't ^ , Al „ r//. '• 7 /- wff > ^ A POPULAR GUIDE TO PHOTOGRAPHIC COLOURING IN Mkfn* Colours, WITH PHOTOGRAPHIC SPECIMENS FOR THE PUPILS’ PRACTICE BY AN ARTIST PHOTOGRAPHER. ** SIMUL ET JUCUNDA ET IDONEA DICERE VIT/E."— Horace. Thus join both profit and delight in one. LONDON: THE TEMPLE PHOTOGRAPHIC COMPANY, 170, FLEET STREET, E.C. [ENTERED AT STATIONERS’ HATL.] Digitized by the Internet Archive in 2016 https://archive.org/details/populargijidetophOOtemp INDEX. Page. Advanced processes ... 8G Analysis of Colour ... 9 Body Colour, preparations of... ... 1G Brushes... ... 13 Backgrounds ... 33 effects for ... 34 and defects in ... 34 Tints and their mixture ... 35 Chinese White, uses of and effects ... 16 Cheek, painting of ... 22 Colour ... ... 13 commencing to ... 20 principles of ... 10 uses of ... 10 contrasts of ... 34 processes needed in ... 37 Concluding remarks ... ... 40 Curtains ... 32 Draperies ... 30 various colours of ... 31 effects of ... 32 Duplicate Photographs ... 39 experiments with ... 19 uses of the specimens for ... ... 19 Flesh Tints ... 15 their combinations ... ... 21 Gum-water ’ ... 26 its uses ... 35 Hair, different colours ... 23 methods of painting... ... 23 Hands ... ... ... 27 4 INDEX. Page. Hatching 87 its uses 37 the style required 37 Head 22 painting of 22 Introduction ... ... ... ... ... ... ... 8 Light and shade 40 method of preserving 40 Miniatures ... 29 their uses ... ... ... ... ... ... ... 29 Photographs ... ... ... ... ... 18 their selection 19 The uses of the specimens ... ... ... 19 Tone required 16 The painting 20 hints on the art of 20 Water-colours 14 list for use ... ... ... ... ... 14 description of 15 Sizing 18 preparation 17 Specimens 19 their use and intention 19 Stippling 37 the method of 37 PREFACE. The following pages are intended to assist, by a few simple but concise rules, any who may desire to attain a knowledge of those elementary principles that are necessary for proficiency in the art of Colouring as applied to Photographic Portraiture. So definite an intention may hardly be said to need any pre- fatory remarks, but the author would start with the candid avowal to his readers, that this work does not pretend to any- thing that is new or profound in photographic advancement, but is merely an endeavour, in a clear and practical form, to lay down some rules that may so far facilitate the study of Photographic Colouring, as to render it an easy task for all to attain, with average ability and moderate practice, a skill in the art that may either please them as an amusement, or profit them as a profession. It will be less an egotism than a truism to assert, that the need of such a work has long been felt — a work which, by leading the reader straight to the object of his 6 PREFACE. study, without losing him in the mazes of ambiguous verbi- age, or the wilds of speculative theory, shall put him at once in the possession of his desire, namely, that knowedge of the proper method of Colouring Photographs which is absolutely necessary to convert them into true pictures, living and glowing with nature’s warmth and wealth of Colour. If a result so important may be attained by suggestions so simple, then the author will not have failed in his aim, nor will his reader have studied in vain. December, 1864. A POPULAR GUIDE TO PHOTOGRAPHIC COLOURING. INTRODUCTION. The now universal adaptation of Photography to Portraiture, and the wondrous improvement made in this branch of so charming a science, has resulted in a perfection that may almost be pronounced as complete. This is evidenced by the truthful representations of nature produced by its agency that are now to be found adorning every home. Photographic representations of everything and everybody are eagerly sought for and as readily produced. The science, so recent in its discovery and so rapid in its development, has invaded every region of pictorial art, and bids fair ere long to rival the power and usurp the territory hitherto held supreme by the knights of the brush. 8 GUIDE TO PHOTOGRAPHIC COLOURING. This interference with the sovereignty of artistic talent is more especially noticeable in the region of portraiture. One need scarcely allude, in corroboration of this, to the Family Portrait Album, a sine qua non on very table. Where before, the minature painter, at great cost and infinite pains, was called upon to produce some semblance of a valued face, perhaps, when finished, more prized for its costliness than its truthfulness, now, Photography instead fills our albums with those marvellous sun-pictures which startle us with their literal embodiment of familiar faces. But the other day Photography was so recent an introduction as to be looked upon as little short of mar- vellous, now it is well nigh in danger of becoming common-place from the prodigality and ease with which its specimens are produced; nevertheless, the art will merit and must continue to gain popularity as long as friends are valued and their portraits can be obtained by its agency. But beautiful as are most of these INTRODUCTION. 9 portraits, and faithful as they undoubtedly are as in- dividual representations, they must always fail in that most important element of success, the warmth and life which colour alone can give. Every pictorial representation to be complete must be composed of form, colour, and light. Photography sup- plies us with form and light, but, alas, where is the colour? that essential principle in this triad of beauty, which by its inexhaustable variety produces such pleas- ing effects on the mind. And when it is allowed that the greatest charm of nature, animate or inanimate, lies in her glowing tints, it will be apparent that the most perfect photograph is but an inadequate substitute for its original, except it can be rendered complete by the finish and beauty that colour alone supplies. This axiom of the necessity of colour as an addition to the beauties of Photography, applies equally to Landscape as to Portraiture, but as this work is intended to bear 10 GUIDE TO PHOTOGRAPHIC COLOURING. especially on the latter branch of the art, these remarks will be confined to portraiture alone. The representation of friends, when truly depicted with all their characteristic expression, is valued not only as a work of art, but from the pleasant emotions it involuntarily calls forth, this must be greatly enhanced when the picture is heightened by those delicate contrasts and transparent tones of colouring which give to it its beauty, and completes its life-like finish. Now photography has not reached this culmi- nating point, and it may safely be predicted never will arrive at the reproduction of colour as well as form. To supply this fatal deficiency must be an after-work, and to assist in this important result is the aim of the author in this little work. The few simple rules laid down in the following pages, will, it is hoped, be found amply sufficient to enable the student to pass many a pleasant hour in converting the barren photograph into a complete and truthful picture, which, if manipulated PRELIMINARY REMARKS. 11 with ordinary care, will be found, when finished, fairly to rival the most elaborate minature painting in its effective beauty. To many, such employment will be a labour of love ; to others, it will, perchance, be found a profitable employment ; to all, it will be of service in facilitating the study of painting and developing talents that may ulti- mately prove of great utility for the following the art as a profession. Keeping in view the advantage of simple and definite instructions that may readily be understood by the beginner, we shall proceed to describe the requsite ma- terials and the necessary processes. PRELIMINARY REMARKS. It is not within the scope of this work to enter into an elaborate explanation of the scientific relations of colour, or of their effect, harmonies, and analogies ; nor of the 12 GUIDE TO PHOTOGRAPHIC COLOURING. value of the primary, secondary, and tertiary colours, these, essential as they no doubt are in their way to the student of art, bear but little practical value as regards the skill required by the painter of Photographs. The simpler the directions that can be laid down for his guidance, and the less he is perplexed by scientific enumerations of general principles and axioms on art, the more easily and certainly will he be able to profit by his study. It is, however, of some importance (although not absolutely necessary) that he should possess some knowledge of drawing — of the relative proportion of the features and expression of face ; but this is only so far required as may serve him when, from elaborate finish, or opacity of tint, the outline of the photograph is destroyed. Proceeding, therefore, at once to our main object, without further preamble let us first give a list of requsite materials. COLOURS. 13 BRUSHES. These are required to be of sable-hair, as from their elasticity and spring a firmness of touch is acquired, which materially assists the painting. They should be care- fully selected with a regard to delicacy of point ; in fact, it is absolutely essential that a few should be of that fineness of point, for hatching or stippling, as to meet at the end like a single hair. Two or three larger camel-hair brushes are necessary for washing in the local colours. A selection of a dozen such brushes will be an ample store for working. COLOURS. These are the ordinary water-colours as used for water- colour painting, and may be selected either in the moist or dry state, but the latter is recommended as cleaner in working. It is not necessary that an expense should be incurred of half the colours usually recommended for this purpose, as the fewer and purer the colours used, the more 14 GUIDE TO PHOTOGRAPHIC COLOURING. brilliant will be the result ; mentioned : — the following may Antwerp Blue. Indigo. Brown Madder. Ivory Black. Burnt Sienna. Naples Yellow. Burut Umber. Neutral Tint. Carmine. Olive Green. Chalons Brown. Orange Vermilion. Chinese White. Prussian Blue. Cobalt. Roman Ochre. Crimson Lake. Rose Madder. Emerald Green. Sepia. French Blue. Venetian Red. Gamboge. Vermilion. Indian Red. Yellow Ochre. From this selection a further reduction for practical purposes can be made, a variety of colours being more a matter of choice than of necessity, and the principle ones needed are enumerated with their relative uses. Carmine gives the purest tones for cheeks and flesh, COLOURS. 15 and the richest for curtains and draperies, if modified with sober tints to prevent vulgar brightness. Venetian Red is a useful colour for flesh, especially for the stronger tints in male complexions. Orange Vermilion — this gives purer tones for delicate complexions than can be obtained by pale washes of any other colour, but should be mixed by a slight tone of Gamboge. Yellow Ochre — useful for light hair, draperies, &c. Gamboge, chiefly used in making pure greens. Neutral Tint — very useful for greys and shadows. Burnt Sienna — useful for tints and shadows in back- grounds. Sepia answers the same purpose as the previous colour, but is stronger, and is recommended for its sober usefulness in hair and shadows. Cobalt — very necessary for shadows, in flesh, blue eyes and draperies. 16 GUIDE TO PHOTOGRAPHIC COLOURING. Prussian Blue — essential for greens in combination with Gamboge, and with Carmine for Purples — not to be used in flesh shadows. Indigo — useful for sober greens and greys in combination. Chinese White — most essential for mixing many of the above colours with, and for high lights, gives that opacity of colour very necessary for an ivory finish. THE PHOTOGRAPH. It is presumed the photograph is already mounted, if it should not be, the safest and most efficient mode of mounting is to prepare a solution of “ Young’s” patent size, (which may be obtained from any oil and colourman), melted in hot water ; this is far preferable to gum or paste, as in the first place it is very tenacious, does not - pe£l up, and, secondly, is perfectly innocuous, which cannot be said of other mediums. When the size is thoroughly hot and melted, just remove the scum from the top, when it will be found underneath perfectly clear and PREPARING THE SURFACE. 17 bright; with a camel-hair flat-brush, brush the photograph over at the back with the solution, at once affix it to the cardboard, press it down with a clean sheet of paper and then, with a clean, damp sponge, sponge the face, to remove any superfluous size that may have got on the front ; the photograph may then be left till per- fectly dry under a flat weight till it is required for the next step. PREPARING THE SURFACE. This is generally requisite to harden the surface, so that the colours may not sink into the picture and lose their brilliancy ; with some albumenized paper this is not necessary, as the surface is, in fact, almost too hard, but with salted paper (i. e . that without the glossy surface). It is a sine qua non that they should be thus prepared previous to the colour being applied. Many “ Preparations ” are recommended with more or less merit, but the simplest and (after long experience) 18 GUIDE TO PHOTOGRAPHIC COLOURING. undoubtedly the best preparation, is a mixture of vellum- size, and a small portion of alum, with boiling water, in the proportion of a breakfast cup of water to a piece of size as large as a walnut. This is to be applied over the surface of the photograph with a camel-hair brush ; should the photograph seem greasy and not take colour well, then a little ox-gall added to the sizing solution, entirely rectifies it. When dry, the photograph is now ready for COLOURING. This we shall divide into two sections — Tinting, and Full Colouring. TINTING. Tinting is merely colouring the hands and face of the portrait, without that elaboration of finish which is neces- sary to secure force and vigour when the back-ground and dress are also finished in colour. Before commencing the tinting, take care to secure a photograph that, while it is not so pale as to lose the TIIE PHOTOGRAPHS FOR PRACTICE. 19 detail and shadow in the face, shall yet be far from being black and dark in the face, as with such a photograph all labour will be lost, and it will be impossible to attain any satisfactory result. A happy medium between the two, namely, a photograph possessing all the requsite details, with a warm grey tone must then be selected, which, together with a well-defined duplicate copy for constant reference during the process of colouring, will bring us at once to the manipulatary process. THE PHOTOGRAPHS FOR PRACTICE. The giving a set of photographs with this work as specimens for practice, has been considered by the author to be a novelty recommended by its practical value in enabling the amateur to profit more easily with their aid by his instructions. He will find he can make more real progress in a few days from practicing upon these specimens, than from months of theoretical study, even if every rule be learnt by heart. One can no more expect to acquire a 20 GUIDE TO PHOTOGRAPHIC COLOURING. practical knowledge of painting without such specimens to work upon, than to expect to become proficient as a pianist without the use of a piano, although never so well grounded in Hamilton’s or Czerny’s treatises on that instrument. This distinctive feature of the present work will be found of inestimable advantage in practising the rules laid down, and the student cannot fail to profit by them and make rapid progress. Step by step, by means of these specimens, he will attain an experience and con- fidence in his powers that will give zest to his labours and spirit to his execution, while each completed specimen will afford him a useful reference either for warning or encouragement. TO TINT THE PHOTOGRAPH. As the face and hands are only coloured when the photograph is required to be merely tinted, proceed at once to paint the head. It is recommended that one or more of the specimens accompanying this work be TO TINT THE PHOTOGRAPH.. 21 finished in this style first, leaving to a later period tha remainder for full colouring. Commence by washing in the face with a tint of orange vermilion mixed with just a trace of Chinese white ; this for female complexions gives a delicate pearly tone preferable to any other local colour, the white rendering the colour slightly opaque, which greatly modifies the depth of shadow so often ob- trusive in photographs. Be, however, very careful not to mix too much white with this or any other colour it may be recommended for, or else it will dry too opaque and destroy the delicate traces of the face necessary to preserve the likeness. When dry, proceed to lay on with a fine sable brush, the heightened colour of the cheeks ; this must be done with a mixture of pink, madder, and car- mine, but the colour must be used very thin and sparingly, the brush being wiped out nearly dry before using. The strokes must be put on either by hatching (i. e., fine lines following the form of the face), or by stippling (minute 22 GUIDE TO PHOTOGRAPHIC COLOURING dots delicately laid on). (The method of these processes are described at length in the section Full Colouring.) The greatest care must here be used, and the colour must seem to grow on the face almost imperceptibly. The beginner will probably be surprised at the rapidity with which his portrait will assume too florid and highly- coloured an appearance, and unless he bears in mind the caution now given against over-colouring the cheeks, he will effect a transformation in his photograph startling and unsightly in effect, outraging every principle of taste. He will find a complexion is the result which, although it would materially assist the possessor of such a counte- nance in obtaining a favourable life assurance, depicts more the rosiness of some robust dairymaid or rustic nymph than the delicate, yet, withal, healthful bloom intended. When the first blush of the cheek is dry, with the same strength of colour, repeat the stippling in the centre TO TINT THE PHOTOGRAPH. 23 of the cheek, diffusing and softening the colour at the edges to give a roundness to the face By this means, after a little practice, the amateur will be able to blend the colour off so that it gradually retires imperceptibly into the local colour of the flesh. Before proceeding to paint in any of the shadows oi the face, it may be as well now to colour the hair. If for light golden hair, use Roman ochre or orange ochre, putting in the shadows with burnt sienna. For dark brown hair, use Chalon’s brotfn, shadows purple brown. Black hair, a mixture of indigo lake and Chalon’s brown. The shadows in the photograph through the transparent colour will generally be all that is required for depth in black hair. For grey and white hair, a mixture of cobalt and Chalon’s brown in such proportions as may be needed, shadows neutral tint and brown. For all the shadows inthe hair, the best effect will be gained by allowing the shades of the photograph to be 24 GUIDE TO PHOTOGRAPHIC COLOURING. 4 apparent through the local colour, and except in the ca e of very fair hair, such as golden or flaxen, where the shadows in the photograph, from being too dark (the general result in photographic representations of fair hair), require modifying by a mixture of opaque colour with the local tint ; it will be found that the best results follow from a sparing use of strong shadow colours. The hair having been thus finished, and the flesh pro- ceeded with by heightening the colouring of the cheeks ; continue the painting by touching in the lips. The lower lip must always be less in shadow than the upper, and may be put in with a mixture of scarlet lake and orange vermilion — the vermilion predominating for young people and females — the scarlet lake for elderly persons, It is necessary to reduce the brightness of the colour with a slight dash of purple for the lips of men and old people. The upper lip must be finished with scarlet lake alone, and deeper in strength. The mouth will be found one of TO TINT THE PHOTOGRAPH. 25 the greatest difficulties to the beginner, as the slightest deviation from the shape of the lips will give a singularly- grotesque appearance to the face, entirely destroying the expression of countenance. Now complete the eyes : for blue eyes, cobalt ; for grey, cobalt and sepia ; for dark eyes, Chalon’s brown, the eyebrows touched in with the colour of the hair. Again the caution is reiterated against too lavish a use of colour : the brush for these delicate features must be wiped on the back of the hand till almost dry before putting on the colour, or else, for instance, if a full brush is used the eyes will appear starting from the head, or the lips as if dropped on with sealing-wax, an achievement much sooner attained than intended. The final touches to the face may now be put on by stippling in the shadows with a grey, composed of cobalt and neutral tint ; the colour being very thinly applied, and the touches following the shape of the face. The grey tone will be 26 GUIDE TO PHOTOGRAPHIC COLOURING. required at the comers of the mouth, under the eyes, in the socket of the eye, about the temple, and chiefly on the shadow-side of the face. Now complete by heightening the reflected lights with a stronger mixture of the first flesh colour, putting on the high lights on the forehead and nose with Chinese white ; this, with the white of the eye, very carefully touched in, and the eye-lids and nostrils marked with Indian red, will bring the photograph to the final stage. All that now remains to complete it is the repeated careful stippling with strengthened local colours to give a roundness to the face ; and the sparing use of gum arabic on the prominent features — eyes, mouth, nose, and hair. If the picture is required merely tinted without the draperies or back-ground being coloured, it will not be necessary to elaborate the face with the same care in stippling, and a very pleasing effect is produced without the careful finish required for full colouring. A few hints TO TINT THE PHOTOGRAPH. 27 (that may here be consulted by the amateur if desired) on the method of hatching or stippling are given in the section on full colouring, as pertaining more to that process than of simply tinting. As the brilliancy and delicacy of the painting depends entirely on the transparency and clearness of the colours, it is better that increase of strength should be attained by repetition of touch, than by putting the full strength on at once, or a heavy and dull appearance will be the effect. The same instructions are applied to the colouring of the neck and hands with but little modification ; the neck and bosom requiring to be purer in colour than the face and the shadows less warm, the grey tone predominating, while the hands are of the same local colour as the face. Paint the nails violet, and hatch the fingers and knuckles with pink madder. These rules, are, of course, intended to apply to the complexions of females and children. For males, the complexion being darker, all that is needed is 28 GUIDE TO PHOTOGRAPHIC COLOURING. heightening the colour with a mixture of Indian-red and yellow ochre, and the local tints with a grey tone for the chin, defining the beard with the colour required. VIGNETTE PORTRAITS. If the portrait be a vignette, the previous instructions will serve for its tinting; but it is recommended as enhancing the effect, to put in a softened background of cobalt and neutral tint, the blue tone prevailing. This worked round the head, and imperceptibly fading away at the edges, assists in giving animation to the face, and harmoniously relieves the whole. FULL COLOURING. For highly finishing the Photograph, before any further work upon the face, proceed to paint in the draperies. These and the background, require very judicious taste on the part of the artist, as by these the effect of the picture is either marred or perfected. Whatever the material or texture FULL COLOURING. 29 of the dress, there is less danger of offending against taste by keeping to the sober and dark colours, than by being led away by the fascination of bright colours, which, except skillfully used, will reduce the photograph to a vulgar common-place daub. The greatest stress is laid on the importance of proper management of the draperies and background, for they constitute either a valuable aux- iliary or a deadly foe to the figure ; and, unless they be properly painted, with a due regard to the force of contrast, whatever elaboration or finish may have been given to the face, will all have been sacrificed. Therefore a due subor- dination of colour must be maintained in the accessories ; and let it be remembered that a greater result is obtained when the eye of taste is pleased by the growing charms of well-balanced and harmonious tints, than when the vulgar gaze is attracted by meretricious and vivid colouring. Such taste, however, will be formed and tutored by practice, and by the study of a few well-painted minatures — - 30 GUIDE TO PHOTOGRAPHIC COLOURING. thus the eye will almost insensibly acquire a knowledge of what is harmonious and true in colour. DRAPERIES. As a rule, all draperies should be painted with trans- parent colours, the photograph usually representing with great fidelity every fold and fall of the dress. Generally speaking, for draperies, the less the work put on the better the result attained, and the advice here given is to avoid over-elaboration. A little opaque colour (as Chinese white), may be applied to the high lights, and the shadows touched in with strengthened local colour mixed with gum arabic. An exception to this rule may be made for black coats, which sometimes are painted with an opaque colour composed of Chinese white and lamp black ; this, however, unless very skillfully done, is not recommended, for with this colour the shadows of the photograph being entirely hidden, the amateur is left to his skill as a draughtsman to put in the DRAPERIES. n 1 ol shadows afterwards, and unless this can he artistically done, it is not safe to practise it. A few hints as to the different colours mostly needed in dress. Black. — Mix Chalon’s brown, indigo, and lake ; for the shadows use the same colour strengthened with gum. Blue. — A fascinating colour, and charmingly delusive to the beginner. It is a difficult colour to lay on evenly : use cobalt with a little Chinese white to make it lay evenly. Put in the shadows warmly with French blue and lake. If a dark blue, add Prussian blue or indigo. Yellow. — Dresses of this colour we would rather offer no suggestion about, as the less the beginner meddles with the less cause will he have to repent converting his pho- tograph into a specimen of coarse vulgarity. Purple. — Cobalt and crimson lake, with an addition of Chinese white in small quantity. With all these mix- tures — purple green, orange, &c., — the white makes the 32 GUIDE TO PHOTOGRAPHIC COLOURING. colour lay evenly, and their mixture according to the prevailing tint required will be easily learned by the practitioner. White. — Use Chinese white for the high shadows, the photograph giving the general tone required for the demi- tints. The shadows put in with cobalt neutral tint and Chalon’s brown. These general hints on the various colours of dress re- quired need not be amplified, the student being left to his own judgment in the selection of whatever colour will form the most effective contrast to the complexion : again im- pressing him never to make his draperies so gaudy as to distract the eye from the face, but to manage them, that by their harmonious contrast they may become powerful auxiliaries to the character and finish of the figure. Before proceeding to the backgrounds we touch upon Carpets and Curtains. These, as a rule, will be found, more or less, specimens of impropriety and absurdity and DRAPERIES. 33 are the usual concomitants of the carte de visite. In carpets avoid flowery and varigated patterns. When practicable paint them in one colour, either green or sober red, never allow them to be violent and bright in tone. The same instructions apply to curtains generally. Incline to claret colour, or indigo green, that they may be unintrusive objects in the picture. Ornaments and Flowers are sometimes introduced. For gold ornaments — chains, brooches, &c., paint them with Chinese white and gamboge and shade with orange chrome. Flowers. — The natural colours, with a sparkle of body colour, on the light where required, and glazed over with the local tint. For all these the shadows may be rendered brilliant by sparing use of gum- water. We now arrive at another important part of the picture, THE BACKGROUND, Should the background be a landscape representation 34 GUTDE TO PHOTOGRAPHIC COLOURING. (which is rarely in good taste) it must be painted in with broad washes of thin colour, without any great finish, lest it advance too forward in the picture. The object of a painted background being to aid the colour and light of the picture, a plain background is recommended. It does not distract the eye from the figure ; but, on the contrary, when skilfully painted, becomes a valuable ad- junct, assisting the figure, and relieving it by pleasing contrast. Again, it is of great use in sustaining and balancing the painting of the head ; for should too much colour have been inadvertently given to the face, it may in a great measure be neutralized and reconciled to the eye by judicious contrasts in the background of opposite or equiva- lent tones ; these, by overpowering the too prominent co- lour, will restore the equilibrium and harmony of the picture. If the background of the photograph is defective or uneven, an opaque wash of colour, consisting of a THE BACKGROUND. 35 mixture of Chinese white with any tint required will dry quite flat, and hide such irregularities. A grey tone may be made with indigo, Indian red, and Chinese white: a warm tone by the mixture of ivory black, Chinese white, and Venetian red, — while a subdued grey-green, which is very effective with most, complexions, is formed of Chinese white, indigo, and yellow ochre. These shades are all opaque in quality. The preference is given, however, to transparent backgrounds, which may be washed in with with any of the tints given without the addition of Chinese white. After the colour is dry, fill in any uneven place by hatching in with a fine brush, and finish the shadows by re-hatching with the same colour mixed with a little gum -water. Give the preference to neutral tints, using greys and greens for fair complexions, and warmer colours, such as olive or brown tones for dark persons. The back- ground and draperies being finished, the colouring of 36 GUIDE TO PHOTOGRAPHIC COLOURING. the face will now seem much weaker from the force of contrast than it previously appeared. To remedy this we must here return to the face, and in order to strengthen and finish it, retouch the parts that lack force, and complete the effect by careful re-stippling all over. Upon this process, to which frequent reference has been pre- viously made, depends the entire success of the work. Great care and delicacy of touch are required here, and the student must proceed with the greatest care, without growing impatient of the slowness of the process, for he will find it easier to repeat his touches, however frequent than to remove the effects of too hasty work. All the shadows and roundness of form must be stippled in and preserved with such union to the local tints that no edges are perceptible. To acquire a correct method of stippling or dotting in no better guide can be obtained than the study of a good stipple engraving. There it will be found all the dots THE BACKGROUND, 37 follow closely the form of the features, the largest dots in the centre of the stippling, diminishing by degrees to the edge. The same advantage may be gained for the process of hatching by consulting a good line engraving ; the dif- ference being that, instead of dots, fine lines are used, still following the shape and form of the muscles and face. Do not place the lines or dots too closely together, but equally apart, repeating the process and filling in any irregularity of touch as may be necessary; but every touch must become perfectly dry before it will bear strengthening by repetition. In no other way than by this process, when well executed, can the roundness and truth of nature be imitated, and in no other process, when unskillfully performed, is the painting so quickly spoiled. Should any part of the hatching now appear too prominent it may be softened down with a clean brush dipped in water wiped 38 GUIDE TO PnOTOGRAPHtC COLOURING. out nearly dry, and the part touched down to the modi- fied tone needed. Strengthen all the shades that require more power. Do not destroy the half-tints, and preserve pure the local colour in the high lights. Touch in the pupil of the eye with black and a little gum. Add the white spot on the pupil with Chinese white, but with great caution, lest an appearance of blindness be given instead of the sparkle intended. An 'effective finale may now be made by touching in the high lights, down the nose, and the prominent side of the forehead with a little Chinese white mixed with a sufficient portion of the local flesh colour to render it opaque. If the above instructions have been faithfully carried out, the amateur will now have the pleasure of beholding his photograph converted into a work of art, luminous and beautiful in all its details, which may fairly vie with the most elaborately finished minature. THE BACKGROUND. 39 Before concluding, we would recapitulate some salient points, and condense them into seven golden rules. These may well be learnt by heart ; for, although they have been incidentally insisted upon in the course of this work, they will yet bear embodying separately, in order to be the easier retained in the memory, as they are fundamental principles of vital importance in ensuring success. 1. Keep all the colours as pure and transparent as possible, let the brushes be washed out scrupulously clean before mixing any of the tints. 2. Let all colours be laid on as clearly as possible, and avoid in washes of colour going over the ground again even if required till the first wash be perfectly dry. 3. Be very careful that the expression of the face is not destroyed in the elaboration of finish. To prevent this always keep a duplicate copy at hand for reference. 4. In stippling or hatching let the brush be nearly dry of colour, for should the strokes or dots be put on with too 40 GUIDE TO PHOTOGRAPHIC COLOURING. surcharged a brush they will dry with a hard edge very unsightly to behold. 5. Bear in mind that all stippling or hatching must be put on following the same lines as the muscles or sha- dows of the face, without this all labour will be waste, the result unmeaning and a total destruction of the roundness required. 6. Avoid violent contrasts in colour, which give a vul- garity to the picture and destroy the repose and refinement of the whole. 7- Let all the accessory colouring be subordinate to the figure, preserve the proper balance of light and shade, and endeavour that the tout ensemble may be perfected by the judicious blending of appropriate contrasts, with pleasing harmonies. CONCLUDING REMARKS. It is hoped that the instructions given in this little work for the guidance of the photographic colourist will be found CONCLUDING REMARKS. 41 concise and clear enough for all practical purposes. With the aid of the specimens accompanying this work, which have been prepared as adapted in style for more convenient study than the ordinary portrait photograph, the pupil will find no difficulty in working out the rules laid down for his guidance.* Let him not be discouraged by failures at first, but rather let him preserve his first attempts un- succesful though they may appear, and lay them aside for comparison and reference as he advances in his studies. By this means he will gain experience from his first short- comings and failures, and will be the better able to rectify and avoid them in later experiments by comparing them with his more matured attempts. Success with moderate practice and attention to these instructions must ultimately crown his efforts, and the * Extra copies of Photographs for practice are supplied at the rate of Is. each by the Temple Photographic Company. 42 GUIDE TO PHOTOGBAPHIG COLOURING. satisfaction and pleasure felt in achieving such success will more than compensate for the trouble taken in ac- complishing it. Should the study of this work be found adequately pro- fitable to any who may read it, the design of the Author will be satisfactorily accomplished, and it is trusted the manipulatory processes have been sufficiently explicit to render it an intelligible and favourite companion of the Photographic Colourist, Bowker, Printer, 64, Fleet Street, London, E.C. THE TEMPLE PHOTOGRAPHIC CLUB- SPECIAL NOTICE. The Manager of the Temple Photographic Club, anxious to bring the advantages of Photographic Portraiture in its highest branches within the reach of all (especially in reference to important portraits of large size, suitable for framing), has instituted Clubs by means of which, with the co-operation of the public as members, portraits are obtained in the highest style of the art, of the largest size, 8 inches by 6 inches (exclu- sive of margin), at less than half the cost incurred out of the Club. The attention of societies, volunteer corps, heads of families, and, in fact, all who desire a friendly interchange of important portraits is especially directed to the Regulations, as follows : — The Club must be composed of 10 Members, who can at once obtain tickets either of the full complement, or singly, to suit the convenience of each Member, and the portraits of each or all will be taken on presentation of such ticket ; thus suiting the convenience of each Member, who may sit at any time within two months of the issue of the of the tickets, which are obtainable by the Secretary who may be appointed on behalf of the Club. The advantages are, that the Members obtain a whole-plate portrait, mounted on superfine Bristol board ready for framing 5s.— size of the likeness (without margin), 8 by 6 ; the usu al cost being at least 10s. 6d., or if preferred 12 Cartes de Visite will be given for the same price ; thus offering an inducement for support in this scheme, which the manager of the Temple Photographic Gallery feels confident will be responded to in such numbers as shall render it mutually advantageous. Particulars, Books of 10 tickets, and terms (which are very liberal to Agents and Promoters of such Clubs), may be obtained at the Gallery, where may be seen the specimens, and styles of colouring and framing, all at prices in keeping with the econo- mical spirit of this new system. Hours for sitting, from Nine a.m. till dusk. Agents and Promoters liberally treated with. Temple Photographic Company, 170, Fleet-street, London, E.C. COPYING CARTES DE VSSSTE & PHOTOGRAPHS. At the request of numerous country customers, who have been either unable to obtain good copies of Cartes they already possess, or have been disappointed at the inferior and worthless productions, called “ copies,” the Temple Photographic Company undertake to copy Cartes de Yisite at the uniform rate of 7s. 6 d. per dozen, on receipt of Carte with stamps to the amount. They will be returned within 10 days, perfected by their ivory- surface process, and guaranteed equal to the original. It being simply an impossibility to produce copies worthy the original at the low prices now so extensively adver- tised under the name of 45 Copied Photographs,” this Com- pany have adopted the above rate of charges, as being the lowest price compatible with satisfactory execution of Photo- graphic Copying. Works of Art, Portraits of deceased Friends, Paintings, &c., in any size, at proportionate charges, and esti- mates will be forwarded for large quantities, at reduced prices for scientific or commercial purposes. Temple Photographic Company, 170, Fleet-street, London, E C* THE TEMPLE PHOTOGRAPHIC COMPANY, 170, FLEET STREET, LONDON. THE NEW STYLE OE IVORY, OR ENAMEL PHOTOGRAPHIC PORTRAITS. The Temple Photographic Company are now producing their Photographs in a novel and beautiful style, rendering their Portraits equal in effect to the most delicate Ivory Miniature. This charming result is more especially noticeable in the Coloured Portraits, which then exhibit a pearly richness and exquisite finish, never yet attained, except in the costly Miniature on Vellum or Ivory. This pleasing result does not at all enhance their cost, as the Company supply their Portraits at less than the usual charges for the ordinary Photographs. A few of the striking advantages may be noted: — Their great purity of tone and Colour. Their close approach to the finish of Ivory. Their permanency — they never fade. Their peculiar capability of being exquisitely finished in colour. PRICES OF THE IVORY OR ENAMEL PORTRAITS. CARTE DE VISITE, OR MEDALLION SIZES. Plain. Colouring extra. 1 for 2/6, 10 for 10/. From 1/6 in Water Colour. 21 for 20/. „ 5/ inOil (highly finished). The Ordinary Cartes de Visite 12 for 7/6. DUPLICATES. Copies of Portraits that may be required will be supplied — 4 for 4/., or 12 for 10/. In ordering Copies the number at the back of the Photograph must be quoted, and the amount re- mitted at the time of ordering. An extra charge of 6d, is made for Postage and Boards for packing, if for the Country. LARGE SIZE PORTRAITS Plain. Size 6 by 4 - 7/6. 8 by 6 - 10/6. 11 by 9 - 21/. Duplicates. 2 / 6 . 8 / 6 . 6 /. CHILDREN. Children, from the difficulty of taking satisfactory Portraits, will be charged for extra, if under eight years of age. COLOURING. The Portraits are susceptible of exquisite finish, and the Styles can be varied in Water Colours or in Oil, from the simple tinting to the elaborate detail of Enamel or Ivory painting, at prices from 10/6 to £10 10s. DRESS. Too much importance cannot be attached to suitable colours in dress. To the Ladies it may be permitted to suggest that powerful and glaring colours should at all times be avoided. White, Yellow, and especially Blue, are fatal to successful Photography. On the contrary, Brown, Green, and Black, or in fact all subdued Colours, are well adapted for Photographic perfection. Works of Art of every description— Paintings, Drawings, Plans, Maps, &c., are copied in any sizes, enlarged or reduced at estimated charges. Copies of Positives or valued Portraits faithfully executed. The Portrait taking commences daily at NINE, and is con- tinued till dusk. To prevent disappointment, the appointments are taken in rotation. Prepayment is required on receiving the order to the Artist operator. Prices for colouring the Photographs by the new Ivory or Enamel style — Persons desirous of having Portraits they already possess, coloured in this beautiful style, can have them thus painted at charges varying from 3/ to £5 5s. Estimates for large quantities for Illustrating Works or for Publication at reduced prices. Temple Photographic Company, 170, Fleet-street, London, E.C. $reuA-u