fictwres in InMa-Ink. 
 
 Perhaps the most common and important use of the India- 
 Ink process is for working up photographed copies of old da- 
 guerreotypes, ambrotypes, miniatures, reproducing photographs, 
 etc., — valued likenesses of deceased friends — and by this means 
 to restore the faded or injured picture, rendering it suitable to 
 be framed. In view of this operation the student should fiiUy 
 comprehend his work, and discriminate between the uses re- 
 spectively of Ink, Lampblack, and the Compound Black — in 
 what situation to apply them, and what effect they will have. 
 
COPIED PICTURES IN INDIA-INK. I35 
 
 Sometimes one will answer well where another would not do at 
 all ; and in copies, where there are generally many drawbacks, 
 it is certainly advantageous to kncrw how to do the best thing in 
 the quickest way. As the imperfections of the copy can for the 
 most part be more easily corrected and hidden by the India- 
 Ink process than with color, it is generally preferred. 
 
 The specks and blotches appearing white or light in the dark 
 parts must be stippled over, and conversely in the light parts ; 
 if they cannot be made to disappear by working, or taken out 
 delicately with the Eraser, they may be covered with Chinese 
 White, or gray, as the situation demands. When the copy is 
 weak and very dim, gather up the half-tones before drawing the 
 more definite lines, or strengthening the deeper shadows ; be- 
 cause they are more perceptible then than they would be after- 
 wards, and especially after the eyes and hair are worked.' Not 
 unfrequently great assistance is derived from making a differ- 
 ence in the tone of figure and background — ^keeping the figure 
 ■warm, against a cold or neutral ground. Furthermore, if the 
 copied figure is a mere shadow (and this is not a rare case), it 
 will gain strength by making the background quite dark, which 
 can be done by pastel to any degree. When these extreme 
 necessities arise, any means by which the effect is produced must 
 be considered legitimate and proper. 
 
 As a general thing the working up of copies will require more 
 force than a photograph fi-om life, and more care too, from the 
 feet that the enlargement of the copy has produced diffusion of 
 the lines and a general indistinctness. Frequently this extends 
 to such a degree as renders it impossible to work without con- 
 stantly referring to the original for guidance ; and the student 
 is advised for these reasons not to undertake a copy unless he 
 has the original, — or is otherwise thoroughly posted. 
 
 The method of working backgrounds in Pastel will probably 
 be employed more frequently in doing these old copies than for 
 any other purpose, and the student is now referred to the for- 
 mer chapter on Backgrounds in Soft Pastel. 
 
136 HOW TO PAINT PHOTOGRAPHS. 
 
 The Use of Other Pigments. 
 
 The difficulty already mentioned of obtaining with India-Ink 
 a degree oi power that would make it applicable to the larger- 
 sized (solar) photographs, will not only suggest but necessitate 
 the adoption of other pigments and compounds for this kind of 
 pictures, although the old and familiar name of " India-Ink " 
 still attaches to the finished work. It will, however, remain to 
 be tested, whether anything else can be handled/J?/- the flesh-parts 
 in preference to the Ink. 
 
 Among these substitutes perhaps the simplest and most con- 
 venient is Lampblack, with which the student will be able to 
 produce every gradation and depth of shade. Lampblack is 
 chiefly available for large work on account of its opacity, which 
 accelerates the labor, because every touch of the brush produces 
 an instant and positive effect ; whereas India-Ink dries consid- 
 erably lighter than when freshly applied. If a warm tone is 
 desired, add a little Sepia and Lake. An excellent combina- 
 tion is made by adding some Dragon's Blood to the Lampblack, 
 and then just enough of Indigo to correct or neutralize it 
 
 The Compound Black — Indigo, Lake, and Sepia— is also a 
 good mixture for this purpose, and preferred by some to Lamp- 
 black in those parts where clearness is more essential than power. 
 It may be composed with a cold or warm tone, by allowing the 
 first or the other two to predominate ; and this choice gives it 
 the advantage of being suitable to almost any tone of the pho- 
 tograph. It is beautifiiUy transparent, and can easily be ma- 
 nipulated with clean and briUiant results. 
 
 To obviate the fiigitive quality of the Lake contained in the 
 mixture, and secure the utmost permanence, the Madders could 
 be used instead, although these will be found somewhat defi- 
 cient in power. 
 
 In all descriptions of "India-Ink Work," the use of White 
 — Chinese or Flake, according to the brightness required— ■ 
 must not be forgotten for collars, laces, linen, aiid other pure 
 
THE USE OF OTHER PIGMENTS. 1 37 
 
 lights. Opaque gray (Lampblack and Chinese White) will also 
 be applied for the half-lights upon dark surfaces, and graduated 
 according to the situation. Gum Arabic must be used spar- 
 ingly to produce the extreme depth of shadows, and give lustre 
 to the hair, eyes, jewelry, buttons, etc. Remember too that 
 upon black, more than on any base, the Gum produces an 
 instant and powerful effect. 
 
j^mttottj utt •/ urtebttttt 
 
 Whether plain or colored, porcelains are avowedly superior 
 in softness, finish and brilliancy, to anything which the photo- 
 graphic art has thus far accomplished. The skill of the artist is 
 here greatly aided by the peculiar texture of the surface on 
 which the photograph has been printed, and the result is a 
 pictorial effect far surpassing that of the finest, miniatures on 
 Ivory, while produced at very much less expense. 
 
 Porcelain photographs intended for coloring must be invari- 
 ably made on plates which have a granulated and not a polished 
 surfece. It would be folly to attempt the application of water 
 colors upon the latter, for general purposes, though it can be 
 done to a limited degree, after coating the plate with a thin so- 
 lution of white glue. The granulated plates, however, which 
 are specially prepared for the purpose, aflford a good and a suf- 
 ficient "tooth" to hold the color, and give altogether a better 
 surface for working. 
 
 For the most part, the handling is the same as for photo- 
 graphs on paper, except that the following points must always 
 be kept in mind : You paint into the paper, whilst you paint 
 upon the porcelain. The paper will absorb the color ; the por- 
 celain will not. Consequently, a less amount of the work can 
 be done by washing than on a paper picture, and by &r the 
 greater part must be performed by hatching and stippling. 
 
 Even the small amount of washing necessary must be treated 
 
PAINTING ON PORCELAIN. 1 39 
 
 in a manner peculiar to the exigences of this style of work. It 
 should be commenced with 2ifull brush, which must not be 
 lifted from the plate until the part to be washed has been entire- 
 ly gone over, unless it is absolutely necessary to do so for more 
 color. It is always best when possible to start with all the color 
 required. In washing, the brush — ^which ought to be a very 
 soft one — should be moved regularly and steadily, very slightly 
 raised from the surface or scarcely resting its own weight upon 
 it, in a horizontal direction, and serving rather to guide the flow 
 of the wash than to be the instrument for laying it on. 
 
 Never go back with the brush to retouch any part of the sur- 
 fece not yet dry, as it will "wash up" instantly 1 As there is 
 no absorption, it will in general be found necessary to make the 
 wash Considerably above the tone required when it is dry. 
 
 In treating photographs on porcelain it is quite essential that 
 all the color used should have mixed with it a very little pure 
 Gum Arabic, to give it adhesiveness ; but the utmost watchful- 
 ness is required to avoid the temptation of making a too free use 
 of it. Porcelain painting is so excessively tedious that the stu- 
 dent's patience is likely to become exhausted ; but so sure as he 
 endeavors to obtain ' ' the more haste " by the over-use of Gum 
 Arabic, he will ultimately find it "the less speed," as his work 
 will only crack and peel off. Porcelains persecute patience ! 
 
 What has been said above concerning the use of gum, is to 
 be understood as applying to the transparent pigments, partially 
 to those which are semi-opaque — the Yellow and Roman 
 Ochres, and Lemon Yellow — ^but not at all to the actual body- 
 colors : Chinese White, Vermilion, Orange Chrome, and Eme- 
 rald Green. 
 
 In hatching and stippling let this be a fixed rule : Never 
 give an after-touch until the previous one is entirely dry ; or in 
 other words, do not give two successive brush-strokes or touches 
 on the same spot! Where additional depth and strength of color 
 is required it must be obtained by successively working over at 
 different times ; and it will be found no easy matter to do this 
 
I40 HOW TO PAINT PHOTOGRAPHS. 
 
 with regularity of shade and evenness of surface. If this can be 
 accomplished, however, it will surprise the student to discover 
 what a solidity and strength can be attained, after all, in the 
 porcelain process ; and that in these qualities it is no less ad- 
 mirable than in those of delicacy and beauty. 
 
 While engaged in the work of painting, the hand should 
 never be permitted to rest upon the plate, as it will impart 
 grease, and interfere more with the adhesiveness of the color 
 than is the case on paper. If no rest-stick is used, and the 
 hand must find support on the plate, keep a piece of soft paper 
 underneath it. 
 
 It will be found that the smooth and non-absorbent surface 
 requires the almost constant use of a rather dry brush, and not 
 much color is required for working the lighter parts ; but in 
 the heavier parts the color must be quite thick, yet not by any 
 means so thick as to produce a daubed appearance. 
 
 The majority of porcelain pictures are done in vignette style. 
 This requires considerable attention to the clouding about the 
 head, and affords a fine opportunity for delicate aerial effects. 
 After the cloud wash is dry, the convoluted edges may he 
 beautifully softened by gently patting them with the end of the 
 finger, covered with a handkerchief or cloth, and very slightly 
 moist. In addition to this blending, semicircular white spots, 
 like openings, should be taken out with the brush ; and if done 
 in imitation of nature these simple expedients add much to the 
 general result. 
 
 If the picture is a copy and contains any of the usual spots 
 and streaks, they can be stippled out with Neutral Tint. Gold 
 should be done by first laying a base with Roman Ochre, thick ; 
 then add high lights of Indian Yellow and Chinese White. All 
 clear, brilliant " touches ' will need to be done with body- 
 color. 
 
ADAPTABILITY OF SUBJECTS. I4I 
 
 The Correcting of Hrrors, 
 
 If any have been made in the progress of the work, is easily 
 done by moistening the part to be altered, and washing off the 
 paint with clean water. This is a simple though a nice opera- 
 tion, and must be done so as not to damage the adjacent parts. 
 Indeed, if the entire progress which has been made in the paint- 
 ing does not please, the whole may be washed off; but this 
 should be done under a flowing stream of clean water, in order 
 that none of the color-matter be allowed to remain elsewhere 
 upon the plate after it has become detached from the picture 
 itself, as it would leave just enough of a stain to soil the purity 
 of the granulated surface. In this respect, porcelain even offers 
 an advantage over paper — and often a very important one, too — 
 seeming almost compensatory for the extraordinary degree of 
 time and patience required in its general manipulation. 
 
 Another method of correcting errors, particularly with regard 
 to over-tone, is by scratching off the color with the Eraser, or a 
 smooth bit of pumice-stone. This should be done with paral- 
 lel strokes, except in the flesh, where the pumice-stone is pre- 
 ferred, and should be used with a circular motion. This expe- 
 dient also gives a means of putting higher lights where they 
 may be deficient in the flesh — especially the principal light on 
 the forehead. Parallel scratch-lines, at an angle of forty-five 
 degrees or less, can be used to give atmospheric effect to the 
 clouding about a vignette head. 
 
 AdaptaMlity of Subjects. 
 
 With regard to the subjects most desirable for a painting on 
 porcelain, the student will discover after a little practice, that 
 a child's picture (vignette head) is the most pleasing to work 
 upon ; and he will feel justified in giving it the benefit of all 
 the resources of the porcelain method. He will naturally and 
 unconsciously incline toward the ideal in treating these inno- 
 
142 HOW TO PAINT PHOTOGRAPHS. 
 
 cents ; and in addition to a preservation of the likettess he will 
 also strive to make a beautiful picture I 
 
 Women's portraits will claim his preference next in order, 
 but he will find them rather less inspiring to his genius. The 
 necessary use of a more decided style of working, stronger lines, 
 and the introduction of so much drapery, together with the ac- 
 cessories, which require abundant patience, will doubtless cause 
 him to wish that he was working on paper. 
 
 Last of all and least of all should be his ambition to delineate 
 the face of a man in a way which finds no parallel in nature ! 
 The vigor, strength, character and breadth with which he would 
 feign depict manhood, are not attainable by this process ; and 
 the inevitable result must be a beautiful man ! a wax-figure ! a 
 painting which, instead of "holding the mirror «^ to nature," 
 goes immeasurably and absurdly beyond it ! 
 
H^ Jjmr^]^ 
 
 Is the invention of Mr. Wenderoth, a distinguished Philadel- 
 phia artist. Upon the introduction of the porcelain surface, 
 however, as a basis for the colorist's work, the days of the once 
 famous Ivorytype (it may be said) were numbered ; it being 
 impossible ever to achieve, in the production of the latter, the 
 brilliant tone and delicacy of finish incident to, and inseparable 
 from, the porcelain picture. The ivorytype, however, has the 
 advantage of expedition and cheapness in its manufacture. 
 
 In few words, the Ivorytype is simply a painted photograph 
 sealed to a clear glass plate ; but there are a number of points in 
 which the manipulation of the picture- for the Ivorytype differs 
 from that of the ordinary painted photograph, namely : 
 
 Special Directions. 
 
 It must not be mounted on card-board, but stretched tightly 
 upon the drawing-board. In order to do this, the photograph 
 should be printed on a piece of paper that will allow sufficient 
 margin for pasting down — beyond the proposed limits of the 
 painting. Moisten the entire sheet and lay it flat on the board, 
 permitting no air-bubbles to remain underneath. Paste down 
 all the edges, and let it dry slowly, keeping the board perfectly 
 level. As the contraction of the paper in drying will cause a 
 very hard strain on the pasted edges, it may be advisable to have 
 them secured by tacks or weights. 
 
 The photograph, thus mounted upon the drawing-board, is 
 
144 HOW TO PAINT PHOTOGRAPHS. 
 
 to be treated with special attention to the following particulars, 
 viz. : 
 
 1. The painting must be executed with more than ordinary 
 vigor and force, so as to provide against the diminution of tone 
 and effect which, it will afterwards be seen, occurs on "sealing" 
 it to the glass. 
 
 2. No body-color should be used, except when actually nec- 
 essary. In laying on the white, for laces and the light parts of 
 linen, etc. , do it very lightly — perhaps Flajce White is best. 
 
 3. Give preference to the transparent colors ; for, as the ob- 
 ject of the wax is to render the entire picture transparent, it is 
 plain that opaque colors will resist its effect, and seem to lie 
 dead and hard upon the picture. 
 
 4. In working certain folds of the drapery, it is better Xo pre- 
 serve the lights as they are in the photograph than to restore 
 them with the aid of body-color. For the light on the eyes, 
 however, and a few other special points, Chinese White can be 
 used with propffiety. 
 
 5. Do not use a particle of Gum Arabic, because it will pre- 
 vent adhesion to the glass plate ; and if the deep lines and 
 shadows are painted with sufficient strength, its ordinary use as 
 a varnish will be supplied by the wax. 
 
 When the painting is completed, lay the glass plate — which 
 must be perfectly clean and polished — upon' the picture ; and 
 being properly adjusted cut out the painting so as to exactly fit 
 the glass (unless there be reasons for doing otherwise) ; but it 
 is a great advantage, in the hurried operation of sealing, not to 
 be obliged to adjust the picture then — which would be necessary 
 if it were larger or smaller than the plate. 
 
 Sealing to the Glass. 
 
 In selecting a glass for this purpose, French plate is the most 
 desirable, and any other than clear wMe glass will necessarily 
 somewhat mar the general purity of the work. Ordinary' glass 
 
SEALING TO THE GLASS. 14 5 
 
 having a greenish tint, should not be used, if possible ; and 
 equal care should also be exercised to obtain plates entirely free 
 of streaks, bubbles, or scratches. 
 
 The composition-wax used in sealing is variously compound- 
 ed by different artists; but a simple mixture of one part of 
 Gum Copal with two parts of pure White Wax will answer for 
 ordinary purposes. 
 
 The operation of Sealing can be done thus : 
 
 Heat the glass until warm enough to melt the wax compound 
 while bejng passed over it, the glass being kept in a horizontal 
 position. Let every part of the plate be thoroughly coated — as it 
 is the Gum Copal which gives lustre to the finished Ivoiytype. 
 While it is still warm lay on the picture, face to the glass, in 
 such a manner as not to work off any of the melted composi- 
 tion or to produce wrinkles, and leave no air-bubbles under- 
 neath. The back of the painting is now supposed to be upper- 
 most. Keeping the plate still warm, rub a piece of pure White 
 Wax alone slowly over the back- — melting as it moves — and then, 
 with the straight-edge of a small bit of card-board held almost 
 perpendicularly, smooth the picture down flat upon the plate. 
 In doing this, rub gently from the centre in every direction 
 toward the margin — being particular to push out the very last 
 crease or air-bubble— but do not press the card-board hard 
 enough to drive out all the composition first laid over the plate, 
 or the brilliancy of the work will be lost. As before mentioned, 
 the Gum Copal imparts the brilliant effect while the wax gives 
 transparency. 
 
 It will be readily seen that this operation must be done with 
 quickness and certainty ; and hence it is best to have everything 
 fitted and prepared before the process of sealing is commenced. 
 
 The painting being thus attached to the glass, it only remains 
 to fit a piece of pure white paper (card-board is better) to the 
 back — the effect of which is seen through the transparent pic- 
 ture — and the Ivorytype is completed. Before doing this, how- 
 ever, it is well to consider the extent to which the colors may 
 
 7 
 
146 HOW TO PAINT PHOTOGRAPHS. 
 
 have depreciated or &vfa. faded out in the act of sealing ; and if 
 they need restoration or strength, apply some additional color, 
 in its proper place, on the hack of the sealed painting. This is 
 most likely to occur with the carnation-tints, and it is to guard 
 against this very necessity that the student has been advised to 
 paint ' ' with more than ordinary vigor and force. " 
 
 It may be opportune to add here that, beautiful as the Ivoiy- 
 type is when first finished, it becomes liable to serious discolor- 
 ation. The wax composition, no matter how pure the ingredi- 
 ents, will t'n time produce sufficient yellowness to mar its original 
 beauty. Notwithstanding this deficiency, however, it is easy to 
 suppose that but for the introduction of its greatly superior rival 
 — the Porcelain — its glory would doubtless have remained un- 
 diminished as an excellent and practicable successor to its proto- 
 type, the Ivory Miniature of "auld lang syne." 
 
The handling of the large-sized (solar) photographs is a mat- 
 ter of progression. If we can safely preihise that the student 
 has become thoroughly femiliar with /Ae principles involved in, 
 and the directions given for, manipulating smaller and medium- 
 sized photographs, our observations under this head need tend 
 only to an expansion of the knowledge he already possesses. 
 
 The important characteristics of the successful solar picture 
 are force, breadth, easy handling, and a total absence of timid- 
 ity and delicacy. The washes must be done broadly and with 
 an abundance of color, and the lines gfiven without trepidation 
 or stiffness. The finished pictures should indicate on the part 
 of the worker a sufficiency of knowledge and a mastery of the 
 brush. 
 
 According to the instinctive laws of vision, a picture should be 
 viewed at a distance equal to three times its size. Indeed a more 
 distant point may be agreeable ; but rarely one nearer, except 
 with persons of defective vision — and even then the eye wanders 
 over, rather than embraces the whole. Consequently, it is 
 plain that the entire handling should be executed with a clear- 
 ness and power sufiicient to realize the desired effect when viewed 
 at the proper distance I 
 
 It is scarcely to be expected that the student will accomplish 
 this without considerable practice. His previous work has 
 been of dimensions which could be inspected, perhaps, without 
 rising from his seat ; but nvw his manipulation, horribly coarse 
 at the drawing-board, is softened by the prescribed distant view 
 
148 HOW TO PAINT PHOTOGRAPHS. 
 
 — ^and it therefore follows that only by constantly taking this 
 view-point can he watch his progress and attain the true result. 
 
 The student has been told in a foregoing chapter that Hatch- 
 ing is the most desirable and effective manipulation for large 
 pictures, and he will therefore adopt it for solar work. The 
 time of Stippling has gone by, except for some few necessary 
 touches, and the disposing of spots. The small-sized brushes 
 must give place to larger ones, color must be prepared and used 
 without stint, — "laid up loose," — and a more artistic style of 
 action adopted throughout the whole working. 
 
 It is impossible that this description of labor can be per- 
 formed with ease and convenience at a desk or table. The 
 Easel now becomes a necessity, and so, too, the Rest-Stick. 
 The length and strength of the hatch-lines, which the student 
 will now endeavor to draw with a gracefiil sweep of the brush, 
 demand a firm support for the hand and an almost vertical posi- 
 tion of the drawing-board. The dimensions of the picture also 
 forbid that the arm should be constantly wiping over its surface, 
 which would be the case if lying nearly flat ; and the facility 
 with which it can be raised or lowered so as to bring the work- 
 ing-spot right to the hand, clearly demonstrate the expediency 
 of using the Easel ncrw, if never before. Especially so, if the 
 background is to be done in pastel, which would be marred by 
 the very slightest touch — and this too makes the Rest-Stick 
 indispensable. 
 
 If the solar at hand is to be done in (the so-called) "India- 
 Ink " style, the student must not forget what has been already 
 said concerning the inefficiency of the India-Ink itself for large 
 work, and the usefulness of Lampblack. The Compouild 
 Black, when mixed to a deep tone, is also quite available for 
 solar prints and very important in finishing the drapery. In- 
 digo added to Lampblack gives a depth sufficient for any shad- 
 ow the drapery can possibly require. 
 
l[jjatmttg l|t Jttk*^. 
 
 The framing of the picture can scarcely be regarded as a mat- 
 ter of taste only. 
 
 Though not strictly correct, the theory of photographic paint- 
 ing is, that the work has been done upon a white ground, as is 
 the case in the true school of water-colors, where the transpar- 
 ent pigments so modify the light, falling upon and being re- 
 flected from that white surface, as to produce the effect which 
 constitutes the picture. Hence, some indication of the presence 
 of the supposed white ground must be given, and for this reason 
 the margins are almost invariably white. 
 
 In vignette pictures there is nearly always sufficient white mar- 
 gin to answer this purpose, and a tinted mat can therefore be 
 used ; but if there is not, or when the background is of a solid 
 color, a white-edged Roman mat becomes indispensable. The 
 tint of the mat should always be harmonious with the general 
 tone of the painting, or entirely neutral ; and even then it ought 
 to have an inside edge of white. The use of tinted mats re- 
 quires judgment to make a proper selection, but the white ones 
 are "always in order." 
 
 India-Ink Work, which is intended to imitate the effect of an 
 engraving, must never be margined by anything else than white 
 — except for vignettes, when a gold (bevelled) edge looks best. 
 The juxtaposition of a colored mat (especially if the hue be 
 rather intense) is sure to damage its purity in many ways, re- 
 flecting improper tints upon its high lights, and giving a sooty 
 appearance in the heavy shadows. 
 
150 HOW TO PAINT PHOTOGRAPHS. 
 
 Colored pictures should always have a gilt frame ; if ample 
 white margin surrounds the painting, it will be seen that the 
 white purifies the colors and the gilt purifies the white I In general, 
 the frames should not be heavy, nor too profusely ornamented. 
 A massive frame will almost destroy the effect of delicate work 
 in water colors. Neither should the frame contain too many 
 burnished points, which catch the eye and thus interfere with 
 the vivacity and force of the colors. For all delicate work, and 
 light in tone, a simple gold-bead frame, and mat having a gold 
 edge next to the picture, is very suitable. But more powerfully 
 and intensely wrought water-color paintings, especially if warm 
 in tone, may even be rendered more effective and harmonious 
 by substituting an entire gold mounting. " 
 
 Colored porcelains — especially vignettes — are greatly enrich- 
 ed by the addition of a line of velvet coming between the 
 white surface and the gilt frame. The color should be deep 
 and rich ; and the opaque, dull texture of the velvet, whilst it 
 gives wonderful purity to the white of the porcelain, also har- 
 monizes splendidly with the gold (gilt) of the frame. Porce- 
 lains require and can bear the very richest setting ; reverse this, 
 and use something like a dull walnut barae, and the result will 
 be a pictorial death ! 
 
 In framing Ivorytypes, no white of any kind must be placed 
 in contact with the finished work, as it would ' ' kill " the so- 
 called whites in the picture, and, by a prejudicial contrast, 
 lower their tone into a degree of comparative ^^//owwwj-^pro- 
 duced by the wax compound. Ivorytypes should always have 
 a rich gilt frame, the sight-opening of which will exactly cut the 
 picture. 
 
 In all cases the artist should be allowed to select or advise 
 the choice of the frame ; or should be informed beforehand — 
 in case the fi-ame has been selected — in order that he may 
 paint with a view to the influence of the frame, especially if the 
 picture in hand is to be a companion-piece to another. 
 
 The glass of the frame must never be allowed to touch the 
 
FRAMING THE PICTURES. I5I 
 
 surface of the painting, but be kept away by an intervening 
 mat, or otherwise. Finished work should not be hung where 
 it will be exposed to extreme heat or cold, subject to dampness, 
 or to foul air, because they are liable to deterioration from 
 these causes, if not to ultimate ruin. 
 
 As the beauty and value of the jewel is enhanced by the 
 setting it receives, so is the character of a picture improved or 
 degraded by the manner in which it is framed ! In violation of 
 the principles upon which good framing is based — and which 
 can be so easily understood and practiced — it is to be regretted 
 that the educated eye is so often pained by evidences of the 
 most deplorable ignorance among those who should sttidy to 
 know letter. 
 
iun^iun* 
 
 Leaving to the student the instructions contained in the fore- 
 going pages, we desire to remind him of the necessity of con- 
 stant practice, and the advantage to be derived from the examina- 
 tion and study of good examples. Be not discouraged by the 
 diiBculties which may appear to loom up between the beginner 
 and the expert painter ; the process of coloring photographs is 
 by no means so difficult as might be at first supposed. 
 
 Commence upon unobjectionable photographs, so that there 
 be no deficiencies in them to increase whatever difficulties may 
 attend your first efforts. 
 
 Endeavor to comprehend your work, examining first among 
 the lights, to see which are those that possess the highest de- 
 gree of brightness ; and so also among the shadows, which are 
 those that are darker than the others, and in what manner both 
 mingle together — remembering that these lights and shades 
 must be finally joined without hard lines of definition, and as 
 nearly as possible with artistic effect. 
 
 Do not in the beginning attempt the execution of pictures 
 too large or complicate ; and, as this book covers the whole, 
 range oi practical work, save time by seeking its instructions 
 constantly, rather than venture upon experiments of your own. 
 Remember that the foregoing contents, prepared for your guid- 
 ance, cost other persons years of labor and study, and that, in 
 all probability, they zxq fully competent to assist the inquiring 
 student in every situation. 
 
 To such as have studied this little volume with a conscienti- 
 
CONCLUSION. 1 53 
 
 ous desire to accomplish in themselves the purpose for which it 
 was written, the following important recommendations are sub- 
 mitted for their guidance : 
 
 First- — Systematic Working will accomplish much in the 
 end, although, as the student has already learned, the various 
 qualities of tone in the photograph will not always permit the 
 adaptation of the same methods. But he can devise his plans 
 for ready applications to light or dark prints respectively, and 
 thus know immediately just what to do. 
 
 Second.- — Careful Handling will economize time and labor, 
 obviate the necessity for alterations or corrections, preserve the 
 purity and beauty of the colors, and give character to the work. 
 The very soul of water-color painting is to know what to do, 
 and then to do it at once ! The possession or the want of this 
 quality will be easily perceptible, to a discerning eye, in every 
 man's work. Different from oil painting, water-color allows 
 no experimenting, no patching, no corrections of any im- 
 portance. 
 
 Third. — -Determination to surmount all difficulties, if it can 
 be done by study and practice. Strive to combat disappoint- 
 ment, if such a feeling attend your earlier efforts. Tr}' to. ob- 
 tain new ideas from the more perfect works of others who are 
 recognized as proficients, and let every picture of your own 
 contain points which indicate an advance of your efforts at least 
 one step farther. 
 
 Finally. — Practice, based upon the directions given, must 
 result in enabling the student to soon familiarize himself with 
 the exigencies that are incident to photographic painting, and 
 render the work easier ; but ultimate success will depend upon 
 the individual — his natural capacities, enthusiasm for his art, 
 and a careful resolve to achieve the victory 1 
 
PAET 11. 
 
 BY J. AUG. BECK, HARRISBURG, PA. 
 
 The application of crayon to a photograph is not necessarily 
 a difficult operation. It, of course, presupposes some knowl- 
 edge of the art of drawing, especially so far as discrimination 
 and judgment are requisite to comprehend the work and di- 
 rect the student in the development of lights and shadows. 
 
 There are no perplexities of color, however, and the materials 
 ■ — ^whose uses and characteristics the student is to understand 
 and control — are few. A piece of Chamois Skin, about three 
 
 11^" Note. — To those unacquainted with this meritorious artist and 
 estimable gentleman, I desire to say that, having known him intimately 
 for many years as an adept in Crayon, Water Colors, and Oil Painting 
 — and being thus able to commend his great abilities — I regard it as a 
 distinguished honor to be favored with this chapter. With the modesty 
 of true genius, Mr. B. sends these simple jottings of his crayon method, 
 requesting me to give them some literary dressing ; but I prefer to leave 
 the gold in its original condition — because it will harmonize all the bet- 
 ter with the simplicity of expression which 1 have endeavored to main- 
 tain in the previous chapters. — G. B. A, 
 
WORKING IN CRAYON. 1 55 
 
 Stumps (made of Ihe same material) a few sticks of Conte 
 Cravon and Lithographic Chalk, will comprise the necessary 
 outfit. 
 
 The stumps should be firm and soft, without being pliable, 
 and of three different sizes. The smallest should be trimmed 
 to as fine a point as practicable, and the other two cut off ' 
 square, and then shaved down flatly on opposite sides, leaving 
 a blunt edge resembling that of a chisel, ^he former is in- ' 
 tended for drawing lines, and the two latter for laying the pow- 
 dered crayon, and must be handled like a flat brush. The 
 finest lines are to be done with a pointed crayon. 
 
 The paper should be neither too smooth nor too rough ; 
 and in making the print the photographer can tint it, when so 
 desired, to a neutral gray, outside of the head. 
 
 In general, it is best to lay a thin wash of Lampblack over 
 the background, hair, and drapery — to give the surface addi- 
 tional "tooth," in like manner as directed for Pastel. After 
 this wash is thoroughly dry, scrape (pulverize) some of the 
 softest crayon, charge a stump that has been cut down flat, and 
 begin to strengthen the masses of the hair, shadows of the face, 
 etc. Then with a more pointed and firm stump bring out the 
 iris and pupil of the eye, the eyebrows, nostrils, and lines 
 about the mouth. Let the hair be kept in masses, and not 
 worked at first too much in lines. 
 
 In developing the half-shades, avoid blackness and dirtiness. 
 Beginners invariably "catch" these defects of manipulation, as 
 the crayon is apt to look like a dirty brown by contrast with the 
 blue-gray tones of the photograph. 
 
 For the purposes of erasing, when necessary, use bread that 
 is not too fi-esh ; India-rubber will answer, too, for the finer and 
 weaker erasures, as it can be cut to a point. 
 
 Let every touch be put on with decision and cleanliness ; let 
 there be no teasing (so to speak), for every moment spent in 
 tampering with the touches already put, the greater the loss of 
 crispness and clearness. Certainty of handling comes only with 
 
156 HOW TO PAINT PHOTOGRAPHS. 
 
 certainty of knowledge, and the student should strive for that I 
 The appearance of dexterity is veiy charming in all art, but only 
 close application and practice will give it. 
 
 If the picture in hand is to have a dark background, there 
 are various ways of treating it. If there are no antagonizing de- 
 fects upon the plain ground, it can be dappled with the blunt 
 , end of a stump ; , and the result, by force of contrast, will cause 
 the face to appear. much finer than it really is. Or, it may be, 
 it can be covered with gray school-chalk or gray pastel, into 
 which pure black should be introduced at the lower parts, to 
 represent the cast shadow from the head. The light side of the 
 face should be relieved against the dark side of the ground, and 
 the dark side against the light side. 
 
 Now take a flat piece of gray chalk and cross-hatch diagonal- 
 ly into it, and ' ' leave " the roughness which it produces, as it 
 looks better rough than too smooth. Use flat black crayon to 
 cross-hatch in the lower corners. 
 
 If it is a vignette, much depends upon the shaping of the 
 whole, especially the outer clouding, which should present an 
 aerial appearance, and yet dark enough to give relief to the 
 head. So also the lower part of the bust should vanish off im- 
 perceptibly and with softness. 
 
 Concerning the drapery : let the folds be strengthened ; give 
 intensity to the dark parts, and if the bust extends to the bottom 
 of the picture — and the background is dark — let the lower part 
 of the bust be correspondingly darker, as the greater light should 
 be concentrated about the head. In regard to lights upon 
 drapery, the writer finds it best to "recall" them with gray 
 chalk, which can be blended into the blacks with the finger, as 
 in pastel work, or- by the use of a cork stump. 
 
 After all the parts are satisfactory, and the likeness is com- 
 plete and perfect, the face and background should be gone over 
 with the Lithographic Crayon. This can be brought to the 
 requisite point by holding it over a gas-flame, or any other con- 
 venient heat. This kind of chalk is preferable for various rea- 
 
WORKING IN CRAYON. 1 57 
 
 sons : By dragging it over the paper it catches upon its rough 
 protuberances, and nowhere else. This is best done with a 
 circular motion, which prevents streaks and too much black- 
 ness ; but remember, this is the last thing to be done — the 
 coup de grace — as it will not be possible to make any further 
 corrections after it is once on. It is of a greasy nature 
 (there being -wax and tallow in its composition), and for this 
 reason the portrait should be completed before this last work is 
 added. 
 
 The first inch or two put upon the face is most likely to 
 disgust the performer ; but after all is gone over (except the 
 highest lights), the background also, and the drapery is cross- 
 hatched with the pointed crayon, it will look beautiful. The 
 granular surface which this gives is indicative of texture, and 
 avoids too much polish and smoothness. All the outlines are 
 softened by this process, if it has not been attended to at first 
 with the stump, which should have been done. Take care that 
 none of the likeness is lost while dragging ; and the student will 
 find that the spotty copies enlarged from small card photographs 
 are best made even and smooth by this dragging of the Litho- 
 graphic Chalk. 
 
 The prints should be mounted upon stretchers, as they are 
 not so liable to have ridges, and are also tightened out flat and 
 firm. A light print is best to work upon, as a dark one some- 
 times ends with too much blackness and heaviness. 
 
 Charcoal is not often used upon a photograph. It is gener- 
 ally used upon paper which is prepared expressly for that pur- 
 pose, and which is susceptible of ' ' fixing " the drawing when 
 finished. 
 
 As to "fixing" a photograph in crayon, this can be done in 
 various ways, either by immersion in a diluted bath of white 
 glue or Gum Arabic water, or by projecting upon it a spray of 
 some kind ; but much of the beautiful, velvety surface and 
 bloom, and the decisive touch is destroyed in so doing — and the 
 loss of distinctness is apt to cause disappointment. 
 
158 HOW TO PAINT PHOTOGRAPHS. 
 
 Most solar prints are not fit to hang up without retouch- 
 ing ; and, after all, nothing can supercede crayon for this pur- 
 pose. 
 
 Erasers should be used to remove any spots, wrinkles, or 
 other markings that may be too dark or obtrusive. 
 
 Let the first work be softly done. Let all lines be softened 
 by the stump and toned down. As the portrait painter in oil 
 trys to get softness in his "first painting," so also the crayonist 
 should try for softness in his under-work, for upon this the more 
 vigorous, dexterous handling, or the "drag," will look the 
 better. 
 
 The hair may have some lines drawn upon it with the pointed 
 Conte crayon, but must not appear too wiry or hard, and 
 must not run parallel, as though a comb had been drawn 
 through it. 
 
 Pure White Chalk should be used last, to put on the concen- 
 trated lights in the eyes, the highest lights upon the forehead, 
 cheek-bones and chin, as well as the shirt-bosom or collar. 
 The writer finds the fractured corner of white crayon best for 
 this purpose ; and it should be put on at once and with cer- 
 tainty, allowing some of the chalk to protrude, so as to catch 
 the light. [Nothing represents the flash of the diamond so 
 well as this.] Some use liquid Chinese White, applied wet, 
 and with a pointed brush ; but it must be used very thickly, or - 
 the effect will not be fine. The half-tones should be rubbed 
 into the white linen during the first stages of the work, and the 
 highest lights added last of all. 
 
 The likeness is the first desideratum ; then purity, and facility 
 of handling upon a soft under-rubbing with the Chamois ; and 
 lastly, the correct shaping of the whole, so that the general effect 
 shall be all right at ten or fifteen feet from the picture. Much 
 depends upon this, for if it is heavier on one side than on the 
 other, or triangular in shape, or too straight across the lower 
 part of a vignette, it looks abominable. 
 
 Cross-hatching should be done diagonally, and not at right 
 
WORKING IN CRAYON. 1 59 
 
 angles ; neither should the lines run too perpendicularly. Do 
 not fear roughness in the background I 
 
 Should it be desirable to put any loose, single hairs in a 
 flaxen or gray head, or upon a beard, these can be recalled or 
 rtibbed out with a sharp corner of the gum eraser. So also there 
 should be some darker projections outside of the mass of the 
 hair, at the sides of the head, or beard, so as to avoid a stiff 
 formality and ^wt freedom to the whole. They must be grace- 
 fully done, however, and the student should remember the 
 Hogarth "line of beauty, " which was serpentine. 
 
 Avoid using too much White Chalk, as it must be reserved 
 for the high lights only ; if it becomes mixed up with the black 
 crayon, it is apt to produce a leaden color, attracting the eye at 
 once, because it is " out of harmony '' with all the rest ! 
 
 The drapery should be darkest in the vicinity of the head 
 when making a vignette on a white ground. When cross- 
 hatching upon the draperies or the face, — if the student should 
 prefer doing it in that way, — he must attend to placing the lines 
 so that they -VfiW follow the muscles of the face, or the folds of 
 the coat, etc. This direction of lines adds much to the illusion 
 of roundness and form, and aids the modelling. This method 
 is perfectly legitimate, and if it is clear and clean, and neatly 
 done, no one will question the propriety of doing it. The lines 
 must run parallel and all in the same direction, as much as 
 possible ; but avoid having any darks near the shoulders or the 
 lower part of a vignette head. Guard against too much black- 
 ness in the shadows of the face — under the eyebrows, chin, 
 nose, and the side of the face ; always remembering that the 
 darkest shades have also reflected light in them. 
 
 In adding 2, finale to the random thoughts above written, let 
 me recommend the student to idealize his crayon picture, as 
 much as the subject in hand will afford him opportunity to do 
 so. Make them, if possible, to look different from a photograph, 
 and to suggest a. drawing from life ! The stiffness and rigidity 
 of the statue-like photograph — although giving a realism which 
 
i6o 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 the world's greatest masters could not have rivalled — does not 
 always afford z. pleasing picture. And as the large size of crayon 
 work necessarily supercedes the detail incident to the smaller 
 photographic pictures, a field is presented for amplification of 
 the student's faculties such as he should take advantage of, and 
 such as I have endeavored herewith to make easy for him to 
 enter upon and possess. 
 
PAET III. 
 
 Introductory, 
 
 The coloring of a photographic portrait, whether accompHsh- 
 ed in Waier or Oi7 colors, must necessarily be based upon the 
 same principles, and be subject to the same general laws of col- 
 or, light, and shadow. The diiference between the two pro- 
 cesses lies chiefly in the materials used, and in their special ma- 
 nipulation — the result being essentially the same. 
 
 To those who have practiced in Water Colors it may not be 
 inopportune to remind them that in Oil there is no " washing " 
 of local color, and no subsequent ' ' hatching "or " stippling. " 
 
 Note. — This chapter, although based upon the plan of instructions 
 given by the distinguished artist J. G. Chapman, in his ^'American Draw- 
 ing Book," has been arranged and written with special applicability to 
 vn(yTOGK&.Viiic painting ; with additions, and careful revision by other 
 practical artists. 
 
1 62 HOW TO PAINT PHOTOGRAPHS 
 
 The application of the pigment — ^which keeps ever ready for 
 working — requires but one motion, generally toward the work- 
 er, and familiar to all. In Water Colors the successfiil opera- 
 tion frequently depends on the quickness with which it is done, 
 as in washing ; or the regularity, as in hatching ; or the cleanli- 
 ness, as in the proper succession of overlaying tints. But in 
 Oil the process allows deliberation, as the color is slow to dry ; 
 the correction of errors, because the color is generally opaque ; 
 and many advantages which the water-colorist is compelled to 
 do without. Indeed it will be found that, instead of drying al- 
 most immediately, some of the oil pigments are to be condemned 
 for their obstinacy as bad driers ! Owing to this necessity of 
 allowing time for the color to dry, the student should remember 
 that it is not well . to press his work on one picture too far at a 
 single painting, but rather have two or three pieces on hand, for 
 a change. 
 
 In Water Color painting, it is to be remembered, that the 
 light resides in the white paper itself, and the colors derive their 
 eflfect from the manner in which they are projected upon it — 
 whether thin or thick, transparent or opaque ; but in Oil the 
 tint of the surfe.ce to be painted upon does not in the least af- 
 fect or control the working, inasmuch as the light is to be found 
 in, or produced by, the use of white paint ; which must Conse- 
 quently be mixed with all hues in proportion as they approach 
 light, and conversely as they approach dark. 
 
 In undertaking, therefore, our instructions " how to paint 
 photographs" in Oil, we shall only furnish ^!a& practical directions ; 
 because it is taken for granted— indeed, positively assumed — 
 that the student has already studied and familiarized himself 
 with the general principles involved in the various topics under 
 the treatment of Wa'ter Colors. The same distinctions of hue, 
 as appertaining to the hair, eyes, complexion, drapery, etc., 
 must be preserved, although they are obtained by a different 
 process of manipulation, and sometimes by entirely different 
 pigments. 
 
IN OIL COLORS. 163 
 
 The Fliotogra/ph 
 
 Should be printed on what is called "plain" and not upon 
 albumenized paper. The former has a "tooth" for holding 
 the color, and in this respect is somewhat like fine canvas ; 
 while the albumenized paper is not only objectionable from its 
 being entirely too smooth, but the picture cannot be regarded 
 as durable, since it is on the albumen only, and not on the 
 actual surface of the paper itself. The print should possess a 
 medium tone of blackness, and must be mounted upon a very 
 stout quality of card-board — much heavier than for water color- 
 ing — but a muslin stretcher is the best No work can be done 
 on the mounted print until it is entirely dry ! 
 
 B®° The thickness and opacity of the oil colors makes the 
 Guide-Print a positive necessity. Without this, it will be impos- 
 sible to preserve the likeness — unless it be a copy, in which 
 case the origjnal is always the best guide. 
 
 Tlie Fi/rst Application 
 
 Upon the photograph will be a Sizing of milliner's (white) glue, 
 dissolved in warm water, and applied while warm. It should 
 be of sufficient strength to prevent the oil from sinking into the 
 paper, but not so thick as to render it likely to crack and peel 
 ' off. It should be tested upon a comer of the print, and if the 
 oil is quickly absorbed, another application of the Sizing, or a 
 preliminary wash of oil, will become necessary. The surface 
 should at any rate be rendered non-absorbent to the oil contained 
 in the pigments, so that they shall not depreciate in freshness 
 and strength by drying. 
 
 Figments and Vehicles, 
 
 Necessary for photographic painting in Oil are variously chosen, 
 according to preference, and may be selected from the follow- 
 ing list : 
 
164 HOW TO PAINT PHOTOGRAPHS 
 
 Silver White, Light Red, 
 
 Naples Yellow, Blue Black, 
 
 Yellow Ochre, Rose Madder, 
 
 Venetian Red, Cobalt, 
 
 Chinese Vermilion, Permanent Blue. 
 
 Raw Sienna, Vandyke Brown, 
 
 Burnt Sienna, Brown Madder, 
 
 Raw Umber, Roman Ochre, 
 Burnt Umber, 
 
 Out of the foregoing color-Wst ike first twelve will perhaps be 
 found best adapted in painting a head, and may be considered 
 quite sufficient to commence with ; and though their number 
 can be increased from the remainder, as the student advances, 
 it is not unlikely he will return with confidence to the simplicity 
 of his first choice. 
 
 In the selection of his colors the student is reminded that the 
 strength of his palette should not lie in the variety of his colors, 
 but rather in 'Ca& judgment exercised in their choice, and discre- 
 tion in using them. The best of painters have set the example 
 of using comparatively _/«» colors. To a beginner, the fewer 
 his colors the more easily the combinations are remembered. 
 
 Concerning their qualities and adaptations, we may remark 
 as follows : 
 
 White will always be found to occupy the most prominent 
 position. As has already been noted, it is the light of the pal- 
 ette. It is therefore placed at its head, because it is required 
 in a larger quantity than any of the others, and is more acces- 
 sible during the work. Among the various preparations to be 
 had, Silver White is most generally used, being in favor with 
 artists everywhere. 
 
 Naples Yellow varies both in intensity and delicacy. The 
 paler tint is considered best adapted for the flesh ; that which 
 has a lemon hue should be reserved for other parts, and for 
 landscape. As there are imitations of this pigment sold, care 
 
IN OIL COLORS. 165 
 
 should be used to procure it o^ genuine manufacture. Its pecu- 
 liar chemical properties also require that it should not be com- 
 bined with other colors imperfectly prepared from iron ; and in 
 mixing it upon the palette an ivory or horn spatula should be 
 used, instead of a steel one. 
 
 Yellow Ochre combines in flesh tints in a most delightful 
 and manageable way, and being of a permanent and reliable 
 character, may be regarded as invaluable. It is a favorite color 
 with all painters, and is to be had in many varieties of shade, 
 such as Roman Ochre, Golden Ochre, etc. 
 
 Venetian Red is a standard pigment for the flesh, as it forms 
 a carnation applicable under almost all circumstances. 
 
 Vermilion is a dangerous color for beginners to handle, as it 
 requires much tempering and reducing to bring it into har- 
 mony, especially in delicate flesh tints ; still it is very important 
 and valuable in heightening the brilliancy of the carnations. 
 Until the student attains, by practice, capacity for its judicious 
 management, it should be used with caution, and sparingly. 
 Of the various manufactures — Chinese, English, French, and 
 Dutch — we recommend the Chinese or the English. 
 
 Raw Sienna, in point of general utility, takes rank with Yel- 
 low Ochre ; it is found of various shades and degrees of in- 
 tensity ; and if used at all in flesh, must be done carefully. 
 
 Burnt Sienna is a pigment of very great value, and in point 
 of general service occupies the next place to White. When it 
 is had of good quality it can be made to supply the place of the 
 warmer Lakes, whose doubtful character for permanency ren- 
 ders their use always questionable and suspicious. 
 
 Raw and Burnt Umber are both favorites, and both rapid 
 driers. They have, however, the reputation of turning darker 
 in time — a peculiarity common, in a greater or less degree, to 
 all the earths, especially those which require the use of consid- 
 erable oil in their working. 
 
1 66 HOW TO PAINT PHOTOGRAPHS 
 
 Light Red has the properties common to all ochres, working 
 well in every kind of vehicle, and mixing with almost every 
 other pigment without undergoing change, and useful in every 
 department of painting. 
 
 Blue Black is a very slow drier when used by itself, and 
 should be ground as fine as possible. In forming the tints for 
 painting flesh, the chief use of this pigment will be found in 
 making out the " grays " and half-tints. Reduced with white 
 to the necessary degree, it is the best color to use for blue and 
 gray eyes. Blue Black will be found sufBciently "black "for 
 ordinary purposes ; and with the admixture of Indian Red in 
 the shadows, and white for the lights, it meets every require- 
 ment for drapery (black-cloth) painting. There is possibly no 
 color the value and power of which will require so much time 
 and practice to become familiar with as Blue Black ; but the 
 more the student learns of its usefulness the better it will be 
 valued and appreciated. Intense blacks are seldom if ever re- 
 quired, especially in the early stages of a picture. 
 
 To meet any demand for a positive blue — too much of which 
 should never appear in a picture — Cobalt, or Permanent Blue 
 may be used. The former is much esteemed, and is applicable 
 to the more delicate parts. 
 
 For an account of the properties and adaptations of the 
 remaining ones, see their corresponding uses in Water Colors, 
 
 PP- 32-45- 
 
 These colors as they are generally purchased in tubes have 
 about the consistency of soft butter, and should be used in that 
 form. In the very outset the student is cautioned against a 
 common fault of beginners in oil (especially with such as have 
 previously worked in Water Colors), i. e., a propensity to render 
 pigments thinner by the addition of more oil ! It is best to let 
 the oils alone, or if the necessity of mixing additional oil with 
 the color occurs, to do it with the spatula upon the palette. 
 But let the student remember that his color, if in a condition 
 
IN OIL COLORS. 167 
 
 that it will not stand on the palette — ^held almost horizontally — • 
 it can scarcely be in a state proper to transfer to his work, near- 
 ly perpendicular on the easel. 
 
 "Linseed Oil is the best of all oil," said Van Dyke, the 
 great master of portraiture ; and his verdict is correct unto this 
 day. It is best when used raw. 
 
 Megilp is a combination of strong Drying Oil and Mastic 
 Vamish, and about the consistency of well-prepared colors ; ex- 
 tremely transparent, agreeable under the brush, an admirable 
 drier, and well known as a " vehicle." Although in Megilp, 
 when used properly, there is nothing to be dreaded, its injudi- 
 cious use causes great detriment and excites suspicion. It is 
 often impure, is likely to turn yellow, and make the picture 
 spotted. 
 
 It must be understood, however, that hut one kind of oil or ve- 
 hicle should be used throughout a picture ; all its parts should 
 dry as equally as possible, and to this end such colors as are in 
 themselves slow driers should be assisted by some vehicle readi- 
 ly combining with the oils in which they are ground, and pos- 
 sessing in itself no injurious effect on them. 
 
 Necesscury Implements. 
 
 I. Brushes. — ^These should, of course, be selected according 
 to the requirements of the kind of work. It is recommended, 
 however, to use Sable brushes almost entirely on paper, unless 
 very fine bristle can be had — which are advantageous for laying 
 on the opaque and heavy masses, especially in large-sized 
 heads. The brushes may be round or flat, according to prefer- 
 ence ; the round are probably best for faces. Sables also do 
 better for the sharper and more decided touches. For general 
 observations on brushes, see page 48. 
 
 Just here we would advise the student to refrain from pur- 
 chasing Softeners or Blenders, as they are called, and which are 
 too often sadly misapplied in reducing the picture to a flat or 
 
1 68 HOW TO PAINT PHOTOGRAPHS 
 
 spiritless smoothness, in order to produce what is erroneously 
 considered to be an effect of finish ! Beginners should eschew 
 them altogether. 
 
 The brushes should be thoroughly washed with tepid water 
 and soap (made to a lather) always immediately after being 
 used ; or if circumstances prevent this, they should be laid in 
 oil until they can be attended to. Wipe them out carefully 
 and lay aside to dry. Never cleanse them with spirits of tur- 
 pentine, as it deprives them of their softness and elasticity, and 
 renders the bristles and hair brittle. 
 
 2. Thk Palette is composed of wood — mahogany, walnut,- 
 holly, maple, or any other hard wood. One of medium size, 
 say 9 by 12 inches, will answer. It should be light and easy 
 to the hand, especially to the thumb, and should always be 
 cleansed after using with oil or spirits of turpentine. Paint 
 must not be allowed to accumulate on its surface, and if it has 
 dried or hardened thereon during the day's work, it must be 
 rubbed off with a rag and oil. 
 
 Whenever the Palette contains a superabundance of color 
 which it is desired to keep until another time, it can be trans- 
 ferred with a spatula to a piece of glass, or even writing-paper, 
 and laid in clean water sufficient to cover it ; where it will re- 
 main out of the dust and keep fresh and soft for several days. 
 
 3. The Easel, Rest-Stick, Spatula, etc., see page 50. 
 
 The Light for painting in oil should be above the level of 
 the eye, in order to avoid reflection and for other reasons. 
 (See page 52.) Although necessarily obliged to be near the 
 work in its execution, the effect to be produced when viewed at 
 the proper distance (equal to three times the size of the picture,) 
 should never be absent from the student's mind. For observa- 
 tions on the handling of the larger-sized pictures — such as 
 would be adapted to working in oil — see page 147. 
 
PRELIMINARIES TO WORKING. 1 69 
 
 Preliminaries to Working. 
 
 Arrangement of the Palette. — Having indicated to the 
 beginner what may be considered a sufficient number of colors 
 (in those already described), it now becomes necessary to advise 
 him how to ' ' set " his palette ; because a proper and systematic 
 arrangement of the colors upon the palette is not only essential 
 for reasons of convenience and cleanliness, but on account of 
 their intermixture from light to dark, or from White through 
 the colors to Black ; also in order to guard against the risk of 
 injurious contact, and form an agreeable scale to the eye. 
 
 The most important setting will be for use in painting ^«/^ — 
 the portrait — and is as follows : 
 
 Taking up the palette in the left hand, begin by putting Sil- 
 ver White (i.) at the very front edge nearest the thumb ; and, 
 for reasons elsewhere given, squeeze out a considerable quantity 
 from the tube — say three to five times as much as any of the 
 other pigments. Then, keeping along the outer edge, place 
 the colors in the following order — mixing and laying them from 
 front to rear : 
 
 2. Yellow Ochre and White, 3 tints, 
 
 3. Venetian Red, Yellow Ochre and White, " 
 
 4. Light Red and White, " 
 
 5. Vermilion, Rose Madder and White, " 
 
 6. Yellow Ochre, Blue Black and White, 
 
 7. Vermilion, Blue Black and White, " 
 
 8. Blue Black and White, " 
 
 9. Light Red, Yellow Ochre and Black ; for the shadows 
 
 — to be used with Megilp. 
 10. Cobalt. 
 
 In this setting, the pure colors as squeezed from the tube 
 being placed along the edge, the three tints of each are to be 
 appended in rows tow;ard the student's arm. Each tint is to be 
 made lighter (by the addition of more white) so as to take from 
 
 8 
 
17° HOW TO PAINT PHOTOGRAPHS. 
 
 the preceding; but not conversely, eise purify is endangered. 
 Naples Yellow should be used for women and children, and 
 Vermilion in compound with it. It will be seen that, by plac- 
 ing the colors along the outer edge, the centre and the inner 
 edge are reserved for mixtures. 
 
 Concerning Mixtures, it may be observed in advance, that 
 it is far better the tints for the general and principal masses 
 should be prepared on the palette with the spatula or knife — 
 trusting to the aid of the brush only in bringing them together 
 on the photograph, with as much clearness, and precision as 
 possible. Some persons rely entirely upon the brush or pencil 
 in forming these combinations ; but it requires a degree of ex- 
 pertness not to be expected in beginners, so that it is bette/ to 
 pursue the first-mentioned course. The tints should not be 
 mixed too light, or "chalkiness" will ensue ; and, the more they 
 are "teased" and trifled with (for want of decision) the more 
 they will become sullied. 
 
 Manipulation. 
 
 1. The Brush being held between the thumb and two first 
 fingers (see p. 53) the motion to be used in general is simply 
 that of closing the hand, or drawing the brush toward you. 
 There are also other ways of using the brush in oil-painting, 
 but unnecessary to refer to here. 
 
 It is, however, very essential that the student should under 
 stand how to work the two following processes, viz. : 
 
 2. Glazing is a term used to express the passing of a darker 
 color, reduced with oil or some other transparent vehicle, over 
 a lighter one, in order to heighten the brilliancy of the tints ; 
 giving thereby transparency and force to the shadows and bring- 
 ing the whole to an agreeable and harmonious tone. It special- 
 ly implies the use of those pigments which are transparent, such 
 as Yellow Ochre, Raw and Burnt Sienna, all the Lakes, As- 
 phaltum, etc. ; but all colors except White are more or less 
 
MANIPULATION. I7I 
 
 available in this respect, according to the addition of a greater 
 or less quantity of oil or Megilp. Glazing must never be done 
 unless the previous working is entirely dry. 
 
 3. Scumbling is the opposite process of Glazing, or the pass- 
 ing of a thin layer of a lighter over a darker tint, and is applied 
 to parts which are too forcible in color. It is necessary, how- 
 ever, to be cautious that the operation of scumbling does not 
 go so far as to produce opacity, instead of simply modifying the 
 part, rendering it cooler and less deiined. By this means ' ' at- 
 mospheric eifects" are obtained. The part to be scumbled 
 upon must first be completely dry. 
 
 Method of Painting. 
 
 The picture having been pi-operly mounted, sized, and oiled, 
 and the necessary combinations formed upon the palette, the 
 student may now proceed to the actual operation of painting a 
 photograph in Oil. 
 
 We must also presuppose either the presence of, or a perfect 
 . acquaintance with, the original of the photograph ; and also 
 the possession of a duplicate picture (see p. 29) to assist in 
 maintaining the original drawing, after the photograph shall be- 
 come lost to sight as the painting advances. It is in this re- 
 spect that the duplicate becomes a guide-'piia.t, indeed ; and it 
 is needed much more than in Water Colors, because the oil pig- 
 ments are all opaque when mixed with white. 
 
 First, mark out the principal lines and shadows with Burnt 
 Umber, Burnt Sienna, or any transparent brown, as a basis for 
 the after-colors, as well' as to overcome the blackness of the 
 photograph. Then proceed with the flesh and other tints, with 
 the intention, that but one painting, or two at the farthest, shall 
 complete the work. 
 
 Whatever objections may be urged against the method of 
 painting ' ' at once " ■ — in which it is endeavored to accomplish 
 as much as can be done at once, leaving as little as possible for 
 
172 HOW TO PAINT PHOTOGRAPHS. 
 
 an after-process — it is the safest for one as yet a novice in the 
 use of color. It is useless for the beginner to harass himself 
 about the nicer processes of painting, and the surest ,way is to 
 seek at first all he can by the most simple and direct methods. 
 
 Care should be observed in the beginning to lay on the tints 
 without overloading them, an error into which the inexperienced 
 are quite likely to fall. However desirable it may sometimes 
 be to secure a "body" of color, it is better to effect it by de- 
 grees. The masses should be put in first, leaving the highest 
 lights and darkest parts for the last. 
 
 If the working is carefully and judiciously done at the outset 
 — that is, the colors laid in their proper places, the drawing 
 maintained, and the lights and shadows harmoniously graduated 
 — the after- working will consist of simply improving what has al- 
 ready been done. It may be necessary to regulate the tone of 
 the colors, to ' ' load " some color liere and smooth it down 
 there, and also to add those lines and ' ' touches " which give 
 spirit and finish to the whole. 
 
 If the picture has been left a number of hours to dry (or for 
 other reasons), when taken in hand a second time it will be 
 found that the surface has become hard as well as dry, and will 
 not take the color again kindly until it is "oiled out." To do 
 this, it should be dampened hrst with a soft sponge, or the flat side 
 of half of a raw potato ; then go over that portion which is to 
 be painted upon with a soft brush and oil. If the oil is put on 
 too thickly, the superabundance should be rubbed off thor- 
 oughly with a linen or silk rag. Only so much should be 
 "oiled ouf" as it is proposed to work upon, the design being 
 to furnish a surface on which the paint will take and spread bet- 
 ter, and also to bring back the dried color to its original tint 
 and freshness — it being easier to work upon a fresh than a dried 
 surface. 
 
 If, upon taking the picture in hand after it is once dry, it is 
 found that fresh color when laid on thin, does not readily adhere, 
 but is apt to "creep" — like water upon an oily surface — the 
 
METHOD OF PAINTING. 173 
 
 difficulty may be overcome by simply washing it with water ; 
 using a sponge or soft cloth, and carefully wiping it off again. 
 If the whole picture is not sufficiently dry to admit of this, mere- 
 ly breathing upon the part to be worked over will answer the 
 purpose. As the moisture of the breath will adhere only to such 
 parts as are dry, this method of ' ' breathing " can also be used 
 to discover when a picture is sufficiently dry, without subjecting 
 it to the touch, — showing the state of the work in this respect 
 with the utmost certainty. 
 
 Previous Instructions.— In regard to the peculiarities oi 
 method, attenfion to drawing, and details of color with which 
 the painting of the face is to be executed, the student is directed 
 to consult the various chapters previously given, concerning the 
 Flesh, Hair, Eyes, Cheeks, Mouth, Neck and Bosom, Hands, 
 etc. Also, on the Carnations, Grays and Pearly Tints ; Touch- 
 es ; etc. In these (pp. 63-81) he will find ample instructions 
 respecting the general and special treatment of the features. 
 This fundamental knowledge is absolutely necessary, and when 
 thoroughly learned makes the work easy. The student will 
 then be able to discriminate between the use of the pigments in 
 Water Colors and in Oil, if he understands the effect of color which 
 those chapters aim to teach ; for it is quite obvious that after 
 the idea of color is comprehended and becomes fixed in the stu- 
 dent's mind, his genius, enlightened by study, will guide his 
 perception in a proper choice of the pigment with which he can 
 realize that idea upon the photograph. 
 
 Oil and Water Color Pigments. — If a comparison be 
 made between the various pigments used in Oil and Water 
 Color, it will be found that the majority of them are common to 
 both schools ; and that the difference lies mainly in their prep- 
 aration and treatment. Remember particularly that, in Oil, 
 colors are heightened in proportion to the amount of White, 
 and lowered or "broken" according to the amount of Black 
 used in their mixture — although the tone, for the most part, ex- 
 
174 HOW TO PAINT PHOTOGRAPHS. 
 
 ists in the color itself: With few exceptiofts, the adaptations of 
 the pigments are essentially the same in Oil as in Water- Colors, 
 SO that to enlarge upon them here would only be repeating what 
 has been already given. 
 
 The special exception, however, is Indigo, so veiy useful alone 
 and for mixtures in Water Color, is not used at all in Oil ; and 
 instead of the Compound Black (of which Indigo is the princi- 
 pal constituent) for black cloth draperies. Blue Black must be 
 used. The shadows of black drapery ought to be warmed with 
 a brown, red or yellow ; so also those of white drapery (being 
 made with Black) should be toned with Burnt Umber, Burnt 
 Roman Ochre, or a little Yellow, according to circumstances. 
 
 Backgrounds. — The matter of backgrounds has also been 
 fully treated in general and particular — see pp. 103-117— and 
 the student will find it comparatively easy to handle this part 
 of his work in oil. In bust pictures especially it only requires 
 a selection of colors that will harmonize with the head and dra- 
 pery, and give good relief, the handling and graduation of them 
 being very simple. 
 
 Cracking. — It has been already stated that hit one hind of oil 
 or vehicle should be employed throughout a picture. All dis- 
 similar mixtures should be avoided, because it is by the use of 
 these that cracking is most commonly produced. A heavy body 
 of color may be laid at once upon a well-dried under-prepara- 
 tion without risk ; but if various oils have been used, they are 
 not likely to dry instantaneously and to the same extent. Con- 
 sequently, after the picture is varnished (perhaps years after), 
 and supposed to be complete, the varnish and the colors that 
 were applied last will yield in cracks to the under-color which 
 may have been retarded by a slower drying oil or vehicle. 
 Hence arises the great importance of using but one equally firm 
 and reliable oil or medium of color throughout the picture. 
 
 Varnishing. — Mastic varnish, diluted accordingly with Spirits 
 of Turpentine, is the one almost universally adopted for bring- 
 
METHOD OF PAINTING. 175 
 
 ing out the work when completed ; but it shonld neither be too 
 strong, nor laid on in a quantity beyond that which may be re- 
 quired to bear out the colors and give it an even surfece. 
 
 It has been advised by some, that so long as the surface of 
 the work is even and glossy, it should not be varnished ; but 
 when it becomes uneven or spotted — that is, some parts of it 
 hard and dull whilst other parts still look fresh — it is necessary 
 to do so. As this contingency, however, depends upon many 
 circumstances during the process of painting, the student must 
 decide for himself, after the work has been given ample time to 
 dry. Ori this point it should be known that the picture, es- 
 pecially in the earlier stages of its progress, cannot be too freely 
 exposed to the drying influences of both air and sunshine. It 
 is a bad practice to turn pictures to the wall while drying. 
 
 Previous to varnishing, the picture should be thoroughly 
 cleansed, not only from dust, but any other impurities, greasi- 
 ness, etc. It should be in such condition as to insure the ad- 
 hesion of the varnish; if otherwise, the varnish may "creep' 
 and sometimes even granulate in hardening. The cleansing 
 may be effected by washing with water alone, or very weak soap 
 and water ; afterwards wipe it thoroughly dry with an old silk 
 handkerchief. Then to avoid further risk, dry it in the sun or 
 before a fire for a few minutes, and while still warm the varnish 
 should be applied. If the varnish itself be slightly warmed it 
 will flow better. 
 
 In applying the varnish lay the picture down, face upward, 
 and let no dust or motes fall upon it With a broad and not 
 too coarse-haired brush, lay on the varnish as rapidly as pos- 
 sible, and be sure to finish completely at once, so as never to go 
 hack for retouching. Some think that the varnish should be 
 poured on the picture and spread with the brush at the same 
 time, instead of transferring it from a cup to the picture by lift- 
 ing it with the brush ; but this we do not advise — the other 
 method is safer and better. 
 
176 HOW TO PAINT PHOTOGRAPHS. 
 
 Conclusion. 
 
 It is not unfrequent that professional artists assume a senti- 
 ment of contempt for the painting of a photograph in Oil ! Al- 
 though willing to recognize the fineness and incontestable beau- 
 ty of water color, as applied to the small-sized photographic 
 pictures, they are scarcely willing to acknowledge the legitimacy 
 of oil painting upon a photographic basis. In the face of this, 
 however, it is a well-known /ac/ that even artists of first-class 
 standing (/o use photography, variously applied, as an important 
 (but secret) help to their drawing and lighting, begging excuse, 
 however, on the ground that, in so doing, it saves valuable time 
 to the sitter 1 — which is, so far, undoubtedly true. 
 
 But let no animadversion of this kind deter the student from 
 his honest aim to accomplish, by careful attention and diligent 
 study, a successful fulfillment of the purpose for which these 
 humble instructions are designed. 
 
PART lY. 
 
 ■ m » . i»- 
 
 This picture, commonly known as the "Crystal Ivory- 
 type, " is more the result of a process than it is of any special 
 dexterity in art. It has the appearance characteristic of the gen- 
 uine Ivorytype, but surpassing it in smoothness and brilliancy, 
 whilst the process of coloring suggests the so-called "Grecian 
 Painting " of yore. Hence it would seem to combine two old 
 ideas ' ' reconstructed " to a new and pleasing shape ; and being 
 quite easy to handle— requiring no actual knowledge of the art 
 of painting — it has attained a considerable popularity. 
 
 A complete outfit of the necessary materials — colors, brushes, 
 gum tragacanth, spermaceti, etc. , specially selected, and in con- 
 venient shape for use — can be purchased of the color-men and 
 photographic stock dealers. 
 
 The process can be applied to old pictures (if not discolored) 
 as well as to new ones. When they cannot be had direct from 
 the photographer, unmounted, they can be removed from the 
 card-board by soaking them in moderately warm water until the 
 paste is softened, when they will float off or can be gently lifted. 
 But do not try to hurry this operation and damage the picture ; 
 it will not come off until the paste is thoroughly softened, and 
 then it will spontaneously. 
 
 Lay it face downward, and carefully remove all the soft paste 
 
lyS HOW TO PAINT PHOTOGRAPHS. 
 
 from the back. Cut it a trifle smaller than the glass on which 
 it is to be projected, and put it between the folds of blotting- 
 paper until nearly dry. 
 
 Having prepared the Tragacanth paste beforehand — according 
 to directions hereafter given — coat the face of the print and con- 
 cave surface of the glass with it, using the largest brush. Lay 
 the print on the glass, iDeing careful to remove air-bubbles and 
 excess of paste with the fingers, by working from the centre ; 
 after which place several thicknesses of heavy paper on the print 
 and work it quickly down with the mounting tool, taking great 
 care not to break the glass. When thoroughly dry it is ready — 
 
 To Mender Transparent. 
 
 Place the cake of spermaceti in the tin tray, setting the latter 
 in a vessel containing hot water ; put this on the fire, and when 
 melted, immerse the glass-mounted print, which must remain 
 until the picture becomes transparent. Remove it from the 
 tray, drain, and, when cold, rub off with tissue paper or a cloth. 
 
 The spermaceti can be re-melted for future use. 
 
 Directions for Coloring. 
 
 ' The colors may now be applied directly on the print to the 
 eyes, lips, jewelry, lace work, and all decisive "touches" or parts 
 whicA requife no blending. Paste narrow strips of card-board to 
 the concave edge on top, bottom and sides ; then lay another 
 glass of the same size, with the convex surface toward the con- 
 cave side of the first. On this clear glass paint the hair, com- 
 plexion, drapery, and background. 
 
 The following oil colors have been found the most useful ; 
 for further information concerning which, see remarks upon 
 them in chapters on painting photographs in Oil. 
 
 For the Eyes. 
 Blue — Permanent Blue with a little Ivory Black. 
 Brown — Vandyke Brown. 
 Gray—Permanent Blue, Vandyke' Brown and Silver White. 
 
THE CHROMO-PHOTOGRAPH. I 79 
 
 Flesh — ^Vermilion, Silver White and Naples Yellow ; for chil- 
 dren, use Crimson Lake in place of Vermilion ; for dark 
 complexions, deepen with Vandyke Brown. 
 
 For the Hair. 
 Blondes — Chrome Yellow and Burnt Sienna. 
 Brawn — ^Vandyke Brown. 
 
 Black — Ivory Black, Silver White adding Permanent Blue. 
 Gray — Silver White, Naples Yellow, Ivory Black, Permanent 
 Blue. 
 
 For Backgrounds, use your own judgment in selecting the 
 color, but keep in mind the necessity of complementary effect. 
 
 If necessity should require it, the colors may be removed 
 wholly or in part with a little Megilp, applied with a soft cloth. 
 The coloring finished, back up with card-board. 
 
 The Chromo-photograph is completed by binding the edges 
 and back together with Gum Paper, previously cut in narrow 
 strips for the purpose. 
 
 To Prepare the Chim, Tragacanth. 
 
 Tate a tin cup and cover with hot water such quantity of the 
 gum as you desire to make into paste ; let it simmer for a few 
 minutes, add boiling water, stirring continually. Thin (if nec- 
 essary) with boiling water. 
 
 It is perhaps opportune to remark here, that the brevity of 
 the above directions is atoned for by the complete instructions 
 given in previous pages, where the student in chromo-photog- 
 raphy need but seek in order to find information on every nec- 
 essary topic appertaining to his portrait work. 
 
 He will find many directions given for painting by the ordi- 
 nary methods that may suggest thoughts which can be usefully 
 applied to this later style of picture. Remember that the same 
 principles apply to all kinds of painting, so far as the: attainment 
 of effect and beauty is concerned, and hence the greater knowl- 
 edge becomes a source of greater power. 
 
PAET Y. 
 
 The retouching of the negative is no longer a matter of 
 novelty or experiment. It has become not only a requirement 
 of art, but a matter of business necessity. The professional 
 photographer is compelled to educate himself in this regard, or 
 provide otherwise for the systematic retouching of his negatives. 
 
 The acknowledged excellence of this resource, therefore, has 
 not failed to secure a rapid adoption, until it has now become 
 one of the most conspicuous features in the present advanced 
 condition of the photographic art ; and as an art-resource, it is 
 justly entitled to consideration and an important place in this 
 volume. 
 
 Thz proper manipulation of the photographic iniage on glass 
 is really (though not supposed to be) a very much more diffi- 
 cult operation than a treatment of the same printed upon pa- 
 per ; and although there is nothing to prevent great improve- 
 ment from the most humble beginning, it is plain that the 
 
 Note. — Through the assistance of Mr. William Kurtz, the renowned 
 New York artist, this book had the honor of giving the first comprehen- 
 sive exposition of negative retouching printed in this country, in its seq- 
 ond edition, issued October, 1869. 
 
RETOUCHING THE NEGATIVE. lOI 
 
 higher results can only be achieved by those who understand 
 light and shadow, and are somewhat competent in drawing the 
 facial muscles. Further advantage is to be derived from a 
 knowledge of the printing qualities of a negative, ability to 
 perceive Just where the corrections are required, and what ef- 
 fect in the finished print every touch put upon the negative will 
 have. 
 
 With respect to the various processes of manipulation appli- 
 cable to this purpose, different styles will naturally suggest 
 themselves to the intelligent operator — whether by stippling, 
 hatching, or a combination of both. The process mostly adopt- 
 ed is that of stippling — for general instructions in which, see 
 page 57. "Stippling" is working with the point of the brush 
 in small dots ; but in this case the dots must not only be very 
 small, but very faint, the color being used sparingly, for it is 
 always better to go over the part to be filled up two or three 
 times than to try to do it at once with strong color, as in the 
 latter case the touching may be visible upon the print. 
 
 The Requisite Materials and appliances are principally 
 as follows : 
 
 1. The. Retouching Frame, of which there are a number of 
 different sizes and styles to be procured. The wood-cut (see 
 next page) represents one made by E. & H. T. Anthony & Co., 
 New York, and seems to have more advantages than any other. 
 This frame, properly adjusted, is to be placed before a window 
 having a strong light ; and since all the light but that which 
 falls upon the reflector must be masked and shut out, even sun- 
 shine is not objectionable. 
 
 2. Black Lead-Pencils. — The most desirable ones are manu- 
 factured by Faber ; they are known as the ' ' Siberian, " and are 
 made of the splendid graphite of the Briskal Lake. They are 
 lettered or numbered according to the degrees of hardness, and 
 can be had in great variety. No precise directions can be 
 given to the student ; he must make his selection according to 
 
1 82 HOW TO PAINT PHOTOGRAPHS. 
 
 the work to be done. Those generally adopted range from 
 No. I to No. 6. Fine Sand-paper and card-board (not too 
 smooth) are used for obtaining the sharpest points. 
 
 3. A Stump for applying powdered lead. The regular cray- 
 on stump being both too soft and too thick, special ones may 
 be provided thus : Take a piece of unsized (printing) paper, 
 neither too hard nor too soft ; cut a strip- about eight inches 
 long, two inches wide at one end, and a half inch at the other ; 
 turn the small end over between the thumb and forefinger, and 
 
 roll it up tightly into a hard roll or stump. A little practice 
 will soon enable you to regulate the making of a sharp or a 
 dull point, as desired ; further sharpening can be done with 
 sand-paper. Fine blotting-paper, several thicknesses pasted to- 
 gether with thin starch and rolled up, is also recommended. 
 
 4. Sable Brushes of the smaller sizes. Very soft ones are 
 preferred for the reason that the color must often be applied 
 very thin and nearly dry ; and in such cases a stiffer brush will 
 not keep a sufficiently fine point, owing to the little moisture. 
 
RETOUCHING THE NEGATIVES. 1 83 
 
 5. {a. ) India-Ink. — Although it would be better if it could be 
 used alone, it is necessary to use something as a size. Mixed 
 with Gum Arabic, it is very apt to crack oif in the printing- 
 frame when it becomes heated ; and if mixed with too much 
 sugar (to prevent this cracking off), it will adhere to the paper 
 when it becomes damp. It can, however, be used with cer- 
 tainty when the gum solution is composed of six parts of Gum 
 Arabic with one part of Rock Candy, and this will have about 
 the right consistence. 
 
 (b.) Water Color Pigments. — Of these quite a variety are rec- 
 ommended and used by different workers, viz. : Indian Yellow, 
 Prussian Blue, Indian Red, Lampblack, Dragon's Blood, Co- 
 balt and Indian Red, White and Sepia. 
 
 6. A Magnifying Glass and Opaque Paper (black or green 
 preferred) with which to cover the* ground glass and the nega- 
 tive, except the portion being worked upon, thus masking out 
 the unnecessary light and glare which in a little while would 
 become wearisome and hurtful to the eye. 
 
 7. Preparation 0/ the Negative Surface. — This can be accom- 
 plished in two different ways, viz. : 
 
 (a. ) By the application of a suitable Varnish ; several kinds 
 of which, prepared expressly,' are to be had of the photographic 
 stock dealers. 
 
 (b. ) By the application of certain finely pulverized substances, 
 which being rubbed lightly over that part of the varnished neg- 
 ative surface to be retouched, takes off the brightness of the 
 varnish, and produces a mat or toothy surface, without the least 
 injury to the collodion film beneath. The materials thus far 
 recommended for this purpose are Pumice-stone, Resin, Pre- 
 pared Chalk, and Cuttle-fish Bone— the first-mentioned being 
 generally preferred. 
 
 Dropping a quantity of the substance upon the varnished 
 film — which should not be too thin — it must be gently rubbed 
 over with the ball of the finger, using a circular motion. The 
 finger should be held almost perpendicularly and pressed down 
 
1 84 HOW TO PAINT PHOTOGRAPHS. 
 
 with some weight, for if the rubbing is done horizontally the re- 
 sult is a polished rather than a granulated surface. The sur- 
 plus powder is afterwards to be well taken off with a camel's-hair 
 brush or a soft rag. When held against an intense light and 
 viewed as a transparency, fine hair lines are visible upon ^this 
 part of the negative, but they have no effect in the printing. 
 
 Manipulation. — Having been provided with a strong guide- 
 print from the negative, and the negative itself placed within 
 the retouching frame and in a proper light, by comparing the 
 two it is easily perceived just what corrections are desirable and 
 practicable to make. The pinholes must, of course, be touched 
 out completely with Ink or color, which should not, however, 
 be used in such depth as to exceed the degree of opacity in the 
 film adjacent. 
 
 Many of the larger semi-transparent spots may next be re- 
 duced in brightness, and a general graduating of the inequali- 
 ties, with such pencil as the operator may prefer. A "3 H " 
 Faber pencil will answer to remedy these in the shadows, as 
 there is less filling up to be done ; and a " i H "should be 
 used for the light side of the face, as the spots are deeper there, 
 the surrounding film being thicker. Due caution should also 
 be exercised in obliterating spots and freckles, that the covering 
 be no denser than is just necessary, and that it should cover no 
 other portion than the exact spot, otherwise there will appear in 
 the print a light circle around it, from the overlapping of the 
 color or pencilling. This would necessitate retouching on the 
 print, whilst the aim should be to leave little or nothing to be 
 done afterwards. 
 
 If the line along the nose is very narrow and black, a fine 
 brush and Ink will be found better adapted than the pencil. It 
 must be filled in with thin Ink (and gum), care being exercised 
 not to fill it up entirely, as this would cause it to show white 
 and at once destroy the modelling and the likeness, which must 
 not be disturbed. 
 
RETOUCHING THE NEGATIVES. 1 85 
 
 If the shadows under the eyebrows, nose, ears, chin, and other 
 places, where it is desirable to have them lighter and more trans- 
 parent, are smooth enough but too dark, do not attempt to re- 
 duce the heaviness by stippling, for the probabilities are that the 
 work will result in an uneven collection of light spots, giving 
 the effect of a diseased skin. But rather take a " 6 B" pencil, 
 which is veiy soft, and scrape off" a sufficient quantity of the 
 lead on a piece of paper. Fill the stump, and go gently over 
 these intenser shadows wherever they exist, and it will be seen 
 how easily and with what great rapidity they can be correpted 
 without affecting or injuring the original drawing and model- 
 ling. 
 
 Be careful not to have too much lead on the stump, else the 
 first touch upon the negative is apt to show too strongly ; it is 
 better to try it first on the edge of the plate and work off" the 
 surplus lead. If, too, the stump be overloaded, you will pro- 
 duce a spotted surface, but this must be carefully avoided since 
 it cannot be corrected by rubbing off. Indeed no amount of 
 rubbing with India-Rubber, bread, or anything else will accom- 
 plish this ; as it has but the eff"ect of polishing. A further rub- 
 bing with the pumice-powder is the only means of remedying 
 the spot ; but it is best to avoid a resort to this by previous 
 carefulness. If, on the contrary, the stump does not carry 
 enough lead at first, go over it again, little by little, until the re- 
 quisite degree of opacity has been attained. 
 
 In addition to this stump-work upon the face, it can also be 
 rendered very useful in lighting up the drapery folds, and that 
 portion of the background — especially in pictures a la Rem- 
 brandt — where it occurs too dark against the shadow side of the 
 fece. 
 
 Take up the pencil again, and proceed to the fine work upon 
 the fece. Commencing with the forehead, soften the wrinkles 
 by working the pencil in short strokes along the darkest lines. 
 Remember that the markings upon all faces are invariably pho- 
 tographed with too great decision and severity, and conse- 
 
1 86 HOW TO PAINT PHOTOGRAPHS. 
 
 quently there need be no hesitation to soften and subdUe (it 
 not remove) them, so long as character and individuality is re- 
 tained.- 
 
 Proceed next to lighten the shadowed side of the forehead, 
 not by hatching or stippling, but by a circular motion of the 
 pencil, bearing on lightly, and working so that the shadow is 
 seen to be filling up, yet without showing the marks of the pen- 
 cil. Now, with the B pencil, soften the lines under the eyes, 
 working in the same manner as upon the wrinkles. Then the 
 lines from the wings of the nostrils and the corners of the mouth 
 claim attention ; all to be softened but not removed. Having 
 manipulated the lines, creases, and inequalities to a satisfactory ' 
 condition, the lights upon the shadowed cheek may be strength- 
 ened by the' same circular motion as was used upon the fore- 
 head, being careful to keep them subservient to the higher 
 tones upon the lighted side of the face. 
 
 After the resources of the pencil and stump are exhausted 
 there may remain sundry additional effects to be produced by 
 the brush and color. The instructions thus far given have re- 
 ferred more especially to the subjugation of asperities almost 
 inseparable from every negative ; but aside from the technical 
 aspect of retouching there remains, in artistic respects, con- 
 siderable latitude — according to the liking of the manipulator. 
 The nose (for example) may be improved in form ; the eyes 
 can be opened more, and the high-light rendered more bril- 
 liant ; the mouth can be diminished by dexterous covering ot 
 the folds and corners; the high-lights can be further height- 
 ened ; the shadows meliorated ; and the work further extended 
 to improving artistic defects in details of the hair, drapery, and 
 background. 
 
 If it is desirable to obtain additional softness in special parts 
 of the negative, cover it with a thin coating of Ink or color — 
 according to the effect to be desired — not on the varnish, but 
 on the back of the negative. 
 
 When the requisite amount of work is supposed to have been 
 
RETOUCHING THE NEGATIVES. 1 87 
 
 done upon the negative a test-print should be made, and if this 
 proves satisfactory and the retouching can be regarded as com- 
 plete, the negative may be finally varnished with ordinary var- 
 nish. This will remove the ground-glass appearance, and 
 restore its original smoothness and brilliancy. There is no 
 danger to be apprehended firom the action of the second coat- 
 ing of varnish upon the first, nor any disturbance of the most 
 delicate work. 
 
 Copies. — -If, as has been seen, the process of retouching can 
 accomplish so much for a negative from life, it is plain that its 
 operations are much more valuable in preparing work for the 
 artist. The multitude of old-fashioned and (most of them) 
 badly taken 'types of the various 'kinds, with all their spots, 
 dust, and scratches, when copied, afford wonderful opportuni- 
 ties ! while at the same time the retouching serves to furnish 
 the artist with a basis upon which he can produce better work. 
 
 In a weak, flat negative — as, for instance, a copy of a ferro- 
 type — a fine stump and powdered lead can do a very great serv- 
 ice , by rubbing somewhat upon the forehead, down the nose, 
 upon the cheeks, under-lip, and chin ; and, with brush and 
 Ink make the shirt color and bosom more opaque. Brilliancy 
 and finish will thus result where all was previously dull and 
 flat. 
 
 Indeed, there is rarely a copy made that should not be re- 
 touched to some degree ; and it is not unfrequent that acci- 
 dental markings and opaque shadows can be easily remedied 
 on the negative with the pencil and stump in a few moments, 
 which, if not so done, would only torment the artist and serve 
 to delay his work. Retouching, properly done, can scarcely ever 
 fail to repay well by the great improvement of the print, whatever 
 of time and labor tt^ operation may cost. 
 
 Misconception of the True Idea. — In closing this chap- 
 ter, let us venture some advice with respect to the feeling which 
 should govern the operator. It is so easy to misapprehend the 
 
1 88 HOW TO PAINT PHOTOGRAPHS. 
 
 ohject of retouching and to abuse the power it aiTords, that the 
 majority of those who attempt and practice it seem to go quite 
 astray ! This arises mainly from a desire to make every part 
 fine and smooth, and too often results in a total destruction of the 
 more delicate tones and shadows. Too large a proportion of 
 the negatives are worked to death ! 
 
 Few persons object to the obliteration of a freckle or an acci- 
 dental pimple — that would improve the face, indeed ; but the 
 danger referred to exists in carrying a// of the work too far I — 
 whereby truth ^vA character are "improved" completely w/ of 
 the portrait. The softening of wrinkles, the relieving of excessive 
 shadows, the toning down of freckles, warts, moles and other ir- 
 regularities is one thing ; but to aim after the smoothness of a bil- 
 liard ball or polished table-top is quite another thing ! Remem- 
 ber that human faces are not made of ivory or marble, but of 
 warm, soft, yielding, velvety yf^j/i — resembling nothing but itself 
 It is a mockery and a delusion, and leads to the grossest manner- 
 ism, to stipple and labor upon- a negative so that the resulting 
 picture only conveys the idea of a hard, unyielding solid, mak- 
 ing every face similar in texture and deficient in individuality. 
 What was a well-modelled /zc/are da face is thus reduced, per- 
 haps, to a dead-flat surface, and becomes only a map of the fea- 
 tures ! Unpleasant and unsympathetic dead-white prevails over 
 most of the face ; whereas there should be nothing of the kind, 
 except in the highest lights ! 
 
 On the contrary, however, the intelligent and prudent oper- 
 ator will perceive that his special work mtist lie principally in 
 remedying what the camera has failed to do, and attaining by 
 means of a conscious knowledge that which an unconscious 
 mechanical result never can. The too intense shadows under 
 the eyebrows, nose, and chin ; the wrinkles and discolorations ; 
 all these asperities — ^which have been exaggerated rather than 
 mollified — should be subdued and corrected. Great Care will 
 be taken also not to destroy the natural softness wherever the hair 
 and flesh are in contact ; nor must the eyebrows or mustache 
 
RETOUCHING THE NEGATIVES. 1 89 
 
 be worked around so closely as to look as if painted or pasted 
 on ! 
 
 Finally, the most important idea to be kept in mind is, that 
 the result must be enjoyed yAiSSsX the working itself must be im- 
 perceptible. We hold that, if the manipulation is apparent — 
 when viewed at a proper distance — the retouching is a failure 
 and has come short of its purpose. The mealy appearance and 
 the texture of a diseased skin (before-mentioned) which so fre- 
 quently passes for "retouched" work is only a burlesque, and 
 the negative had been better «»touched 1 
 
PAET VL 
 
 Ifrnm^ Jm&t^* 
 
 The revival of the art of decorating China-ware and pottery 
 having created a demand for information and instruction con- 
 cerning the methods of executing this beautiful process, it has 
 been thought opportune to respond to this demand by includ- 
 ing the subject among the contents of this volume. 
 
 The topic becomes only the more harmonious with much 
 that is embraced in previous chapters when it is remembered 
 that the best professional decorators recommend an originating 
 of the designs first in water colors on paper ; and also, that the 
 ceramic pigments being mixed with oil, the stiident may find 
 our instructions under that head applicable to some extent here. 
 
 We might enlarge this chapter also with interesting knowl- 
 edge respecting the diiferent kinds of china-ware and pottery ; 
 nature of the colors and their essential requisites for the pur 
 pose ; whence they are obtained, and how ; the contingencies 
 to which they are subject in heating ; various preparations by 
 the different color-men, etc. But this would be Of no practical 
 avail, except as auxiliary ; and whilst we leave to the student, 
 (and recommend) the attainment of this knowledge from special 
 and extended authorities, let ours, be the immediate purpose of 
 teaching hcrw ib do I 
 
CHINA PAINTING. I9I 
 
 In this, as in all creative art, drawing is the corner-stone. 
 While it is true there are many devices to assist those unskilled, 
 it is best that the student should acquire the art of correct draw- 
 ing, if he does not already possess it 
 
 Chirm Fainting 
 
 Is the highest and most delicate and elaborate kind ot ceramic 
 decoration. Many persons will attempt the adornment of the 
 other grades of pottery, but shrink from the more difficult pro- 
 cess upon china. This arises principally from the fact that the 
 china-work must be tried by fire ! — and hence there is a fear 
 that the final ordeal may destroy in a few moments what many 
 hours of patience and labor have accomplished. This necessity 
 therefore suggests the utmost care and particularity in manipu- 
 lation, as well as securing the very best materials for the work. 
 
 The student should be advised, in the very beginning, to 
 make his attempts in simple colors only — red, sepia, or light 
 blue — using a tile to experiment upon ; and he should be sat- 
 isfied if in his first efforts he produces good outlines, and attains 
 " the feel oi ihe: brush" on this very delicate surface. Beware 
 of using any more than the requisite amount of color, lest it blister 
 in the oven. 
 
 J®' It should be noted that these instructions will have ref- 
 erence only to the use of colors on hard porcelain, the glazed 
 surface of which is susceptible of receiving the very highest 
 finish. 
 
 Thk Requisites consist chiefly of (i.) the vitrifiable colors, 
 such as can be procured, in tubes, ready for use. Those pre- 
 pared by M. Lacroix, of Paris, are perhaps the most highly rec- 
 ommended ; and owing to the difficulty of mixing — as com- 
 pared to those in ordinarj water colors and oil — it is safest and 
 best to obtain a full complement of them, so as to prevent the 
 risk and dirtiness incident to over-mixing, and have on hand 
 
192 HOW TO PAINT PHOTOGRAPHS. 
 
 a// that may be desired. But they must be olthe same manu- 
 facture! This is highly essential, for those of different makes 
 cannot be used together with certainty. 
 
 With this advice, it is- scarcely necessary to furnish here any 
 special ' ' list of colors. " Let them be selected according to the 
 taste and purpose of the student. Plates and plaques showing 
 these colors, and their hues in the completed state, together 
 with the additional requisites, are found at the dealers in artists' 
 materials. It is nothing to select them ; but how to use them 
 is the matter which concerns us most. 
 
 (2.) A porcelain palette, and at least two siror^g palette-knives 
 — one being of horn, for handling the carmines, whites, blues, 
 carmine purples, and all pigments containing no iron. 
 (3.) Brushes of several kinds and sizes, as follows : 
 (a.) A fine pointed brush, for outlining the design, (b.) 
 Some of medium sizes, for the local washes, (c.) Several of 
 camel's-hair, large and small, flat and round, for softening and 
 bliending. 
 
 (4.) A Rest for the hand while painting. This consists of a 
 narrow strip of wood of convenient length — twelve or eighteen 
 inches long and two or three wide — ^with blocks fixed under 
 each end, making it like a bench. [The tile or ornament is 
 held by the left hand underneath the level of the Rest, which 
 thus affords a firm support to the right hand.] Large tiles 
 or plaques — ^which must be set up like a canvas — will require 
 the use of a ^est-Stick, as in ordinary painting. (See p. 148). 
 
 Adequate provision must also be made of spirits of turpen- 
 tine and alcohol, and small quantities of oil of turpentine, 
 balsam of copavia, and oil of lavender. 
 
 (5.) A needle, set into a piece of wood (as a handle,) should 
 also be provided for removing particles of dust that may settle 
 on the work while fresh. If allowed to remain, these will cause 
 the color to accumulate about them, and are fixed as dark spots 
 in the firing. Guard against such imperfections, by shielding 
 your palette from dust, and having your surroundings cleanly. 
 
CHINA PAINTING. 1 93 
 
 Spirits of turpentine is the principal medium for diluting the 
 tube colors, during the work, just as water is used in water 
 colors. If they do not work kindly, add a drop or two of oil 
 of turpentine to the spirits. Do not use too much of this me- 
 dium, and when the brush becomes overcharged, draw it over 
 the wiping rag. Let no alcohol mix with the turpentine, as it 
 will ruin the colors ; the bottles containing both of these should 
 be kept corked. 
 
 Mixtures of enamel colors must be made with strict reference 
 to the proportion of iron in their composition. As a safe guide 
 in this matter, we subjoin the classifications of the well-known 
 manufacturer, Lacroix. 
 
 1. Colors without iron — the whites, blues, and the gold 
 colors; from the last of which are derived the carmines, pur- 
 ples, and golden violets. 
 
 2. Colors containing hut little iron — the yellows, and greens. 
 [Mixing yellow and jonquil yellow are exceptions to this class ; 
 and containing no iron, unite best with the blues in forming 
 the freshest greens. J 
 
 3. Colors whose base is iron — the reds — ^the flesh tints, brown 
 reds, iron violets ; browns — yellow browns, ochres, blacks, and 
 most of the grays — except platina gray. 
 
 It follows therefore that pure colors depreciate in proportion 
 as they are associated with those containing iron, that iron 
 harmonizes best with iron, and that a knowledge and compre- 
 hension of the metallic bases of enamel pigments is the best 
 criterion upon which to rely for certainty of success. 
 
 Never use a mixture if it can be avoided, but paint with pure 
 tints. It is principally for this reason that Chinese and Japan- 
 ese decorations are so rich and brilliant. 
 
 Color-men, being thoroughly familiar with the needs of 
 beginners in ceramic painting, can aid those who purchase out- 
 fits for the work. Everything needed can be found on sale. 
 
 Designs and Subjects. — If the student in decoration is una- 
 
 9 
 
194 HOW TO PAINT PHOTOGRAPHS. 
 
 ble to originate his own design, he will find many suitable ones 
 already prepared. The use for which the piece of ware is in- 
 tended should, as a rule, suggest the mode of Ornamentatiort. 
 
 Flowers and leaves will perhaps give a beginner the best 
 opportunity, as they do riot require systematic and methodical 
 treatment in the drawing. Japanese and oriental designs are 
 excellent, but more diflScult. Butterflies can be made very 
 pretty, and the most brilliant colors used ; but should be made 
 to copy nature, both in position and appearance. Landscapes, 
 and the human head and figure will be the most difficult, and' 
 few will care to attempt the latter. Monograms will be found 
 quite practicable, whether executed in gold or colors — or even 
 one color nicely shaded. Be the design what it may, it should 
 he/ully decided OVL before the painting is commenced ; and should' 
 be clearly projected on paper — usually in water-colors, if not a 
 chromo-print — so that it can be a guide to the laying of each 
 particular tint. There must be no expeririienting on the porce- 
 lain I 
 
 The bare possibility of a beginner attempting to paint the 
 human face — a task even difficult under most favorable circum- 
 stances — induces us to omit details on this topic in our neces- 
 sarily limited chapter, leaving them to be studied elsewhere — 
 as they can be. But, as the similarly white basis of paper and 
 porcelain renders the selection and application of tints analo- 
 gous, it may be well for the student to practice somewhat on 
 the former before trying his skill on the latter. He can also 
 derive much useful instruction on this subject by study of Parts 
 I. and III. , where every feature of portrait painting is specially 
 treated. 
 
 Directions for Painting. 
 
 The first thing to be done is, of course, to sketch the design 
 — ^whatever it may be — on the china. Do this with a hard lead 
 pencil, with India Ink, or any vegetable water-color, using a 
 
DIRECTIONS FOR PAINTING. 195 
 
 fine brush. It is recommended that the china surface will 
 "take" the pencil better if it be first rubbed with spirits of tur- 
 pentine, and left to dry. If the decorator is unable to draw, an 
 alternative is found in tracing his design, by means of red or 
 black transfer paper, — such as can be purchased, — or by any 
 other of the well-known methods. Although the tracing-lines 
 will entirely disappear in the firing, it is best to have them deli- 
 cate, but distinct. Another way is to prick the lines of the pa- 
 per design, and dust some colored chalk through them ; but 
 the legitimate sketch is the surest and most satisiactory. 
 
 In the actual painting, the student may at first be puzzled to 
 judge of the exact consistence of his color, and hence he must 
 try it a few times. The brush must be handled with firmness 
 and decision, and the color must be left untouched after being 
 first laid. Never go back to dabble and teaze it ; and although 
 turpentine as the medium will probably cause one part of the 
 design to dry rapidly enough whilst you are painting another- 
 portion, if it does not, the piece should be dried in a moderately 
 heated oven, or given time to dry, before proceeding with the 
 work. 
 
 After the first washes of local color are dried others necessary 
 may be laid, and left again to dry ; and then the lines and 
 touches which give definition and character may be added, using 
 the smaller sized brushes. If, by successive dryings, the colors 
 seem to have depreciated in freshness, there need be no appre- 
 hension felt, as they will resume their former tone in firing. 
 
 If a tinted ground be desired, to relieve the design, the 
 ground-tint should be laid after the sketch is made. The color 
 should be spread and then softened, and wherever it covers the 
 design it should be scraped off with a knife. It is plain that, 
 in these cases, the design must be put in with India Ink, or 
 something equally distinct, in order to show through the in- 
 fringing ground-tint. 
 
 In painting flowers, foliage, birds, butterflies, etc. — each re- 
 quiring their peculiar hues — make it a rule to ' ' set " your 
 
lg6 HOW TO PAINT PHOTOGRAPHS. 
 
 palette with only such cplors as the occasion demands. Colors 
 should not be used promiscuously, nor unduly exposed, to dry 
 on the palette or by the action of heat. 
 
 The Shadffws, in general, should not be produced by simply 
 loading on the local color ; they should have their own proper 
 hue. Grays — ^which are produced by blue, brown, and red 
 mixed in various proportions — should not be made too cold in 
 tone, as they are likely to assume a darker and greenish tint in 
 firing. 
 
 The use of permanent white is restricted generally to high 
 lights and touches given to white flowers, jewelry, embroidery, 
 and other decisive effects. It must not be forgotten that as the 
 white of the paper (in water-color painting,) forms the basis of 
 all white objects projected upon it, so the white surface of the 
 porcelain is to be regarded in like manner. White flowers, 
 white centres, etc., consequently need no local wash of white. 
 
 A pure tint of blue cannot be successfully obtained unless the 
 brush has been well cleansed after being used for reds, browns, 
 and colors containing iron. Dark colors are usually harder 
 than the light ones ; the latter, being more fusible, should not 
 be applied too thickly, owing to their liability to scale off in 
 firing. 
 
 Gilding must always be on a glazed surface, and is very suit- 
 able for monograms, when it can , be rendered very fine by 
 black-line shading. The gold can be obtained from a deco- 
 rator, and if moist it only needs the addition of turpentine for 
 use. It should be applied moderately, but sufficiently to hide 
 the white of the china-surface. Gold should never impinge on 
 any adjacent color. 
 
 Lining, or the describing of narrow bands, is so difficult with- 
 out a mechanical apparatus for the purpose, that it had better 
 be left to the professional decorator. There is, however, a sim- 
 ple contrivance called "The Platform" (seep. 201) available 
 for the student's purpose, and by which, with care and prac- 
 tice, good results might be obtained. 
 
DIRECTIONS FOR PAINTING. 1 97 
 
 Tinted Grounds require the use of more oil to lay them, and 
 the addition of some balsam of copavia to prevent drying before 
 the wash is blended to smoothness. The color should be quite 
 thinly laid on, with a broad flat brush, taking care that it is not 
 allowed to run. The surface being well covered, and allowed 
 to set (but not dry), go over it with the blending brush, and 
 continue so until the tint is perfectly even. The blender must 
 be wiped dry if it becomes charged . with color, and otherwise 
 kept clean. 
 
 Any part of the tinted ground can be removed with a pointed 
 stick and turpentine, or scraped off, and then rubbed over with 
 turpentine. 
 
 Cleanliness, indeed, is a pre-requisite to successfiil results. 
 Be careful to wash the brushes in turpentine not only between 
 the using of different colors, but before putting them away for 
 the future. Dry them thoroughly, and smooth to a point, and 
 place them so that their points shall not be bent in any way. 
 Alcohol is also recommended for use, after washing with tur- 
 pentine. 
 
 The student must be advised to learn what exact proportion 
 of color to lay, else what seemed all right in the painting will 
 burn away in the firing. 
 
 After all that can be said, however, respecting the probabili- 
 ties of the development of color in the kiln, the most reliable 
 method is to arrange a color-chart of your own, upon the kind 
 of china in hand. By this, after having it fired, you will see the 
 result of your own mixtures — the mode of handling them 
 (whether it be correct, or not) — and you will have had a small 
 degree of practice. With this, as a guide, you can take up your 
 work more intelligently, and with confidence, 
 
jg8 HOW TO PAINT PHOTOGRAPHS. 
 
 tike all earthly works, china-painting must be tested by fire ! 
 It has been supposed that several firings are necessary; and 
 though a second and even a third might be useful, there are 
 risks of feding the colors from repeated fires that render them at 
 least undesirable. 
 
 A noted professional decorator says : "as a general thing, 
 one is all that is necessary. I have invariably prepared the work 
 to receive but one firing, finishing the painting in the same way 
 as in water colors. " 
 
 If the process of firing has diminished the glaze, a light wash 
 of one of the more fusible colors, and a second firing, will re- 
 store it ; but these necessities should, and can, be avoided. 
 
 In the large cities, where facilities exist, this finishing process 
 is one that does not so much concern the student, and he has 
 only to note results as his work is received from the potter's 
 kiln. But if thrown upon his own resources, he can procure a 
 contrivance called a Muffle. These are small furnaces more 
 suitable for small pieces of ware, but the larger ones are apt to 
 break. It is safe to assume, however, that the student will sub- 
 mit his firing to the professional decorator for reasons of pru- 
 dence, economy and conveijience. 
 
 J8@" As stated in the beginning, it was deemed sufiicient to 
 limit our instructions to the use of enamel colors on hard 
 porcelain — working ' ' on the glaze. " But it may be added, 
 there is a second method, of painting on the " biscuit," or 
 "under the glaze ;" the former term expressing an unglazed sur- 
 face, dull and porous, requiring the biscuit to be dipped in 
 glaze and fired successfully. But the painting is very difficult, 
 as the colors are not what they look to be, and require an ex- 
 perience for which those seeking ceramic painting as an accom- 
 plishment would not like to strive. 
 
DECORATION OF POTTERY. 1 99 
 
 Decoration of Tottery. 
 
 Compared to ornamentation op china, this is a very simple 
 process ; and not having to undergo the fire-test, the opportu- 
 nity is more inviting. 
 
 In pottery the main obstacle to overcome is ^& porosity of the 
 earthenware. Those of a light bake are very porous ; nor is 
 the other extreme of hard-bake any more desirable. But the 
 condition of the tile or vessel can be' fully ascertained by testing 
 it on the bottom with some color, be/ore working on its surface, 
 and hence no work should ever proceed without this test being 
 made. 
 
 A full set of specially prepared colors — ^white, black, red, 
 blue, yellow, gold, etc. — can be had of the color-men, and 
 should be used according to the national style and shape of the 
 pottery, whether Egyptian, Grecian, Etruscan, etc. A modern 
 way of ornamenting is to coat the vase entirely with black, and 
 then paint thereon flowers, birds, butterflies, etc., using the or- 
 dinary tube oil colors. The hue of the pottery itself should also 
 indicate the colors to be used- in ornamenting it. Each make 
 of ware has its own peculiar tint, according to the earth of which 
 it" is composed, — baking red, buff, yellow, red-brown, etc., — 
 and hence only harmonious and complementary colors should 
 be selected for the decoration. (See p. 15.) 
 
 Brushes commonly used for oil-colors, tracing paper, sand- 
 paper, spirits of turpentine and boiled oil, comprise the princi- 
 pal requisites for decorating. Expensive brushes need not be 
 obtained, as the clay surface is very destructive, and many will 
 be needed. 
 
 In diluting colors for the ware the turpentine must be added 
 drop by drop, until by constant testing (as above mentioned), 
 the proper result be obtained. A sufficient quantity of color 
 should always be prepared, so that a second painting of the 
 part may never be required. 
 
 The plain cylinder, next to a flat surface, is the simplest form 
 
20O HOW TO PAINT PHOTOGRAPHS. 
 
 upon which a beginner can practice. Errors in his pencil 
 sketch must not be scratched out, but rubbed off with sand 
 paper. After the pencil, try the brush. 
 
 The pottery to be decorated should first be rubbed to smooth- 
 ness with sand-paper, and then receive a good wash of the 
 boiled oil, to aid in resisting absorption of the oil contained in 
 the colors. (The " improved Mbeit Ware'' should be excepted, 
 as neither oil or sand-papef can be used to advantage. ) This 
 darkens the ware, but is preferred ; a second wash will make it 
 darker still. The design is then drawn, or traced upon it, with 
 pencil and paint (similarly to that mentioned in china-painting) 
 and the colors are applied, in imitation of the proper style char- 
 acteristic of the pattern used. These are many, and can be ob- 
 tained from books on ceramic ornaments, and other antiquarian 
 sources. 
 
 The pigments should be mixed in saucers, and the turpen- 
 tine must be kept in a stoppered bottle, to prevent evaporation 
 and gumming. The bottom of the vase, where tests are made, 
 should be oiled and sand-papered also. If it ever be necessary 
 to use a second coat of paint, to correct errors or change the 
 pattern, more turpentine should be used in the second painting, 
 to prevent a gloss. 
 
 As much of the pottery decoration consists in variously dis- 
 posed lines and bands encircling the piece — requiring a pre- 
 cision that nothing but a mechanical apparatus could possibly 
 attain — such means have been devised for this purpose ; and 
 with this simple instrument many beautiful effects can be 
 obtained with ease. One of these, perhaps the simplest, is 
 the Platform (see wood-cut on next page), an implement that 
 will aid and encourage the beginner very much ; for with that 
 alone, quite a pleasing effect may be produced b^' placing the 
 vase upon the centre of the disk, and then arranging the pencil 
 or brush so that the point will touch that portion where it is 
 desired to have a line or band ; revolve the disk once slowly 
 and the work is done. For the next band or line, raise or 
 
DECORATION OF POTTERY. 
 
 201 
 
 lower the vertical bar, and so on. Broad bands can be filled 
 in (between two narrow ones) by hand. 
 
 Vessels that have been decorated are not proper to use for 
 flowers, or any purpose where it becomes necessary to fill them 
 with water. Even with an inside glazing the decoration is 
 greatly endangered. The only safe plan is to fit a tin or glass 
 receptacle inside of the vase. 
 
 The Platform. 
 A common fault with beginners is the disposition to overload 
 the piece with too many, instead of a few simple, chaste 
 and appropriate designs. The ornamentation should increase 
 and diminish according to its location, being light where the 
 piece is narrow and heavy where it is broad. With lines — hor- 
 izontal, vertical and oblique — in conjunction with dots, many 
 of the most pleasing and classic forms of ceramic decoration are 
 obtained ; and further study of this ancient but now revived 
 art will show that the elements of design which have survived, 
 amid the wrecks of time, have been those of the most simple 
 character. 
 
PAET YIL 
 
 j^ut0i|4uk xi Jtiji. 
 
 Like religion and science, art has its " commandments " and 
 "proverbs" — principles, rules, and maxims — which, when suc- 
 cinctly stated, are best remembered. 
 
 Culled from various sources, some of these we propose to add 
 here, indiscriminately, — though it is quite probable many of the 
 ideas have been previously hinted. Nor is it unlikely that ihe 
 beginner may fail to comprehend the import and use of many of 
 them at first ; but as he progresses viy practical ability he should 
 not foil to increase his theoretical knowledge also, and thus con- 
 tinue until hand and head shall work together understandingly, 
 harmoniously, successfiiUy. 
 
 All retiring parts partake more or less of gray. 
 
 Endeavor to preserve transparency in all the shadows. 
 
 The high lights of flesh should be of a yellowish-white. 
 
 Flesh, as it retires from the eye, appears to grow colder in 
 tone. 
 
 The reflected lights of flesh are warmer than the surrounding 
 parts. 
 
MEMORANDA OF ART. 
 
 203 
 
 All shadows of flesh must have gray edges ; this prevents 
 hardness and gives a rich effect. 
 
 The darkest parts of shadows are near their edge, the middle 
 being illuminated by reflected light. 
 
 Strong shadows should be warm ; those of flesh (which is 
 semi-transparent) always incline to red. 
 
 A judicious subordination of the half-lights to those which 
 are more prominent insures brilliancy. 
 
 Lights are less affected by distance than shadows, which grow 
 paler as the distance increases. 
 
 The highest lights should have generally but little color. 
 
 Contrasts give brilliancy of effect, but they should never be 
 violent or inharmonious. 
 
 Colors should be laid with as little rubbing of the brush as 
 possible, ill order to keep them fresh and bright. 
 
 Strong color requires rich, deep shadow to support it. 
 
 Every part of the background should appear to retire from 
 the figure. 
 
 The eye is the proper judge of color, and the perception of 
 color is a natural gift. 
 
 As a general rule, in mixing compound tints, always begin 
 with the predominating color, and add the others to it. 
 
 Make all cast shadows of one tone, and always warm (except 
 at the edges) varying of course with the local tint. 
 
 The eye requires some repose, and is fatigued by an object 
 overloaded with ornament. 
 
 The first requisite in every picture is, that it should tell its 
 own story. 
 
 Depend upon simpUcity of arrangement for certainty of 
 effect. 
 
 Accessories should be subordinate to color, light, and effect, 
 with respect to the head. 
 
 In drapery, two folds of similar size and form should not be 
 near each other. 
 
 Most things that are gaudy are vulgar ; ^ and. much that does 
 
204 HOW TO PAINT PHOTOGRAPHS. 
 
 not seem so exceedingly vulgar in natu^l^^Tp-s^p.ear so in a 
 picture. '^ "■' 
 
 A photograph, to be painted according to art, ought to ap- 
 proach as near as possible to a miniature, and lose its photo- 
 graphic appearance entirely. 
 
 The shadows, and gray and pearly tints, must appear to lie 
 upon the flesh, instead of under it, as they really do occur in 
 nature. 
 
 Portrait and miniature painters invariably place their sitters 
 higher than themselves ; photographers almost invariably, and 
 improperly, do the reverse. 
 
 The less of any " medium" or "vehicle," except pure water, 
 which the colorist uses, the better his work will be likely to 
 appear. 
 
 ' ' Prettiness " in painting is not art, and excessive finish is 
 purely mechanical ; the most accomplished painters have exe- 
 cuted their finest pictures with apparently little labor. 
 
 Nature relieves one object from another by means of light 
 and shade ; and we find everywhere light opposed to dark, and 
 dark to light. 
 
 Every gradation to shadow is a gradation. /rom color, and the 
 color in shadows, therefore, should never be too bright. 
 
 The style of execution should vary with the subject, to aid in 
 expressing character ; vigorous and bold in men, delicate and 
 tender in women and children. 
 
 Avoid harshness. Let every line be softened as in nature, 
 where, though the boundary of sight is distinctly marked, there 
 are no positive outlines. 
 
 When the outline of a figure is ungraceful, it may judiciously 
 be lost to some extent in the shadow of the background. 
 
 Massing lights and shadows together will insure breadth 
 and grandeur of effect. A skillfully-managed background will 
 greatly aid this result. 
 
 The most carefiil manipulation and elaborate finish will be 
 ineffective, without constant attention to a sufiicient preserva- 
 tion of breadth of light and shade. 
 
MEMORANDA OF ART. 205 
 
 Do not make it a rule to begin and figish any particular part 
 at once ; but keep the picture together-^^t every part of it in 
 before you begin to finish. W' 
 
 Keep reflected lights warm, unless the object from which 
 they are derived is visible ; in which case they will partake of 
 its especial tone and color. 
 
 All colors, simple or compound, have a tendency to tint 
 surrounding objects with a faint spectrum of their complement- 
 ary color. 
 
 It is preferable that yellow should predominate in a picture 
 rather than white, though yellow should always be in' less quan- 
 tity than blue and red. 
 
 The intensity of tones of colors should be equal in the same 
 composition ; but a dark and light hue may be used together 
 with good effect. 
 
 A great quantity of the same color in one part, and little or 
 none of it in another, are fatal to the general effect, and disturb 
 the balance of colors. 
 
 Large masses of one color should not catch the eye ; it should 
 receive, at the same moment, the combination of several colors. 
 Color should be kept pure and transparent, truthful to the sub- 
 ject, and harmonious both with each other and the nature of 
 the picture. 
 
 The shape and composition of a picture should, as far as 
 possible, harmonize — -not contrast with — one another ; and the 
 selection of both should be consistent with the subject. 
 
 An appearance of dexterity and ease is attractive in every art, 
 and in none more than in water-color painting : the labor with 
 which ' ' the effect " is attained should be hidden. 
 
 It is not by the great variety of tints that fine coloring is pro- 
 duced, so much as by judicious combinations and the manner 
 in which those are employed. 
 
 Colors that are most agreeable to the eye are such as the eye 
 has become accustomed to from their constantly being present- 
 ed to the sight. 
 
2o6 HOW TO PAINT PHOTOGRAPHS. 
 
 White and black can be reconciled only by the interposition 
 of gray ; and red and blue, by the presence of a third color, 
 combining the properties of warm and cold. 
 
 The object of all photographic representations of persons 
 being to secure an exact likeness, remember that the head is 
 the principal object of interest, and everything else must bg 
 done with an eye to set that off to the greatest advantage. 
 
 The color of most objects is best discerned in the middle 
 tints ; strong colors are reserved for the parts nearest the eye ,; 
 receding objects are fainter in color than those near the, eye. 
 
 Keep your brushes clean by firequent washing, but never 
 leave them standing in water, nor allow them to dry charged 
 with color — especially body-color.y 
 
 In the consideration of a picture or any work of art, a motive 
 or subject is implied ; and clearly to express such motive should 
 be the leading object in its composition or arrangement. 
 
 As the general color of the atmosphere is supposed to be Hue, 
 distant objects lose much of their local color and assume more 
 or less of a gray tint; and details become less distinct until 
 they are totally lost in the distance. 
 
 Painters usually throw more light upon the heads of children 
 and women than they do on the male head,, which is better 
 suited to a depth of shadow. Heads of aged persons, of both 
 sexes, should likewise be placed in a. full light, as it tends to 
 soften and subdue the permanent markings of age. 
 
 In water-color painting the first colors should -always be 
 bright and pure, because they may be easily lowered. to the de- 
 sired tone ; but if their purity is once sullied by admixture with 
 other colors, their original brightness can never be recovered- 
 
 The presence of yellow in the vicinity of red and blue, or a 
 small quantity of that color interposed between them, has the 
 good effect of preventing their borrowing, from each other, and 
 appearing purple. The interposition of white has a similar but 
 colder effect. 
 
 The dash and decision of execution which so frequently at- 
 
MEMORANDA OF ART. 20/ 
 
 tracts our admiration in works of art, in which the will and the 
 way of their accomplishment appear as a single impulse, are 
 often more the result of preparatory study and forethought than 
 is generally suspected. 
 
 It is not a good manner of working to keep at one picture 
 until it is completely finished ; but far better to have more than 
 one on hand, as by this means when your fresh eye is brought 
 to each picture in its turn, it will at once detect points that may 
 be improved, but which the jaded vision had before overlooked. 
 
 Red and green are not variety, but contrast. It is only rarely 
 and in the smallest possible quantities that nature allows herself 
 any violence of contrast, whilst her incessant endeavor is after 
 variety. If a face is excessively fair and delicate in color, the 
 hair and eyes are correspondingly light. 
 
 Breadth of effect is obtained when the lights of a picture are 
 so arranged that they seem to be in masses, and the shadows are 
 OTflj«(f to support them, so that the attention of the spectator is 
 powerfully arrested, and his imagination excited to supply the 
 details. 
 
 Mannerism in art may be described as any peculiar way of 
 treating or handling pictorial subjects ; the work being executed 
 in one unvaried manner, arising doubtless from the limited 
 ideas of the artist, or a want of facility or variety in the way in 
 which he embodies them. Avoid it. 
 
 A constant recurrence to any one favorite pigment or tint for 
 effect begets mannerism ; it then becomes worse than useless ; it 
 injures instead of improving. 
 
 Every color, as well as every thing, is good and useful in the 
 right place ; it is only the excess that is disagreeable or hurtful. 
 
 That the picture should consist of both warm and cold colors, 
 seems as indispensable as that it should have light and shade ; 
 but, which shall form the light and which the shade is entirely 
 at the option of the artist. It is, however, necessary that they 
 should have separate situations, and also unite both extremes of 
 the work by an exchange of portions of each color. 
 
208 HOW TO PAINT PHOTOGRAPHS. 
 
 The proper situation of strong color is neither in the high 
 lights nor in the deep shade, for it would destroy the character 
 of either ; but, if it is made use of as an intermediate link, it 
 will unite both, and at the same time preserve a greater conse- 
 quence. Whether it is to be warm or cold must depend upon 
 the color of the principal light, of which it is to be considered 
 an extension, conveying its influence into the darkest recesses. 
 
 Pictures cannot be painted by rule ; for rules themselves are 
 derived from pictures, rather than pictures from rules, precepts, 
 or books. If, in viewing a painting, the attention is involun- 
 tarily drawn to a fine or a bad eifect, the mind of the zealous 
 student will at once endeavor to perceive by what means the fine 
 effect was produced, or by the disregard of what principles the 
 bad effect resulted. Thus he will naturally originate rules for. 
 his own guidance, by which he may be able to imitate the one 
 and avoid the other. 
 
 " Dirty tints" in coloring express that the tone neither repre- 
 sents true light and shade nor yet true coloring ; dirty tints are 
 most frequently the result of inexperience or timidity in using 
 colors ; thus, passing wash after wash of various pigments, with- 
 out attention to their differing qualities, will soon produce this 
 disagreeable result. To prevent it, the student should make 
 experiments with his pigments, and thus learn beforehand the 
 result and effect different washes or mixtures will produce. 
 
 To prevent any one color from becoming conspicuous, it 
 must be harmonized into others by gradation, and not be too 
 violently contrasted by complementaries or inharmonious tints. 
 A color out of harmony may be quite, if not more conspicuous 
 than one contrasted with its complementary, only the effect will 
 be disagreeable instead of agreeable. A color becomes conspic- 
 uous when it is decidedly unnatural or out of place, as blue in 
 trees, or pink on walls. So in the human face, the same 
 amount of color which placed on a lip is scarcely noticed, if 
 removed to the nose becomes strikingly conspicuous. A single 
 spot of color in a landscape may often appear too prominently, 
 unless repeated by other smaller and more broken portions. 
 
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 sequently painted or finished in crayon. 
 
 The GLOSSY RAPID PRINTING PA- 
 PER (extra heavy), dries with a beautiful glossy surfece, 
 more brilliant than that of albumen paper, and gives fine pure 
 lights and contrasts. It requires no toning, varnishing or fum- 
 ing. 
 
 Another great advantage of this paper is that the prints may 
 be made in the evening, independently of cloudy or foggy 
 weather, and the exposure being so short, many more prints 
 can be made in a given time than by any other paper. 
 
 Full instructions for use accompany each package. 
 
 Sole Agents. 591 BROADWAY, N. Y. 
 
ST. LOUIS. 
 
 A -COMPLETE tlNE OP 
 
 Dry Plate Goods, 
 
 No. 1009 
 
 OLIVE ST., 
 
 ;.I^|g[illg]'^]gI]g|]gl^Igl}§^^]g|l^|l|jgI|g]jg;iJg;i 
 
A CARD ! 
 
 AND BE NOT DEOEIVED BY 
 
 Gr. CxENNERT is Ihe original importer of S. & M. paper; has imported it 
 for twelve years, and had the brand registered September J4th, 1873. 
 
 G"' GrEN!N"ERT keeps up this famous brand by employing the best 
 manufacturer in Dresden, whose paper will neither blister nor the albumen wash off. 
 
 G". GrENNEJrtT has withdrawn his support from 
 the monopoly known as the United Factories of Photographic Paper of Dresden, because 
 their paper was returned to him constantly last year. Photographers got sick of blisters 
 and bad eggs ; so did he. 
 
 G. G-ENNERT 
 
 employs the best independent manufacturer in Dresden to' make his S. & M. paper, 
 as'well as his new "Eagle Brand," acknowledged to be the finest German papers in 
 the market. 
 
 G". GENNERiT is the only one who has fought this monopoly in their idea 
 that any trash was good enough for the United States, provided it had the water-mark. 
 
 G. GEJN P4Exv7 has originated the water-mark, but discon- 
 tinued it, as soon as he found-it was deceptive as to quality. 
 
 Qt' GENNERT reminds the photographers 
 that it is the albumen surface that is printed upon, and not the water-mark, as one might 
 think in reading the advertisements of monopolists, who would like to make people be- 
 lieve so. 
 
 The only paper albumenized with fresh eggs that does not blister, 
 turn yellow, or the albunnen washes off, and that speaks for itself is the 
 original S. &. M. without waler-mark, or the new " Eagle Brand, " which 
 trade-mark was granted to me by the Commissioner of Patents at Wash- 
 ington, D. C, on June 14th, 1881. 
 
 IT IS FOR SALE BY ALL DEALERS THROUGHOUT THE 
 UNITED STATES AND CANADA, OR BY 
 
 G. GENNERT, 
 
 105 William St„ NEW YORK. 
 
 —Eastern Agent for Cramer <& Norden's Dry Plates.— 
 
JAS. H. SMITH 
 
 WHOLESALE DEALER 
 
 —IN— 
 
 20 & 22 NORTH 4TH ST., 
 
 Q,TJIIsra"Y-, ILL. 
 
Eastman's Dry Plates. 
 
 gl"^TJl^T AX ( The softest, most sensitive, and there- 
 
 OJr HjV^XxXJJ { fore the quicl<est Dry Plate made. 
 
 rpiO /^TDTrf^ AT i ^^^ ONLY ones that can be success- 
 
 X SxyJjrlXjX^XJ \ fully used in any climate. 
 
 OIT'tTjl/^T A X ( More perfectly made than any in ttie 
 
 OJrJQlOlXlXi \ market. 
 
 f H |> /^TDX/^ AX i *"*" always be usedj even ih the hot- 
 
 ±l\t\Jjr±\jJ:X±J \ test weather. 
 
 CtTpTjI/^X A X (The only ones of uniform size and 
 
 DA^XIJV,/Ax^AjI J thickness, and also rectangular. 
 
 ril Ife (T^TDX/^ AT i "^^^y never frill or run off the glass 
 
 ■^ J^vVyX^Xvy Xl I i ( under any circumstances. 
 
 QTJTTI^T" AX (Just the thing for portraits and all 
 
 O^ J2A\JA.M^A.i \ kinds of instantaneous work. 
 
 rii |3 f\^>'Tf^ AX i "^^^ °"'y °"^* *^** °^" ^ "^^ '" 
 
 ^ JW^J^XV^J Tl I i ( summer without ice Or alum, 
 
 SMS¥Elt;i($ $aotJl<f) SiJSfi ¥Sl{$i| ^^w 
 
 IX MIX®, 0^ "J^^t^ t^fo^'t^ n^Y 
 
 Si<i< ^% IX vSiK. 
 
 ES^ SEND FOR PRICES OF THEM. -^ 
 
 Also send for our Manual of Amateur Fhotograpliy, written byUr. 
 T. C. Boche, and edited by Mr, H. T, Anthony. The best, most com- 
 plete and reliable work published on the subject. Frioe, 50 ets. 
 paper, and 75 ots. in cloth. 
 
 E. & H. T. Anthony & Co. 
 69/ Broadway {TZtittn. ) New York. 
 
J. A. Anderson, 
 
 MANUFACTURER OF 
 
 And Dealer in Supplies. 
 (53 & 65 East Indiana St., 
 
 CHICAGO, ILL. 
 
 The ONLY Manufacturer who furnishes the 
 Celebrated " Bonanza Plate Holders " with his 
 First Quality Camera Boxes without extra charge. 
 
 I have testimonials from the following leading 
 Artists, who recommend the " Bonanza" as being 
 Superior to all others : 
 
 SARONY, New York. 
 
 A. BOGARDUS, " 
 
 J. J. MONTGOMERY, Mora's Gallery, New York. 
 
 J. LANDY, Cincinnati, Ohio. 
 
 LEON VAN LOO, 
 
 F. WYBRANT, Louisville, Ky. 
 H. ROCHER, Chicago, 111. 
 
 W. H. RULOFSON, San Francisco, Cal. 
 
 G. D. MORSE, 
 D. B. TAYLOR, 
 SILAS SELLECK, 
 
PHOTO&BAPHIG WREHOUSE 
 
 '^ Tucked ^ 
 
 Pliotographsrs' 
 Supplies. 
 
 410 UN^^IlsT ST., 
 
 BUFFALO, N. Y. 
 
 DAVID TUCKER. S. B. BUTTS. 
 
E. & H. T. ANTHONY & CO,. 
 
 591 Broad-vsray, N". "Y. 
 
 THE LARGEST MAJSfUFACTUMEItS OF 
 
 ?lloto^fkj)l\ic5 JVIkteri^l^ 
 
 IN THE WORLD! 
 
 Publishers of 
 
 The Cheapest and best Illustrated Photographic Month- 
 ly In America. 
 
 Dealers furnished with everything in any way 
 connected with photography on the most reason- 
 able terms, and unsurpassed in quality. 
 
 MAmrx'AcxxrBBBa o£ 
 
 Silk Velvet Passepartouts in great variety, 
 
 Combination Frames of Ebony, Oak and other 
 
 Fine Woods, also Gold Gilt, veith Velvet and Satin. 
 Easels with or without Frames, in various styles, for Cabinet and Panel 
 Pictures. Designs in Eastlake and similarly popular patterns, 
 and many other Novelties. 
 
The Mound Cit^ 
 
 -AND- 
 
 No. 411 Worth 4th^St., ST. LOUIS, Mt 
 
 The Leading House of the West. 
 §hptagrHffhie ^qrclmndise of ^ve^^ §escri^iion. 
 
 NoveltioG in our Accessory Department Continually Arriving. 
 
 Prices are eiceptionall? low, ana oir goods always fresli and reliaWe. 
 
 We shall be pleased to serve you. Send for our new illus 
 trated Catalogues, the largest and most complete Photographif 
 
 and Frame' Lists ever published. 
 
 DRY PLATE MATERIAL 
 
 of known reliability always on hand. The "Mound City" 
 Brand being especially recommended for real merit. Asl? 
 your dealer for them and take no other. 
 
 Correspondence on subjects relating to Photography solicited 
 and all questions cheerfully answered. 
 
 Yours to command, 
 
 H. A. HYATT, 
 
 41 I N. 4th Street, ST. LOUIS, MO. 
 
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^rvo. q. 3Coo&. — Sstofitisfeci 1865— Wm. '^. 3C. Wttxm. 
 
 WILSON, HOOD & CO, 
 
 WE CALL ATTENTION OF 
 
 ARTISTS 
 
 /"o f/;e ^/-eai amount of labor they can save by using our 
 
 iAMATEUB ^PHOTO&BAPHICH- ODTFITJ 
 
 We /reep //? stook Complete Outfits made by 
 The American Optical Co., 
 Blair Tourograph Co., 
 
 B. & S. T. Anthony & Co., 
 
 W. H. Walker & Co., and 
 
 A. Semmendinger. 
 
 SOLE AGENTS FOR THE 
 
 ROSS AND STEINHEIL LENSES. 
 
 £Um* oihiyt- maha atvpptieb. 
 
 Photo, and Artists' Materials, 
 
 Convex Glass, 
 
 Egyptian Colors, etc., etc. 
 
 COMPLETE PRICE-LISTS FREE. 
 
 NO 825 ARCH STREET, 
 
OMPORTANT TO 
 
 PlioI«^r^pIiic^7Im^I^ur5. 
 
 iFHS. 
 
 lAML 
 
 '1 i 1 — FDR— 
 
 Amoteurs, 
 
 "Fublisl^ed by 
 
 — 591 — 
 
 Our new " Manual for Amateurs, " 
 just issued, is the simplest, most practi- 
 cal, thorough, and easy to be under- 
 stood of any ever published. 
 
 Price by mail post-paid, 30 cents 
 in Pamper; 75 cents in Cloth. 
 
 ■»» I 
 
 m V BEAD -WHAT IS SAID OF IT. >ffc 
 
 "All of the latest and best formulas are stated. It is finely printed 
 and abundantly illustrated. A valuable work for those wishing to learn 
 this interesting art." — Scientific American. 
 
 "I wish I had had at the outset so practical and trustworthy a 
 guide." — Henry Beadel. 
 
 " A very useful, because practical, little book. We have found the 
 instructions contained in its pages to be just what are necessary." — 
 — Forest and Stream. 
 
 "The importance of such a work cannot well be overrated." — N. 
 Y, Daily Commercial Bulletin. 
 
 "A complete little work on modern photography." — F. C. Beach. 
 
 " The formulas are all of the most recent, and have been tested by 
 the publishers." — TAe Eye (Chicago.) 
 
 " This book with its large number of illustrations gives ample and , 
 clear instructions." — Christian Intelligencer, 
 
 C3^~Catalogues of Amateur Apparatus sent free on application. 
 
 591 BROADWAY, HEW YORK. 
 
 .■. Forty Years established in this line of business. .". 
 
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^MuLLETT Bros. 
 
 SITUATED 
 
 IS we are in a commanding location to meet the wants of the 
 
 OF THE 
 
 The trade of all, as we are prepared with 
 Full Stock, A. I Goods and Bottom Prices to at- 
 tend to all your wants. Send us your orders. 
 
 MULLETT BROS., 
 
 5i8 Walnut St., 
 
 KANSAS CITY, MO. 
 
 K. B. — Cash discount on hills of $10 
 or over S per cent., also on C. 0. D. hills 
 ')f same amounts. Projnpt attention to 
 'Jill correspondence. 
 
:3sro"VEin 
 
 lilGHJUBSJH, 
 
 Sti^ongbsjf, 
 CQosnr 
 
 (SOMPAGIP, 
 
 Buy no other before seeing one. 
 
 Single and Double Swing-back. 
 
 Can be REVERSED INSTANTLY . 
 
 Sold at a LOWER PRICE than any other View Cam- 
 era in the market. 
 
 These are of more simple construction than any other 
 style, and being more compact, are much more easily han- 
 dled in the field. 
 
 A new size, 4^ x 6^, which meets with large sale, 
 especially among amateurs, has lately been issued. 
 
 A complete line of these in French Polished Mahogany 
 and Nickel-Plated Metal Work, will soon be ready. 
 
 E. & H. T. ANTHONY & CO., 
 
 Sole Prorrietors, 
 
 591 Broadway, New York, 
 

 
 *