. I--' 1 - J~ 1 1 M ST RUCTIONS i/v 0/L AND Wat^er Colors ON Silk ■ Satin ‘Velvet ^ AND i 3 USAN rlALE Including .L U S TR E AND Ke N SI N G : [TING S roi Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/selfinstructivelOOhale SELF-INSTRUCTIVE LESSONS IN PAINTING WITH OIL AND WATER-COLORS ON SILK, SATIN, VELVET AND OTHER FABRICS INCLUDING LUSTRA PAINTING AND THE USE OF OTHER MEDIUMS SUSAN HALE. BOSTON ; S. W. TILTON AND COMPANY. > a V Copyright, Uv S. \V. Tilton & Co. iSSj. ELECTKOTYPED liY C. J. Peters and Son, Boston. THE GETTV CENTER library C O T E ^ T S Chapter Page I. Introduction 13 II. Drawing 25 III. Drawing (continued) 39 IV. Design 49 V. Selecting Designs 59 VI. Pigments 69 VII. Colors, Practical 83 VIII. Colors, Theoretical 97 IX. Light and Shade 103 X. Transparent Water-Colors 117 XI. Liquid Colors 129 XII. Gouache or Body Colors 139 XIII. Oil Painting 149 XIV. Painting on Silk and Satin 161 XV. Painting on Velvet 175 XVI. Lustra Painting 189 XVII. ^LAiD Painting 205 XVIII. -^PESTRY Painting 219 XIX. Water-Colors on Muslin, etc 231 XX. Painting on Gold Paper 239 XXI. Painting Transparencies 245 XXII. Painting on Wood and Leather 253. XXIII. Stencilling 259 XXIV. What to Decorate 265 MATERIALS. OuK original intention was to give a detailed price-list of all the materials required to carry out the instructions given in this volume ; but, after preparing the list, we find it will occupy so much space that we have decided to print it separately, and will mail it, free of expense, to all of our jDatrons who will send to us for it. It will not be necessary for the beginner to buy the most expensive materials for first practice. Take colors, for instance : the Decorative Art box recommended contains ten good and true colors. They are not so expensively prepared as the finer grade, but, after being applied side by side, it will require an ex]3ert to detect any difference between them. A saving in expense can also be made in the brushes. A camel’s-hair brush. No. 7, and a sable of the same size, appear so much alike that the beginner would be as likely to choose one as the other; and yet the sable will cost a dollar and a half, while the camel’s-hair can be bought for twenty-five cents. Of course, the sable is the better brush, and, to one who knows how to use it, is worth the difference; but while learning, the cheaper one will answer every i^uiq^ose. Then in ])aper another saving can be made. There is paper expressly prepared for water-colors which is expensive. It is no better for the beginner to practise upon while he is learning about colors than the log paper, which is offered as a substitute. One object in preparing this book was to enable those who have had no previous experience with pencil or brush an opportunity to produce comparatively immediate results. The “Transferring Designs,” described on another page, can be made to take the place of a knowledge of drawing, and with little practice, as recommended, with colors, such a result can be accomplished. 9 10 INTRODUCTION. TRANSFERRING DESIGNS. The working of these designs is very simple. Any one, by following the directions, can use them in transferring an outline to any material desired, and which may afterwards be finished with 2>encil, brush, or needle. Those who have no knowledge of drawing can, with the aid of these designs, make many pretty and ornamental articles for presents or for sale. Those who prefer to draw their own designs can have them made transferable by us, so as to re- produce them over and over again without the trouble of stop- ping each time to make a drawing. They can be used for lustre and Kensington j)ainting, and also on .any material, including silk, satin, velvet, and all other fabrics ; plaques, china, paper, wood, doors, walls, ceilings, etc. ; and, in fact, anything which one desires to decorate. We can furnish a colored, or partially colored, copy of any pattern mentioned in our list ; the price, which will be given on application, will depend on the amount of work put into it. Any patterns not on our list can be made to order. The designs are all sold separately at the prices set against them. We are constantly j^ublisliing new books of instruction, and new methods of art decoration (self-instructive), descriptive circulars of which we will send to .any address on application. S. W. TILTON & CO., Boston. INTRODUCTION. m 4 ri«± CHAPTER I. INTEODUCTIOlSr. — ART AND TASTE. The mania for promiscuous household decoration which seized upon society some years ago has already passed its height, and women are beginning to recognize that orna- ment, in order to be ornamental, must be rare in texture, choice in design, and good in execution. There was a time when it was deemed sufficient to put something on anything. Every straight line in a “ decorated ” drawing- u SEfp-INS TR UCTI VE LESSONS. room was stretched with a lambrequin. Every square of cloth must have a suuliower or an owl, somewhere away from the centre, worked into it in an unsymmetrical manner. Even the commonest dish-towel must have a floppy thrown across its corner, and no mantel-piece or shelf, cushion, curtain, counterpane or chair-back was safe from the application of some “ realistic ” design, so called from a vague idea of imitating nature which had beset the executor, or rather the executioner, of the work. The trouble with these things was that they were done Avithout sufficient thought and care, generally reproduced from the untrained recollection of some similar object. Heedless of the existence of guide-books, directions, pat- terns, good designs, which furnish to every beginner safe- guards against bad Avork, young ladies rushed into the busi- ness of decoration with less preparation than they would find necessary before risking a Ausit to the kitchen with the intention of preparing some dainty dish. For that they Avould of course consult a cook-book, unless they had their receipt by heart. The more experienced the cook, the less slie will trust her inspiration to make anything good. Rule, measure, accuracy, are her aim, and for this she dons her spectacles, as well as her apron, and after carefully studying the receipt, assembles all the materials it dic- tates, and, carefully folloAving the written directions, obeys implicitly the laws laid down by some experienced artist in dough. Not so the rash decorators of Avhom I am speaking. There seemed to be an idea, and it still exists, that it is fine to do anything Avithout knoAving hoAV. “ Only think,” it is said, “ she did it without any instruc- OIL AND WATER-COLOR PAINTING. 16 tion at all ! ” It is no consolation when we are offered a hard heavy biscnit, yellow with saleratus, to be told, “ Only thiidc, the cook did it without any instruction at all ! ” The reply in both cases would be, “ I should think so ; why did she, by the way, when it is so easy to learn ? ” Lessons from experienced teachers are not always within range, nor is the time always available for long and steady practice in the stndio of an artist. It is true that formerly these were the only methods of instruction, but it is now recognized that any clever girl may discover, with the aid of written directions, the secrets of the best work in decoration ; and that such directions may be at the same time clear and simple, while giving a high aim to the learner, I have, with the aid of Mr. Tilton, prepared this little book. I couple the word “taste” with that of “art,” for the rea- son that it is essentially a feminine qualit}', and one that no woman need be frightened at. A girl may well be deterred from devoting her life to the pursuit of high art because she fears she has not talent ; but few young ladies woidd be willing to avow that they are lacking in taste.. Almost every young woman possesses a quick eye for form, a sen- sitive perception of color, and a general conscientiousness in regard to the fitness of things in all matters appertain- ing to dress. The costumes of pretty girls, planned chiefly by their wearers, which we pass daily in the street, or study in the opposite seat of a street-car, are, in general, simple, tasteful, and well chosen ; and yet some wearer and designer of one of these costumes several years ago might have been perfectly capable of executing a hideous, 16 SELF-INSTRUCTIVE LESSONS. “ realistic ” poppy on a “ greenery-yallery ” ground, with a blue cornflower stiffly poked up against it, and a trailing vine, grown under the glass of a lieated fancy, straggling from nowhere to anywhere. I say “several years ago,” be- cause all this, happily, has gone by, and such ill-judged per- formances have joined the majority in garret or chest, Avhither their predecessors, tall black panels decorated with the once inevitable sunflower or golden-rod, had gone before. It is because so many Avilling hands and brains, self-prepared for something better by the very discontent caused by these early efforts, are asking for new light on good decorative art, that such text-books as Mr. Tilton’s are in demand. While the indiscriminate use of decoration, without discipline or judgment, therefore, is dying out, our drawing- rooms are none the less in need of true ornament. We shall not return to the bare, dreary parlors of fifty years ago, Avhere a stiff row of horse-hair chairs flanked a hard horse-hair sofa on the four sides of a large, square room, with a square centre-table, and a rigid mantel-piece sternly surmounted by a clock and nothing else. Our rooms will be fitted up with pretty furniture, and moderately filled with knick-knacks ; embroidery and painted decorations will be used, though sparingly, and their design and exe- cution will be marked by a knowledge of the rules of art and the exercise of good taste. These two things must control the selection of objects of ornament, and the exe- cution of such as are made by amateurs, just as much as of those bought in shops. The time is gone by Avhen it was enough to say, “ Only think, I made it myself ! ” to OIL AND WATER-COLOR PAINTING. 17 extenuate defects, or even to win praise for a bit of orna- mental work. Tliere is now so much competition among amateur as well as professional artists, that a jjiece of work must be absolutely good to be aj^proved at all, or admitted into any collection of ornamental work. With fancy-work, so called, it is now a question of the survival of the fittest. Since the world has been flooded with panels, lambrequins, plaques, and banner-screens, it is oidy the best that can survive, although, in this case, it is these that will go to the wall. The very name “fancy-work ” must be given up ; for it is not unrestrained Fancy that rules the hour, but Fancy, no longer free, put in the close trammels of conven- tion and rule. Some people will still demur at this de- cision ; but, after due reflection upon the sad results of Fancy rioting unreitressed with the easily-handled inaterials of modern decoration, even these must acknowledge the need of law and order, and consent to follow written directions in the parlor as well as in the kitchen. “ [n maiden meditation, fancy-free.” no longer must the young enthusiast throw a plush owl across a floss moon in the corner of a cotton-flannel anti- macassar. The trouble with these fancies, by the way, was that they were often the fancies of some one else, imitated and reproduced to the detriment of the original idea, so that not one, but many owls, flitted across countless moons upon innumerable anti-macassars. I speak here indiscriminately of decorated objects in the form of embroidery or any sort of painting, for the reason 18 SELF-INSTRUCTIVE LESSONS- that the same principle applies to all of them. These things must be good, taken from good models, rather than original in design and eonceptmn, or they wiW he bad. No matter whether worked with the needle or laid on by the brush, no matter how delicious the texture or delicate the tints employed, it must be that the forms selected, the judgment used, the taste displayed, in the execution of such objects, are what will render them worthy to survive, or condemn them to prom})t Avithdrawal from the position they were intended to occupy. Embroidery, tlie directions for which are to form no part of these pages, is closely allied to all the other methods of decorating, and the same rules of art and taste are as binding upon tlie needle as the brush. Thus, while the progress of the arts of the needle has clojie much to elevate the general taste and tone of decoration, em- broidery is responsible for a good deal of lawlessness in the matter of design. There was once a wholesome feai- of meddling with the ini])lements of high art, whicli restrained women especially from rash attempts at orna- mentation. The pencil and palette of Raphael were too sacred to be applied to trivial purposes; it was thought that it. was necessary to be a true artist, born and inspired, in order even only to possess paints, palette, brushes, and canvas, with which to carry out artistic ideas. Bnt needle, thimble, and scissors are essentially the weapons of our sex, and nothing could ])revent the use of these tor orna- mental purposes. This caused the flow and oversow of untrained embroidery and needlework decoration. Bolder’ grown, women have discovered that it is as easy to exe- OIL AND WATER-COLOR PAINTING. 19 cute designs with tlie brush as with the needle ; a little paint is as cheap as a skein of embroidery floss, and a pre- pared panel cheaper than a yard of velvet ; until at last the natural order of things is so reversed that embroidery itself is imitated, and a pen filled with color is made to reproduce the long stitches of embroidery. I must repeat, and still repeat, that while it is as easy for the cunning, skilful hand of woman to execute designs in one medium as another, not one of these designs will be worth anything, with whatever material it is executed, unless the design, to begin with, is good. For this reason it is best to begin with designs already prepared. Rumors are constantly arising that this and that new form of orna- mental decoration is “ real easy to do,” and girls drop the difficulties they have been struggling with to fly to new (jnes that they know not of. Let them learn, once for all, that one great law underlies all these things, the law of har- mony and taste. This once mastered, every new fashion of doing decorative work is easily acquired. Any good book of directions will enable any clever young person to get the knack of using any vehicle of expression, and by the use of such instructions, with well-selected patterns of good designs, the eye is trained, the judgment matured, the taste allowed to exercise itself in the right direction. Without such guides, eveiy new attempt will be but failure, every new result will have the same old bad quali- ties with tlie rest. The fact is every day becoming more and more widely recognized, especially in the field of embroidery, where the reaction from indiscriminate execution is almost uni- 20 SELF-INSTB UCTI VE LESSONS. veisal, that it is better to trust to designs pre[)ared by skilled persons than to iniproniptu invention. The ad- mirable teaching of South Kensingtt)n has done much to improve tlie style and elevate tlie designs of amateur workers. It is always to l)e borne in mind that the same rides of art and taste a})ply to the brush as to the needle; in this way each will elevate the other. Artist’s materials are usually regarded as higher in the scale of mediums, as means of artistic expression, than those of the needlewoman. All pigments, whether used through the vehicle of oil, water, turpentine, or gums, are regarded with respect as the materials by the aid of which tlie highest inspirations of the great artists have been ex- pressed since the time of the great masters of art ; and the canvas and panel must, with these jiigments, take the same high jilace. However beautiful the shades and tints whicli modern chemistry has ap[)lied to flosses, wools, and threads, however rich the folds of satin and velvet upon winch these materials may be spread, it must be remem- bered that the lirush is higlier than the needle, in the grade of artistic imjilements. T repeat that this can best be done by consulting a good book of directions, and by beginning, at least, with the use of such patterns and designs as are furnished by Mr. d’ilton expressly for the use of beginners. Tn this book I have tried to make the directions for each process de- scrilied as simple and clear as possilile ; the paints and other materials mentioned can be procured at small cost, ami tlie use of them acquired by practice upon designs made ex])ressly for beginners. If such designs are em- OIL AND WATER-COLOR PAINTING. 21 ployed, and the directions carefully followed, any intelli- gent person will be able, not only to make at first very pretty and attractive gifts and ornaments, based upon good principles of art and taste, but she will find herself growing more and more capable of more difficult, more elaborate, and more individual work. DRAWING. Materials for Drawing. Lead-Pencil, Faber No. 3. A Measuring Card or Rule. Block of Log-Pa 2 )er. fudia-Rubber. Altliouob the larg-er numl)er of those wlio consult this book for instruction will rely upon some mechanical method for reproducing the outlines of the design wliich they desire to paint, simple instructions for which are given on another page, there undoubtedly will l)e some among f)ur renders who will wisli to learn Imw to draw, so that they may make their own designs. To those we will say that any one who can learn to write can learn to draw, — mind, we say learn: that does not mean that it can be done b_y being fold how, any more than one can learn to write by being U>ld how. 24 CHAPTER II. DRAWING. As I am not eudeavoring, in this book, to iiisti'uct .students who are proposing to themselves to become artists, with the hope of making it their life-work and attain thereby not only fame and success, but the satisfac- tion of developing to the utmost the jjowers and caj>a- cities of their nature, I shall not undertake to give much space to the subject of drawing. But I cannot pro])erly omit saying that accurate drawing is the foundation and basis of all good work in decoration, Avhich is the subject SELF-INS TR UCTI VE LESSONS. of this text work, just as iiuicii as in all the higher forms of art. I do not mean, by this, to condemn amateur work, o)- to deter beginners from trying to sell their productions, but only to induce them to fix before themselves the idea of accuracy as indispensable. It may be attained by any industrious beginner, for accuracy is the reward of perse- verance rather than the gift of inspiration. The reason that so much of the amateiir work which stares us iu the face in many a shop window is hopelessly bad, and, with justice, hopelessly unsalable, is that it is not based upon any principles of accurate drawing. The reason that a great deal of such work, almost as bad, does sell is, alas ! that the eye of the purchaser is as little trained in good drawing and design ; so that, tempted probably by a price below the merits of the material and the time spent upon ornamenting it, but far above the artistic worth of the work, she takes it home, perhaps to inflict it as a gift n]-)on some “artistic” friend, perhaps to make sad the lives of her family by a constant sight of an im- perfect piece of work. It may be that such things are bought from compassion for the maker, who, in need of money, with praiseworthy intent, is seeking to earn it by her brush. It seems severe to say it, Imt it is all wrong to mix up charity wdth patronage of art in tins way. A first-rate piece of dec- orated w’ork, either embroidered or painted, commands a higli price in the market, and wdth justice, as the result of natural talent and taste, joined with long practice, ami money spent in lessons. Poor imitated wt)j-k, carelessly done by women of little talent and no practice, snatching OIL AND WATER-COLOR PAINTING. 27 a few second-rate ideas from second-liand work, floods the market and lowers the standard of excellence, bringing- disrepute upon the whole class of objects imitated. A striking example of this is flower painting, which is and should be a favorite style with all classes of artists ; one of the most exquisite, natural, and attractive branches of art ; one which the greatest masters have not disdained. Because so many women think tliat “ flowers are easy,” the whole subject has become degraded, and it is the commonest expression, “ I hate flower painting ! ” or “• I don't want to learn to paint flowers,” as if the poor things themselves were lowered to the rank of turnips and [)Otatoes, beneath the notice of art. The fact is, that flowers are extremely ditticult to paint ; it may be said indeed, that it is impossible to paint roses ; but we shall always be attempting, to give something of their charm. It is liard that the flowers themselves should be held responsible for the feeble failures of amateurs to represent them. The only thing that is “ easy ” about flowers is their accessibility. It is almost always possible to have some as studies ; but they droop so soon that the subject, even well arranged, is constantly changing, and by the time the composition is well draAvn in, it is entirely altered. The roses and most of the hot-house flowers at hand in winter are most complex in form and delicate in coloring ; there are but a few large simple ones, such as lend themselves best to flat decorations. Nevertheless as tliey are, on the whole, so well adapted for decoration, I shall, in the directions in this text-work, speak of petals and leaves as if these were the objects in 28 SELF-INS rn UC TI VE LESSONS. hand, giving, however, suggestions as to otlier things whicli may be used instead of designs. To avoid the difficulty of the pronouns “ he ” and “ she,” I am going to take it for granted that my readers are women ; for, to he sure, they will be for the most part, since our sex is still the one most at leisure for amateur work, and most likely to try to pick up an honest penny by art decoration. It is precisely that the penny so acquired may be honest that I am writing this book, in the hope that it may encourage women to good, earnest, ori- ginal work based on faithful drawing of worthy designs. I must explain my use of the word “original,” lest it shall be taken to mean a vague creation of objects purely out of your heads, seen nowhere in the heavens, or earth, or waters under the earth. I consider that it is nut original to “do ” a golden-rod on a black panel of a certain width and height, because another girl has done one and it was “real pretty,” even if you make your own design for your golden-rod out of your head, with a vague recollection that golden-rods are yellow and fluffy and stiff, rather bend- ing over at the top. It would be original, if yoii wanted to “ do ” a golden-rod on a black panel, to spend all your spare time in August in studying golden-rods ; in noting the small differences in the sixty-nine varieties ; in observ- ing their manner of growth, and deciding which one would suit best a long, thin panel; in discovering how the little pale-yellow butterflies that come and sit on them help along the color, and how harmonious the purple-brown tints of the fading flowers are with the still brilliant yel- lows of later blossoms. I do not expect you to be as OIL AND WATER-COLOR PAINTING. 29 oi’igiiiaJ as this for the sake of one panel ; but, if you mean to decorate much, the best thing you can do is to study and paint iiowers all summer, so as to begin the winter with a portfolio full of subjects for design. But before doing this, or without doing it, you may decorate with charming effect by using patterns and designs already drawn for you, and furnished to your hands. You can teach yourselves to draw, if you are in earnest. The chief merit of taking lessons is to have a teacher at your elbow to urge you along, and the additional stimulus that while you are paying for the lessons you had better have the good of them. Of course, if you are taking les- sons merely to fill up the time, and do what the rest are do- ing, you may not make much progress even then ; but if you are in earnest, you may do great things without a teacher. There is an impression that drawing from flat copies does no good; but I am convinced that it is the best way to- begin. There are two waj^s of drawing everything; viz., a right way and a wrong way. If you will insist upon beginning in the wrong way, and persist in going on so, yon never will learn to draw, so it is better to begin in the right way. It is possible to spend years drawing from flat copies, and to become very skilful at it, without making- the least real progress in drawing ; but there is no occa- sion to acquire the habit of doing it in this useless manner. You should never suffer yourself to copy mechanically, with eye and hand alone, your mind wandering elsewhere, [)lanning a new bonnet, reckoning up your accounts, think- ing of anything or everything rather than of the work Ijefore you. 30 SELF-INS TR UC TI VE LESSONS. Take this simple outline of a sweet violet from Series V., Tilton's Outline Design-Cards, Studies of Flowers from Nature, consisting of, 1. Yellow Oxalis ; 2. Pansy; 3. Sweet Violet ; 4. China Pink ; 5. Tulip ; 6. Cyclamen. These designs are drawn true to nature, as studies for flower painting. Mr. Tilton has plenty of others which will answer just as well. If you are pretty clever, you will soon produce a copy like this, wliich will look quite a good deal like the subject, without having the slightest merit. In the first place, establish yo\irself in a window where there is no sun shining in (a north light is best), and where there is no cross light from some other window to dazzle your eyes and confuse the shadows on your future work. See if you cannot have a little table, with a ve. To make sure that you are making progress, the next step is to draw on a different scale from the design, — J mean, to make yoin- copy larger or smaller than the subject. If you have been measuring first, and accepting the meas- urements witliout exercising any judgment, you will now find yourself all at sea ; if, on the other hand, you have been conscientiously deciding your own distances, you will soon be able to eidarge or reduce any pattern at will, and this is quite necessary in decoration, where it is some- times best to adapt the dimensions of ilowers or other objects to the space they are to occu]>y, without regard to their size in nature. Rule U]ion your block of drawing paper a space with lines (3 X 4f inches, making sure that the corners are right angles. A tin rnler is a good thing to have, accu- rately cut at the corners, that they may be used to make right angles, and marked off with inches. Down in the left hand corner of tins ruled space mark off an inch and a half, and divide it into halves, and that half again into halves, as I have done in the corner of the sweet violet pattern, which we wall use again foi’ the enlarging ])rocess. I call this little marked-off place our scale of measurement. Do not, after this, worry your mind wdtli thinking of OIL AND WATER-COLOR PAINTING. 41 inches and half inches, they have nothing further to d(j with this drawing, which is a matter of projiortion, not literal measurement. Compare (with your measuring card) our old friend, the distance BA, with the scale of measurement. It fii'st matches the half, does it not ? Try C A : it is the whole scale, and a quarter more. Very well, put your first dot, for the top of the upper flower, on your own jnqjer in the place which, by your own scale, is half the length of it down from your top line, and one and one fourth from the left-hand line. Here is tlie place to begin yoiir drawing. Measure on the copy AD, and compare it witli the scale in the corner. Notice how much more than half the scear pressed, seen in front, also in profile. 'Die flat form of the leaf is also drawn, as it is shown in a perfect specimen, flie sides being the same. 'I'hese details are then combined and repeated so as to agreeably occn])y the space for which they are intended. The art is to ini})art snlticient grace to the design to avoid stiffness, withont losing the symmetrical character of the parts. In preparing any design, "conventionalized’’ or not, the first care shonld be to decide the shape and size of the space to be decomted, bnt more especially the shape. As 1 have said before, the spaces not occupied are as impor- tant as the forms of the subject, and in making your design yon’ must thiidv of things that will prettily fill the space, without leaving too much margin, or too little, too much (ii- too little interval between the parts of the design, d'he illustrations at the heads of these chapters will show you what I mean. The pro])ortion of thii'ds is always agreeable to the eye; thus, a design may occupy "about” two thirtls of the allotted space. The distance between two leaves may be “about” a third of the width of one of the leaves, &c. If the rule of thirds were accurately fol- lowed, it would give an air of geometric stiffness not de- sirable ; but with the qualification “abojit,” it gives enough variety to have some of the spaces a little more, some a little less, than a third. Do not leave large areas of uncov- ered space; these maybe filled or broken by birds, buf- (ei'flies, or insects, if the design is of flowers. A small fly OIL AND WATKR-VOLolt PAINTING. will till up a. lai'ge space it' judiciously placed, as we all know he will, on a summer day, till a whole liou.se with injudicious buzzing. The eye is ] (leased by constaiit I'haiiges I'rom variety to symmetiy. 'koo much symmetry leads to stiffness, wdiicli is ugly; too much variety is confusing and lacks repose. The old plan w'as to put a group of ilowers always ill the middle of the paper on which it wavs painted. This is still sometimes w'ell. If you want to ensure its being in the midille, make the distance on each side of the design the same ; that is, if the shortest distance of some part of the design to the right edge is just the same as the shortest distance on the left side to the edge, it is in the middle ; the same at the top and bottom. If your work pi»fesses to be in the middle, any slight deviation w'ill make it look wrong; for this reasmi, wdien you do not intend it to be in the middle, put it w'ell in the corner, extending either over about two thirds of the space, or over a little more than one third, wdth some detached object to break the empty two thirds. Do not overcrowd the space you are decorating, but let the vacant parts show evidences of thought and consideration, and not look as if left to chance. SELECTING DESIGNS. To produce immediate results iu painting without tirst learning lio-\v to draw, will require a substitute for the knowledge of drawing. This may be found in the “ d'ransferring Designs ” referred to on another page, 'riiese designs are intended to be used for transferring the outlines of a pattern to the material to be painted; they will not be exhausted by once using, but may be dupli- cated a great many times. They will not only serve as a substitute for a knowledge of drawing, but will be found equally convenient for those who can draw', as, after the design has once been pre|)ared, it will require but a few seconds of time to reproduce it on any material, and repeat tlie process as many times as desii'ed. After the outlines of a design have been fixed on the material, a very slight familiarity with colors will enable those wdio have not made ai't a study to produce creditable results. 58 CHAPTER V. SEJ.ECTINO DESIGNS. J CANNOT, in this little book, go further into the subject of’ preparing' designs from natural objects. My intentiou is rather to lead you .to good selection than to teach how to make designs, although I hojte you will learn in time to do so. 'Fhere are now so many good patterns offered for use that it is bt' no means necessary to make your own, and you had better rather forego the glory of having originated a design, with the danger of making a poor one from want of knowledge, to devote yourself to the good execution of one you have selected. In selecting a design, do not, 1 must rej)eat, choose a subject because you “saw one just like it that was ‘ sweel 60 SELF-mSrii UCTIVE LESSONS. pretty.’ ” I want you to begin farther back. Let us start at the very root of the matter. In the first place, you want to make a Christmas present. I am tempted to go still further, and ask why you want to make it. I hope it is not because ‘ she gave you one last year.’ This is the worst possible reason, lead- ing to the corruption of the pretty practice, to dreadful lists of perfunctory gifts, and general misery all round. Make your present because you love your friend, and want to express that feeling by some slight sacrifice of time and troul)le, and exercise of taste. As for the money value of the gift, it is a question entirely apart from the subject. Very well, then ; you really want to make your friend a present, and luckily there is a space in her parlor not yet decorated. I will not here pretend to say what it is, but hope you will try not to make her a fire-screen if she has already six. Secretly discover the exact size of the place to be decorated, if it is a panel to be inserted, or the proper dimensions of the table-cloth, lambrequin, or what-not, and iqjon these consider the size and shape of the space to be decorated, and then search for something which is just suitable for that space. There are tall, slender subjects good for u] night panels, — a continuous conventional pat- tern is suited to a long surface. Your mind, if you deco- rate much, and are familiar with many designs, will get the habit, when you see an empty space anywhere, of sug- gesting just the right design for it. Tlie form of the de- sign should be adapted to the place it should occujiy. It seems foolisli to say this, yet I have seen many bits of OIL AND WATER-COLOR PAINTING. 61 decoration in which it has apparently been wholly disre- garded. The space to be decorated, I repeat, should be well filled, without much margin, so to speak, left unoccupied, and these places unoccupied by design must be as agreeable to the eye as the design itself. This is too little thought of by amateurs. If you put a very small design in the middle of the space, there is nothing to occupy the eye in the empty parts, except the texture of the background. If, on the other hand, the design is too large for the space it is in, the charm of the background is lost, and the de- sign looks crowded. When the material of the back- ground is intrinsically beautiful, the design, it is true, becomes secondary. In this case, its color, shape, and size should all be subordinate to the material, and it may be put in the corner, or away from the middle ; but let it ap- pear to belong in the corner, its lines adapting themselves to the right angle, while its contours penetrate agreeably the surface of the material. The practice of slight deco- ration has been rather overdone. One butterfly, or per- chance an owl, “ thrown on ” to the corner of a large Tui'kish towel has become tiresome. You want to com- pliment the friend to whom you are giving the present Avith more thought, time, and trouble than this , implies. However, individual taste must rule. I do not wish to dictate the extent of space your design must occupy, only to urge that you exercise due thought in deciding. If you have, happily, made studies from natural flowers during the summer, as Christmas approaches you have a. portfolio of original designs; and it may be you have SF.LF-INSTR UCTI VF LFSSONS. H2 studied linw to ‘•‘conventionalize” them. If not, seek, among Mr. d’ilton's patterns, or wherever yon can find ihem. something snitahle and pleasing for yonr space, d'he sha])e is the thing yon have to consider, for yon know \'on can enlarge the design by drawing it as described in the last chapter. If yon have not learned how to do this, buy a pattern suited in size as well as shape to the s}>ace yon wish to decorate. In choosing the particular llower or lignre to put upon the s})ace yon are to decorate, taste and judgment must be yonr guide. Foi- myself, I think onr spring wild-llowers, for the most park are not suited for decoration, in their natural state, and it seems almost bad taste to convention- alize things so unconventional, ddiey are lovely to paint, for easel ])ictnres, or for collections in a book, to be turned over, examined, and admired, for they require to be dain- tily painted, drawn, tinted, and modelled with great care and delicacy. For broad Hat eh'ects Avhich will “carry” well, — that is, show to their best across the room where they are placed, — rather large llowers are best, like j)op])ies, single roses, iris, ap})le-blossoms. Golden-rod, from its ricdi color, has tempted the decorators of late : T think it has been used too much ; though its feathery racemes are showy, they are minute in detail, and the reckless swoops of yellow paint with which they are sometimes executed give no idea of the tine finish of their countless flowerets. The sunflower is so big and gaudy, it mat./ Ire done with a house-painting brush ; but we do not care to see too many snuHoAvers about ns, any more than we Avant all the gar- den to be fnll of them. OIL AND WATER-rOLOIl PAINTING. t)8 But ill the whole world of beautiful lilossouis, it is idle to give advice in a small book like this. Choose your own suVijeet for design, and in this be original as far as you can ; that is, in selecting from a mass of copies or patterns, be guided by your individual taste. If the beauty of the luateiial is the leading charm of your piece of work, be careful to subordinate the design to it in color and form, as well as size, choosing these to enhance and set off its texture and tint. The same good taste that influences you in the choice and trimming of your winter suit will aid you here, for the fundamental laws of harmony are the same for decorating a human being and a hand-screen. Do not fear, therefore, to trust your own judgment in these matters, rather than to imitate the ideas of some one else ; in the matter of design and form, on the other hand, lean ujion some higli standard, and train your own taste up to it. Your design chosen, cut out a paper pattern of the exact shape 3 ’ou wish to decorate, mark round it on good papei' a space exactly like it. Upon this draw the design, as faithfully as you know how, making it just as good as you possibly can in outline. You can, upon this, alter and adapt to suit the occasion. If you draw the outlines in charcoal they are easily brushed off and changed. Anv design y(m have selected may require to be altered, en- larged, or diminished — at all events improved — by some different arrangements of the parts ; but if you can And one just suited to the space, so much the bettei’. When it is drawn to suit you, coloi' it in flat water-color tints upon the white paper. Do not consider this a waste of time, it 64 SELF-INS TR UCTI VE LESSONS. will protect you from spoiling the work itself, which would waste not only time, hut material. In this preliminary preparation you are becoming familiar with the subject, and you can change the plan of color or form as you go on. Once tinished, this water-color pattern of what you are to do should be implicitly folhiwed. When you are working upon the real thing, y(ui liave no leisure of mind to make improvements and alterations. The design should be mechanically trausfei'red to the material to be used, by one of the methods here described, and the colors decided upon now, then implicitly followed. Your own design may be best transferred by tracing paper, and red carbonized paper, Avhen the surface is such that the traced lines- will show, or you may use Tilton’s transferring designs by these directions: — Matekials. — The materials required are Transferring Designs, transferring powder, an im])lement for using the powder, and a box for the powder, etc. A limited quan- tit}^ of powder is given with the designs, — more may be obtained from the publishers at twenty-five cents a package. The best thing to nd:> the [)owder on with is a roll of soft felt made of an old soft felt hat, cut in strips^ of about one inch and a half in width and rolled tightly. After being rolled and sewed together the ends will be uneven, and it must be burnt down until tlje surface is perfectly flat and smooth. This can be done by putting' it on the top of a liot stove and rubbing it every few min- utes on some rough surface. When done it will be about one and a half inches liigh, and from one and a half to two inches in diameter. This, if pro]ierly made, will last a . OIL AND WATER-COLOR PA INTTNG. 66 lifetime. A more simple way is to use a cotton spool after tying two or three thicknesses of cloth over one end, and over that a piece of soft chamois leather. For the powder have a box made, say six by eight inches in size, and about two inches deep, with the inside bottom lined with woollen cloth; partition off a space at one end to keep the powder in bulk, and have the compartment wide enough to admit the felt roll, — a common table plate will answer in place of the box, but the box will be much better, for this reason, — the best transfer can be made by using a very small quantity of powder. Dip tlie felt roll into the small compartment containing the powder, and then rub it over the cloth-lined bottom of the larger com- partment ; this will distribute the powder evenly over the surface of the felt roll as well as rub it in, and will regu- late the quantity used so as to give as much or little as may be desired. Directions for Making a Transfer. — The trans- ferring should be done on a smooth table . T>ay the design on the paper or material to which tlie transfer is to be made, with the rough side up. One side of the design will be found perfectly smooth, while the other is slightly rough ; secure it in position with some lieavy weight — a flat-iron will do, placed on the end, corner, or side, so as not to cover the design, — hold the other end or side down with the left hand, and hold it down so closely that no powder can get between it and the material ; with the right hand use the powder. The best transfer on paper will be obtained by using very little powder, only so much as will give a distinct outline of the design ; dip the felt SELF-INS TR UCTI VE LESSONS. 66 roll into the powder, tlieii rub it over the cloth-lined bot- tom of the box, then rub it gently — not too gently — over the face of the design. If the directions given above for holding the design in place have been followed, the unse- cured side may be raised so as to see when the transfer lias been perfectly made liefore removing it. This operation is so simple and easy that a very few trials will teach .any one how to do it. The design in this state will not be permanent, as the powder will easily rub off, Init by tracing over the lines with a fine-pointed lead pencil, or pen and ink, as the case may require, the powder may be dusted off and permanent lines secured. These designs can be used for needlework as well, in which event, after removing the paper pattern from the material, the powder should be fastened by going over it with a hot iron, having covered it first with a thin paper. PIGMENTS. The following chapter explains how pigments or colors are prepared for tlie artist’s use, the difference between transparent and opaque colors, and their adaptation for the various uses to which they may be put. 68 CHAPTER VI. PIGMENTS. The materials used b}'' painters are prepared by various processes, — grinding, wasliing, or burning, — and applied by dilution rvitli some liquid, wliicli evaporates, or dries up, leaving the pigment, or paint, on the surface of the material, to which it has been applied, without change. For this purpose various fluids are employed; and tlie differences of the materials used, with the method of em- ploying it, have given rise to the modes of painting in water colors, oil, etc. Pigments may be arranged in two classes, opaque and transparent. The first are those which liave great body, and whicli, when laid upon pa}>er, silk, etc., cover the sur- face so completely as to efface any otlier color which may 70 SELF-lNSTRUCTl VE LESSONS. liave been })i-eviously applied. 'Fhe transparent pigments, or colors, are those which leave the ground upon which they are applied visible through them, and so produce a color compounded of the two ; thus, a transparent yellow over blue produces green, etc. Transparent water-colors are those which come in tubes, pans, or half-pans, the latter being, on the whole, most convenient. Mr. Tilton lias for beginners a very handy box with ten pans of moist colors, enough for simple combinations, which should be learned first. The use of these colors is easily acquired, and forms a good basis of knowledge for painting in any medium. For painting flowers, and general decoration, a wider range of colors is to be desired, and a large box to hold them ; but it is very well to begin moderately with a set of paints that costs but little. 1 do not here describe landscape painting in water color, practised in out-door sketching, as it has little con- nection with the subject of decoration. Transparent colors in tubes or pans are best emploj^ed for this work, as broad washes and wet effects are produced to advantage by them alone.* Tilton’s Liquid Colors for Tapestry Painting are just as transparent as common water-colors, and, being very rich and brilliant in tone, are admirably adapted for decora- tion. Moreover, they are dyes, strongly mordant, and will * On page ii84 I have slightly given you the colors for tinting my illustrations at the head of chapters, which you 7nay follow with the aid of your own taste and skill. OIL AND WATER-COLOR PAINTING. 71 adhere to cloth, even wlien it is washed. Tliis renders them excellent for broad, effective work on bed-quilts or curtains of washing material. Not that it will do to wash these things very often ; I only mean that these dyes are more permanent than the delicate water-colors commonly in use, which disappeai- by any drop of water which may fall upon them. Tliese paints come in bottles, and are easily used. The only trouble is the inconvenience of transporting such liquid paints from place to place. Transparent colors are effective on any white or very light surface, where the whole design is to be darker in value than the background. As has been said, each color, as it is laid on, is influenced by the tint below it, just as colored ' glass or isinglass would be. Therefore, in painting upon textiles of a dark color, where light tints are to be laid upon a dark background, something else must be em- ployed. For this Gouache, or Body Colors, are used, the basis of which is Chinese white, a thick, white paste which comes in bottles or tubes. It looks very much like oil paint, but combines with water instead of any other medium. The ordinary trans])arent colors may be made opaque by mixing with Chinese white. A very usual way of painting in opaque color is to lay in all the forms with a pretty thick coat of pure Chinese white, which forms an undertone on which the tints required may be laid with the common transparent colors in Mr. Tilton’s box, or his liquid colors just mentioned. A more direct effect may be produced with the gouache colors, which, combined by the maker with Chinese white, are ready to be laid on in the tints required for the final effect. In this case, tlie first 72 SELF-lNSTRUCTl VE LESSONS. undertone is made with the requisite local color of the design ; the modelling and markings needed to give it roundness and character may be put on with transparent color over the coat of gouache. The use of opaque colors is good practice for employing oil paints, which are to be preferred for some kinds of decoration. The latter are, upon the whole, the most ti’oublesome of all pigments for processes outside their legitimate sphere, which is painting on canvas, — portraits, landscapes, or great works of any sort. To subordinate oil colors to the whims and fancies of feminine decoi'ation seems unwise ; but it is often done, and with good effect. The difficulty in managing oil colors ‘on any delicate textiles, like silk or satin, is that the oil in them is apt to spread upon the material, and when it does to make an ugly grease s[)ot. Turpentine, which is used to thin the colors, as water is in gouache or water color, is but little better. It is, unfortunately, almost impossible, in written directions, to describe exactly the amount of turpentine, or other medium, that may be mixed with tliese pigments without danger. Experiment alone can guide the decorator ; and each different material must be practised upon. By painting with gouache colors before attempting any serious work in oils, you may make the process easier for yourself. It is thus seen that there are two distinct processes of working re(|uired by the different mediums described, transparent and opaque. In ordinary water-color painting, and that for which the Liquid Colors are used, only trans- parent effects must be sought. In opaque painting, either with Chinese white and gouache colors, or with oil paints. OIL AND WATER-COLOR PA INTING. n no transparency can be looked for, but, instead of these, thick, solid effects of mass. Therefore, gouache painting and oil painting are more closely allied to each other than gouache painting is to transparent water-color, although water is the medium it requires. This distinction must not be lost sight of. If you are painting in pure trans- parent color upon a light ground, any touch of Chinese wliite or gouache will injure wholh^ your work. If, on the other hand, you are working in opaque color, use as little water as possible, and do not try for thin washes. It is still worse in oils to thin the colors over-much with tur- pentine or oil. Thin, transparent effects are best attained with water colors, and rich masses with oils. These differences of medium bring about two wholly distinct methods of treatment, which you had better under- stand at the outset, in order not to confound them later, and work unsuccessfully, perhaps unconsciously, with both methods at once. In transparent color on white or light backgrounds, such as paper or light silk, the ground is the highest light. Any spots of white in the design are given by leaving the paper untouched by paint in the right shape to give the idea of that higli light. The strong- est illustration of this is the reflection of a window barred with the lines between the sashes, cast upon a dark glass surface. Suppose you are making a careful study of a glass vase or pitcher, upon which this reflected window is to be depicted. If you are painting in transparent color, the little picture of that window must be left without any paint upon the pure white of the paper, that it may tell with good effect by the brightness of the white paper 74 SELF-INSTRUCTIVE LESSONS. when it is coveretl up elsewhere with colors. You have no power of giving brightness other than relying on this })ure white of the paper for the highest light. On the otliei hand, in painting either with gouache or oils, you need not trouble youi’self about the matter in laying on the color of the vase : but, when that is wholly dry, with white paint you will paint the reflected window. In this case, your difficulty will be to paint a tiny little window there ( curved, jrrolrably, by the shape of the vase) just as accurately as you can. In the other case, working with ti'ansparent color, you will have to paint around a little shape like the window, left on the paper with color in the sense of a Irackground. Your success, b}^ the way, in both cases will dejrend upon the skill with which you render the form of the little rellected rvindow. From this matter of the highest light arises the differ- ence in the two methods. In transparerrt water-color yorr work away fronr the white dowir to the lowest dark of tire shadows; in gorrache and oils yorr rrray put on the darker parts first, and wor’k up to the lights, yorrr lirrishirrg touches being the well-execrrted, sharp Hashes of white. In trarrs- parent water-color the liirisliing toirches. on the other- hand, are the darkest, — little Irr-ight dark markings iir the rigiit places to defiire the vei-y ractice of colors difficult to understand. Science produces a theory iu Avhich there are but three primary colors ; viz., blue, red, and yellow. In this theory each of these three colors is absolutely pure ; that is, blue is blue, with no mixing of other color or matter: and so with red and yellow. With these three colors, all other colors and tints seen in the works of nature are produced. 78 OIL AND WATER-COLOR PAINTING. 79 Althoug'li this theory is generally accepted by artists, it cannot be carried into practice because of the colors em- ployed by the artist. None are pure. We find blues, reds, and yellows, but not one of them unalloyed with foreign substance : consequently the artist cannot select any one of each of the blues, reds, and yellows at his command, and with them produce all known colors. If he will learn the nature and capacity of all of the different blues, reds, and yellows, he may be able to approximate Nature in her coloring. Any one with a good eye for colors could at a glance detect the difference in color between flowers painted by nature, and flowers painted by the greatest artist who has ever existed. Accepting the theory, suppose we could enter Nature’s studio, and there hear an order given for so much red and so much blue : it would be a definite order, because there would be but one blue and one red. The same order in an artist’s studio would be unintelligible : the question would be. Which blue ? Which red? Consequently, while in theory there may be but three primary colors, there are no three colors obtainable in practice from which all other colors can be made, and the artist must have a wider range of what, for convenience, we will call primary colors. Some artists select but few, while others de- mand a larger number : perhaps ten will be a fair aver- age. It would be next to impossible to say definitely what these colors shall be, because there are so many different blues, reds, yellows, and mixed colors, that sev- eral lists of ten colors could be selected from which prac- tically the same results could be obtained. The following 80 SELF--1NS TR UC TI VE LESSONS. ten colors we have found in more general use for water colors than any other list which we have ever seen : — Blues: Indigo, Cobalt, and Prussian. Reds : Crimson Lake, Vermilion, and Light Red. YelloAvs: Gamboge, Yellow Ochre. Mixed Colors : Vandyke Brown and Sepia. These ten colors are in Tilton’s Decorative Art Box No. 1. which also contains mixing directions, showing how they may be combined so as to produce any color de- sired. We do not advise the reader to confine himself to these ten colors. After becoming acquainted with them, there are many others worth trying. Miss Hale has in the fol- lowing chapter mentioned other sets of primary blues, reds, and yellows. In regard to })roportions in mixing, that is something to be learned by practice. The reader will find it quite an interesting study in trying to match colors found in flowers and foliage ; he will be surprised by the endless variety found in the greens of nature. As this book is not intended to be a treatise on color, we will refer the reader, for further information on the subject, to “ Artists’ Colors, and How to mix Them.” In the matter of applying one color over another as mentioned in the folloAving chapter, the reader who is learidng will hardly succeed in his first trial, as it is not easily aecom])lished until after one has learned the knack of doing it ; the difficulty to overcome is in laying on the second color witliout disturbing the first. This is not one OIL AND WATER-COLOR PAINTING. 81 of the things wliich can be clone without learning how ; and as this chapter is to be instructive in combining and mixing, rather than in the application of colors, the reader may defer learning this part until later, unless he prefers to learn both at the same time. If the colors are mixed instead of applying one over another, the result will be practically the same. The three primary colors are red, blue, and yellow. Each of these is bright, pure, and clear in its own tint, which cannot be confounded with any other. There are different reds, l)lues, and yellows in all the paint-boxes. The experiments described here you may make witli Prussian blue, crimson lake, and gamboge from Tilton’s D. A. Color Box. * For other informatioji on this subject, see “ Artist Colors, and Plow to Mix Tliein.” 83 84 SELF-mSTR UCTl VE LESSONS. The secondaiy colors are made by combination ot‘ the primary colors in pretty even quantities. Red and blue make purple. Yellow and red make orange. Blue and yellow make green. Red is the conii)leiuent of Green; Blue is the complement of Orange; Yellow is the complement of Purple. These colors are found opposite each other at the points of the star. The two triangles of this cut illustrate this very well, and you will do well to keep the pointed star they form in your mind, for, though the rules of color seem simple, it is easy to forget them. OIL AND WATER-COLOB PAINTING. 85 In good compositions of color some evidence of the tJiree primary colors is always present. If red and yellow are present, the eye instinctively asks for blue ; if blue and yellow are alone to be seen, some ingredient of pleasure is wanting, which will be found to be red. Tims Red, Blue, Yellow, may be regarded as a whole, incomplete without the presence of its three parts. Now the second- ary colors, purple, orange, and green, each being made by combining only two primaries, must lack the third ele- ment of completeness, and the third color, therefore, required to complete the whole, is called, in each case, the complementary color, or color necessary to complete the secondary color : that is, to make a combination pleasing to the eye. Referring again to my star, you will see that the })oints opposite each secondary give its complementary color. Thus, opposite purple you find yellow ; opposite orange stands blue ; and ojiposite green, red. Now this is not a mere jargon of terms, as you might suppose, but a great help in making not oidy combinations of color, 'but mix- tures of paints. Tliis system of colors was discovered, not invented; that is, it was drawn from Nature, and there are plentiful illustrations (jf it in Nature herself. Everywhere you will find that the secondary colors are enhanced — set-off, made brilliant and effective — by being ])laced close to their complementary colors. The cardi- nal-flower flashes most brightly seen among the bright green of reedy grasses, in which it loves to grow. The yellow centres of asters are set off by their fringe of j)urple : and why shoifid pale yellow butterflies flutter 86 SELF-INSTR UCTIVE LESSONS. over the great purple thistles, if their vanity did not assure them that the complementary combination was most ornamental to them? The intense orange tints of a. clear sunset are much enhanced by the deep blue of the sky above, and the blue of mountains below. And so on, the illustrations to be drawn from Nature of the harmony of complementary colors is infinite, and you will do well to seek your own examples. Look at the shadows cast upon a brick sidewalk when it is wet, and therefore bright orange color, and see if they do not appear decidedly blue. It by no means follows that the proportions of the colors employed should l)e ecpial. A very little yellow, for instance, goes a great way; one touch of red lights up a whole field of green, and so on. Idle practical use of this old discovery is not limited to enhancing the effect of colors by putting tlie right ones side by side. It is especially valuable in working with transparent water-color. You will find that the proper color to '•‘shade” a primary is its secondary color, — and the reverse, — and Avill learn to detect these tints in Na- ture. The dark side of red is green ; the dark side (T yellow is pur})le ; the dark side of orange is blue. If you look at my star again you will perceive that one side of it, where red, orange, and yelloAV are, is the side of light, while the other, purple, blue, and green, is the side of shadow. You may make practical experiments with the three colors I have named, — Prussian blue, crimson lake, and gamboge, — at the same time getting a little skill in put- ting on washes. OIL AND WATER-COLOR PAINTING. S7 Cover a block of good drawing-paper, wet all over witli a small sponge, with little spaces marked out with a pen- cil, about an inch and a half square. The paper should be still damp, but not shiny with wet, when you begin to paint. Fill some of the squares with a good wet wash of Prussian blue, some with crimson lake, and some with yellow. By the time you have tinted them all, the first will be dry enough to paint over. Put a wash of eacli color over one square containing each of the other colors. You will find now you have green, orange, and purple squares, as well as red, blue, and yellow ones. Take now one of the secondary squares — for instance the green one — made of blue and yellow. The color lacking, /. e., the complementary color, is red. If you will Avash over half of the green with red, leaving the other half green, you will find that you have depicted a space half in light, half in shadow. 'Fhe i)ure green is the light side, the part cov- ered with red has the requisite tint to represent that same green in shadow ; in other words, witli the light Avitli- draAvn, painted out by red. Upon a purple square cover half Avith yelloAV. You will find this addition has given you the right tint for the parts Avithdrawn from light. So Avith the orange s(piare ; blue Avill have the same effect. Now prove the same thing by adding green upon half of a I’ed square, pr;rple ujjon yelloAV, and orange upon blue. The result is the same. You may make green Avith Prussian blue and gamboge, before laying it on, or you may lay on first Prussian blue, and, Avhen that is dry, gam- 88 SELF-INS'J'R UCTIVE LESSONS. huge ; tlie result is the same. To ensure success, mix the green, purple, and orange to contain pretty equal effects of each primary, — effects, not quantities, — for the power of pigments is very variable ; a very little Prussian blue turns a, sea of gamboge green, and turns crimson lake into dark purple. Another ex})eriment is prettier, and may be made on the same sheet of paper, if you have room enough between the squares. Draw lightly three rounded forms, like a cherry, an orange, and the petal of a buttercup. Paint the cheriy with wet bright-crimson lake, and, while it is still wet, drop some bright green into the wet color on one side, for its shadow. You will find it spreads about on the wet color, in a pleasant way, giving of itself the gradations on a rounded surface. Allow more green to stay in the middle of the dark space than elsewhere. As it s])reads, it will l:)e more and more affected by the red, just as deep slaadows are gradually influenced by light. Paint the petal with pure gamboge (in a perfectly clean brush), and while still wet drop purple into a part of it. This dropping is done with a brush, pretty full, both of the same yellow needed for the first wash and some purple taken pure from your purple mixed on the palette. Hold the brush upright, and touch the surface of the petal lightly. The new color will run in of itself, and needs not to be stirred up on the [>aper, but left to spread and soften. One touch will probably be enough. Of course if you drop in too much purple you will change the whole and lose all the }mllow. The orange may be rounded in the same manner. If your first mixture of orange lacks on. AND WATER-COLOR PAINTING. 89 red, the shadow tint wrought liy dropping in blue will be too green ; because blue and yellow make green, and red is required to kee[) that tint in check. The shadows of orange known in Nature are decidedly greener than those, of yellow. Keep your colors pure, — that is, do not nuiddle the pn'iniaries in mixing them, even with their secondary combinations, — but, as far as yon can, have the dropping into the wet place made on the paper with a fresh, pure tint. 'Fhese laws of complementary color are most valuable, and 3'on Avill do well to have the star which notes them before your mind’s eye, at least. The shadows of yellow and orange are often ill-executed, on account of neglect of this guiding star. There is a dictum that yellow should be shaded with “brown,” wliich is perfectly true, for browns are but purples with yellow added ; but the dictum is dangerous, for paint-boxes contain a great many different “broAvns,” mixed with more or less yellow, which may be either too much or too little for your own tint. If yon drop purple into yellow yon are sure of fitting the right “ brown,” not the wrong one. In pansies. Nature and cultivation together have play- fully, one might say, rung the changes upon purple and yellow. Here are all gradations of the two colors blended, making rich browns where the purple is run into yellow, especially on tlie lower petals, just as it may be with the brush and good wet color. The three pigments — Prussian blue, crimson lake, and gamboge — serve very well to illustrate the law of comple- mentai'y colors and for practice in first washes, but there SELF-INS TR fJCTI VE LESSONS. !H) are tar riclier ones in the range of the eolor-niaker, whicli, lightly combined, make delicious tints. In the tubes and pans of the higher grades these are lovely. Other colors jnentioned in the lists are ecpially lovely, but less transpa- rent, and these 1 advise you to avoid when you are making washes; they are useful adjuncts to painting in gouache, or body color. After you have mastered the combinations of primary and secondary colors, you will be able to produce all the tints you require. Remember that red, blue, and yellow 4 SELF-INS TR UCTl VE LESSONS. You must, liowever, establisli your own palette, and make your own experiments of combined tints, follow- ing the laws of com})lementary color, and not trusting to the name of a pigment until you have tested its tint and classed it Avhere it belongs, among the reds, blues, or yellows. COLORS [THEORETICAL). -Sl COLORS, THEORETICAL, » It is easy to grow confused in mind about this matter of the primary colors, through the difficulty of finding terms to express ideas in themselves simple. Red, blue, and yellow have been named the primary colors, simply because these three are the only ones we can use to start with in making combinations of tints. We must start with them, and, in fact, take them as we find them, be- cause they are the only colors which will answer for sec- ondary combinations. For instance, red and bine combined 97 98 SELF-INSTR UCTI VE LESSONS. make purple, but we cauuot yet find any two colors which will combine to make I'ed ; blue and yellow make green, but green and purple do not make blue ; yellow and red make orange, but we cannot, by adding any color, bring back the orange to yellow. Further, we find that, the more we mix and combine, the more muddy and far from pure tints are our combinations ; rvhile, on the other hand, the closer we stick to Idue, red, and yellow, and their simple secondary comf)inations, the purer and richer are oiir effects. Now this would l)e perfectly simple and clear, if there existed in Nature or in any paint-box a tint or a pigment which could really be agreed upon as pure blue, another pure yelloiv, another pure red. This is not the case ; for there are many reds, many blues, many yellows. No- body has any doubt about wldte, pure white (although, to be sure, it is seldom seen), and anyone who has bumped her head against a door in the dark has a tolerable knowl- edge of black; but if blue is mentioned, you ask, “What blue?” The explanation of this is that nothing is perfect in this world. There is some alloy in the purity or completeness of everything, but no uncertainty, no vagueness. Take all the blues you can find in the colorinen’s lists, or, just as well, l)its of ribbon cut from all the blue ribbons in a large assortment. You may pick out of a dozen or twenty such patterns the one you consider nearest to true blue. This, of course, will be the one least like purple, and, at the same time, least like greeii ; in other words, the one in which yellow and red are most conspicuously absent. OIL AND WATER-COLOR PAINTING. 99 Study the other blues ; they differ from this one only in more red and more yellow than this one. What else could they have in them ? What else is there for them to have ? Their degrees of dark and light do not alter their tint. There is an especially great variety in the reds, which range froin pni'plish tints and those shown in “ burnt car- mine ” through fiery scarlet to the verge of orange. B\it these modifications are all due to the presence of blue or yellow, probably both. Blue alone makes red into purple ; but blue does not turn vermilion into purple, for the rea- son that there is so much yellow in vermilion that it counteraets the purple tendency. To make a good purple, therefore, select a red with but little yellow in its compo- sition ; for you want to keep the third element out of a secondary combination. On tlie other hand, to make a good orange, select a red without blue tendencies, for you want to keep clear of bluish effeets in the orange. The pigments, therefore, must be studied carefully, as 1 said before, to keep their true place in the seale of color, in order to be used rightly in combination, for they are all more or less away from the standard of their pure tints. If it were not so, we should lack the delightful variety of every conceivable grade of color, running from one into another till their lines are lost. It would Ije dreadful to live in a world of simple, primary colors, where everything was divided off into red, blue, and yellow, immodilied, like living inside of stained glass all the time, or sitting in the middle of a kaleidoscope pattern that refused to change. For the tints of Nature are alloyed eveiywhere. It is rare 100 SELF-INS TR UCTI VE LESSONS. to tincl a petal, strictly speaking, of absolute blue ; and, altbougli we speak of the quantity of red flowers, there is a long difference between clovers and poppies in tint. This very lack of uniformity in the tints of Nature makes her charm. Therein lies the subtlety, so difficult to seize, which alone makes painting worth pursuing. Who would live in a world with a Prussian-blue sky, Turkey-red sun- sets, and foliage of Hooker’s green ? But nature’s tints are always pure, never muddled or vaguely combined. It must be now seen that in calling the primary colors primary there is no attempt at setting these colors above the rest, or giving them any extra individuality. Green, purple, and orange are as pure, are as much colors as the other three ; simply, for convenience in studying to com- bine tints, we must take, to start with, those that will com- bine. If green and purple woiild combine to make a dis- tinct, good color, or if, by any accident, this color should be red, they could be accepted as “ ” colors ; but it is not so. On the other hand, purity and richness of color is saved only by adhering to the first tints with but slight additions of the others. Especially in decoration, let reds, blues, and yellows be employed in pleasing contact with their complementary tints. These combinations will always be enhanced by the judicious addition of black or white — perhaps of both — and of gold, which has a quieting effect, very different from yellow, at the same time that it enriches the colors near it. LIGHT AND SHADE. Materials for Chapter JX. Charcoal or Lead-Peiicils. Stumps. Cube. Altliougli this chapter is one for tlie eye and judgment, tlie reader may practise drawing both the cube and cylin- der in different positions, also in painting the same in light and shade from the instructions given in Chapter VII. 102 LIGHT AND SHADE. VALUES. The term “ values ” is so valuable that it has come into general use, but it is not always, even when used, clearly understood. The whole matter of light and shade is a very simple one. It should be carefully studied by all amateurs as well as artists, for it underlies all effects of color as well as of black and white work. Charcoal is so easy a medium to work with, and illustrates so sharply the laws of effect in black and white, that it is now chiefly used in teaching about values of darkness and light, but 103 104 SELF-lNSTli UCTI VE LESSONS. all the rules for its use apply with even more force to working in colors. A cube painted white, which is held as the first model for students drawing from objects, is the best thing to use in illustration. However, a spuare white pasteboard band- box will answer just as well for this chapter, which treats only of values and not of form. Place it near a window where the light will strike it upon the left, and where no other window is behind or on the other side. It must be on a low chair, so that you can see the top when you are sitting at a little distance, and it should stand on a platform of gray, and have a gray background. The junk-board on which drawing blocks are made is a good color for this purpose, and if you have two old ones, left after tlie blocks are used up, put one beneath the cube and the other behind it. Tliis junk- OIL AND WATER-COLOR PAINTING. 105 board may be had of any bookbinder. This exercise is one for the eye and judgment merely, so you will require no pencils or other materials, only have your wits about you. The front side of the cube is white, is it not ? Mark that 1 in your mind, as the “ liighest light ” “ highest value,” or “value No. 1.” Now look seriously at the subject, which includes not only the cube itself, but its background, platform, and shadow cast upon the platform. 'Which of these is darkest in tone ? Probably the shadow cast by the cube. Mark this 5 in your mind. The top of the cube is the “ value ” next in lightness to the white side. Mark that 2. Probably the platform nearly matches this top both in color and value ; mark that therefore also 2. The background behind tlie cube comes next. Make sure that it does by comparing it with the top of the cube. If the top appears lighter than the back- ground, then it is 2, and the background is 3. The side of the cube is darker, — undoubtedl}^ darker — than the background, do not you think so? Very well, then it is 4 ; and 5, previously marked as the value of the shadow, comes now as darkest of all. Here, then, are five values : 1. The highest light. 2. The second tone. 3. The tone for the background. 4. The darkest part of the object. 5. The cast shadow. As I am not sitting by you, I cannot be sure that these numbers will fall upon the same parts of your cube as of mine ; but that will be all the better, as it gives you some freedom of judgment. The thing is to seek then five different shades, and to recognize that, at least in this simple subject, it is enough to have five values by which 106 SELF- INS TR UCTIVE LESSONS. to represent them. Suppose you liacl the idea of working this pleasing design in worsted. At a shop they would show you, in Berlin wools, endless gradations of hue between black and wlute, very lovely to look upon ; but you would not think of buying fourteen or fifteen different shades to work the design with. You would choose white for the lightest, black for the darkest, and certainly no more than three even tones between them, to represent the other parts. You might have six, in order to give the plat- form a separate shade for itself ; but you would think it hardly w'orth while, as, on the whole, it would Ije more har- monious to have it the same as the top of the cube. Blar- mony also makes the difference between one and another about equal from one to five. I mean there is about as much difference between 1 and 2 as between 2 and 3, between 3 and 4, and between 4 and 5. In selecting your wools you would endeavor to grade them harmo- niously, so that the five would lie together with even differences between them, like the rungs of a ladder, with white at one end and black at the other. Moreover, observe that on the cube itself there are but three values : 1. The highest light. 2. The half-tone. 3. The deepest dark. So that if there were but one gray wool in the shop about half way between black and white, you could get along very well by using the gray for the top of the cube, and the platform white for the light side, black for the dark side and shadow, and leaving the background white. Now this is the long and short of the study of values in OIL AND WATER-COLOR PAINTING. 107 their application to the subject of light and shade. Every object that the sun shines upon has at least three val- ues : 1. Its highest light. 2. Its half-tone. 3. Its deepest dark. No matter how many colors may be displayed, each and all of them must obey this law of values. To return to our shop, — all the shades of different tints upon the shelves are dyed in different values, the two extremes of which correspond to black and white, with many gradations between. If you wanted to work the cube in crimson, you would choose five shades, pretty evenly gradated among themselves, or you could do very well with three if they were nicely gradated. If you were working a quantity of cubes of different colors, you would strive to have the highest lights all of about one value, i. e., probably the lightest you could find in the shop ; and the darkest shade of each color you would wish to be as near black as possible, otherwise some of the cubes would seem to be less affected by light and shadow than others. In looking at natural objects, then, you want to learn to detect the underlying lights and shades, which have nothing in common with local color. This is the reason Avhy many teachers keep their pupils working in black and white until they are sure to have mastered the “val- ues.” To begin well, it is necessary to take a simple subject (and our cube is the simplest), and to place it in light falling from one direction only. Cross lights, from many different windows, confuse the values, and so con- fuse your mind ; and out-doors, especially at noon, the light is so diffused that the values are difficult to detect. 108 SELF-INS TR UCTI VE LESSONS. The sharp sides and angles of tlie cube divide and define its values; but with round objects it is not so easy to distinguish them. To })rove this, you liave oidy to put any cylindrical form in the place of the cube, in the same good light, Avith the same platform and background. Let it be Avhite for your first experiment. A round muff-box would be excellent. Here jmu can still detect the Amines, blended, hoAvever, into each other on the rcmnded surface instead of being sharply interrupted at the angles of tlie cui'Am. You Avill see the highest light a little Avithin the edge, the deepest dark of the object Avithin the other edge, the cast shadow on the platform probably darker, and betAveen tlie highest and loAvest values gradated shades for 2 and 3. In rounded objects Ave detect : 1. The highest light. 2. The “ half-tone,” betAveen the dark and light. 3. The darkest part, and also the reflected light beyond the darkest part, Avhere some of the light from the other side of the object is brought round to us by the curved sur- face. (This is, hoAveAmr, probably a little darker than the half-tone.) If it Avere Amry important to haAm the muff- box, Avorked in Avorsteds, very round, very soft, and perfect, you miglit buy the fourteen or fifteen gradated shades betAveen black and Avhite to AA'ork it Avith. So in painting on rounded surfaces, the values may be blended into each other Avith all the skill and delicacy you have at com- mand; but take care not to lose the values in blending. If your darkest tint runs into the half-tones, you have destroyed the balance of A-alues; so also if you lead the half-tone over the highest light. It is because charcoal is OIL AND WATER-COLOR PAINTING. 109 SO easy to manage that it is useful for studying values ; to make a rounded form you may cover it all, first, with a flat value. No. 2. Tlien overlay the darkest part with No. 3, and take out a place for No. 1, with bread or a clean stump. There are two faults in the management of val- ues, both extremes to be avoided : — - 1. That of having too few, and keeping to them s(> rigidly as to make everything you draw look like the cube, as if it were chopped out with an axe This has the merit of showing you have considered the values, and made them right as far as they go, but is scarcely pleasing. 2. Of losing sight of tlie values, even were they once established, in the effort to soften and round, and vie with Nature in delicate gradations ; thus your work loses you the credit of knowing anything about the matter, and you please no better than the other. The whole subject of light and shade is less important in decoration tliau in other artistic work, because flat effects, i. e., without shadows, are best for decoration. The use of good values gives relief to the objects repre- sented, and makes them stand out like real ones from their background. Real things could not stand out dis- tinct from others behind them, were it not for the vari- ations of light and shade upon their surface, as you may see in any out-doors scene Avhen a broad sunshine inun- dates it. If you are so placed as to see no cast shadows, you can scarcely distinguish fences from roads, or pumps or carts from the houses behind. On a decorated surface you do not care particularly to have tlie design look raised up, in relief, and especially you want not to have 110 SELF-INSTR UCTl VE LESSONS. tlie shadows of it fall in one set direction, for this would always be wrong on one side of the room. In decorating, therefore, we rely on the effect of flat surfaces imposed upon contrasting backgrounds ; but it is necessary to talk about values, and to understand what we are talking al)out, in order to regulate high lights and deep darks The term “local color” is also a useful one. It means the actual color of any object unaffected by bright light or deep shadow. The local color of a wild rose IS pink, the local color of a dandelion is yellow, and these terms may be more closely defined. Bright light has the effect of hiding or removing the local color it strikes upon, as is seen conspicuously in the reflected lights upon the iris of the human eye or the window- pane I have before referred to, reflected on dark glass. Thus the highest value most effective is pure white, or white very slightly tinged with yellow. On the other hand, the local color is wholly lost in the very darkest part, and influenced by the darkest value as it gradually emersres towards the lis'ht. Therefore the local color of any object must be sought, and will be found, between the highest light and the darkest tint; and when I speak in this book of the local color, I mean the tint so found, unaffected b}' shadow and unextinguished by bright light, more simply what we all call the “ color ” of anything. WATER COLORS. Materials for Transparent Water-Colors. Block oi' Paper. All of the articles enumerated above may not be called into use in this chapter, but will be required later, in Cliapter XV. In Chapters VII. and VIII. instructions for combining and mixing colors have been given. The object of the following chapter is to teach their application. Expensive materials will not be required for any practice-work : the same box of colors, a No. 7 camel’s-hair brush, and a block of log-paper, will be sudicient. The block of paper (10 X 14), referred to in Chapter X., Avould cost about •fl.70; the log-paper, which is much less expensive, will do quite as well to begin with. There are several colors mentioned in the same chapter, which will not be found in the “ Decorative Art Color Box.” These will not be absolutely necessary in learning how to Pencil No. F. Box of Water-Colors. Brushes. Rule or Measuring-Card. China Slant. D r a^vd ng- Board. Two Tumblers of Water. Gelatine. Sponge. Blotting-Paper. Thumb-Tacks. Old Bags. 112 OIL AND WATER-COLOR PAINTING. 113 use and apply colors, as the box contains mixing direc- tions for making any combinations required for that pur- pose. It will be a good plan, however, to have the extra colors mentioned, especially if the reader wishes to study the effects of new combinations ; with one exception, they are what are called “extra colors” (so called from their higher cost). Some of them cannot be successfully imi- tated, as has been the case with the colors in the box : for this reason, such colors as Rose Madder, Indian Yellow, French Blue, etc., should be the original productions, and not imitations, if they are to be used to test their capacity. In this connection perhaps it will be well to explain the difference between what are called common (low-price) and extra (high-cost) colors. The difference in price is not that one is a superior quality of the other, as many might suppose, but is in the value of the material from which it is produced. The cost of a color is no indication of its value to the artist : viz., of the yellows, gamboge is a low- price color, cadmium is expensive ; the reason being that one is easily obtained in any quantity, while the other is a scarce article ; yet gamboge, the cheaper color, is the most useful; in fact, in water-color painting it will be found quite indispensable. In forming combinations, i.e., mixing, a green produced from a mixture of French blue and Indian yellow will be quite different from a green composed of Prussian blue and gamboge, and for some effects be much better Each com- bination supplies a different demand, and neither will take the place of the other; but the principle of applying colors which is here intended to be illustrated can be learned 114 SELF-INSTRUCTIVE LESSONS. just as well with the common colors as with those of higher cost. Although in painting on silk, velvet, and other textiles, wet washes will not be used, some such practice Avith colors Avill be desirable for general information in their handling and management. Whatever is learned from this employment will aid one in acquiring a knoAvledge of any style of painting, as well as in mixing and combining colors. After learning how to lay a flat, even coat of color, the practice may be extended with advantage to “ Outline Designs” of flowers and figures, which can be obtained especially prepared for such practice with water-colors. They may be had in books, or on cards and panels, with directions for painting, and rules for mixing colors. The “ Transferrins' Desis’us ” can also be used for the same practice : indeed, we think that those who intend using these designs, instead of relying on their own skill in drawing, will find it a great help to first make a trans- fer of the pattern which they intend to paint, to paper, and paint it with water-colors before attempting to paint it on more expensive material. General Remarks on Chapter X. As this is the most important chapter in the book for beginners, we will offer a few suggesfions in the hope of saving trouble and expense in useless experiments. Al- though we claim to teach how to paint on silk, satin, etc., it is not to be expected that those who have had no expe- rience in painting will commence with practising on such OIL AND WATER-COLOR PAINTING. 115 expensive material, and the following chapter has been written as preparatory. In the first place, folloiv the directions, that is, if you intend to hold us responsible for any failure. We have not the space to give in detail the reason for everything directed; but there is one, nevertheless; for instance, we advise the use of a number 7 Ijrush in the practice of laying smooth, even tints of color. Years ago, Avater- color painting was taught Avith a comparatively dry brush, Avhile to-day it is taught Avith a very Avet brush. You are told in the folloAving chapter to fill your brush full of color, begin in the upper left-hand corner, painting from left to right, pressing lightly, so as to squeeze out the color as you carry the brush along. This will leave a little pool hanging on the loAver edge ; noAV, Avhen you carry the brush back to the left side again, it must con- nect Avith the pool left after the first SAveep of the brush, which Avill join and run into it, forming a neAV pool a little further doAvn on the paper. This pool is to be carried doAvn by continuing the process and adding more color from time to time, being sure not to exhaust all of the color in the brush before taking up more, until the entire space has been covered ; then take up the color, if any is left, as directed. When this is dry it Avill present an even tint of color. Noav suppose 3X)u do not folloAV directions, thinking, perhaps, that one brush is as good as another ; and as all beginners seem to have the idea that a small brush is easier to Avork Avith, try that ; you Avill find that the color Avill dry as fast as you can lay it on, but you Avon’t mind 116 SELF-INS rii UC TI VE LESSONS. that as long as you imagine you are following directions. When the lesson is finished it will be anything but a flat, even tint, because, every time one band of color dries before being joined by the next, it will leave a streak. There is no objection to the pupil’s trying both ways, and if he finds the results as we have stated, be satisfied to continue and follow our directions until he has had practical experience sufficient to enable him to invent some better way. There is no mechanical method for laying a flat wash ; it must be learned by practice in the way directed by Miss Hale. Other information on the subject may be found in “Introductory Lessons in Drawing and Painting in Water- colors,” by Marion Kemble. CHAPTER X. TEANSPAKENT WATEE-COLOES, OE MOIST COLOES. Ik order to rise transparent colors effectively, a good deal of practice is required in wet washes. This practice is very good for acquiring shill in the use of any sort of color with the different mediums, and it is therefore well to begin here in our practical lessons. If you are beginners in all Art work you will do well to try some preliminary practice of this sort before attempting decoration upon any material ; for working upon silk, satin, or any textile with the brush presents enough difficulties even after the first awkwardness of handling colors has been over- come. Meanwhile, as you practise transparent washes, you will at the same time become familiar with various colors and their combinations, applying the laws of color given in Chapters VII. and VIII., and will moreover lay the foundation for painting in water-color in its liigher branches, — landscape from nature, the realistic Tendering of flowers, and objects, figures, even portraits, from life. m 118 SELF-INSTRUCTIVE LESSONS. It is generally conceded now, I believe, that water-color is the simplest of the methods of painting, in convenience and lightness of materials, and the most difficult of all to bring to perfection. The extreme rareness of the best works in water-colors may well discourage amateurs from embarking upon so difficult an enterj)rise as thoroughly acquiring the art; on the other hand, the Ijeginning is so easy, that many find themselves launched and away ; after- wards the employment is so attractive, and each wave car- ries them so little farther, that they find tliemselves, before they know it, in deep water. In detail, there are many points that recommend water- color in preference to oils. The smell of oil and turpentine is absent ; water, if upset, creates only the confusion of a moment, and leaves no serious consequences. The box of colors is compact, and a block or drawing-board compara- tively liglit. Then, too, the process is shorter. A Avater- color may be completed or spoiled in a couple of hours. The washes dry rapidly, and may be overlaid without de- lay, wliereas oil pictures must be left to dry, to be resumed on a subsequent occasion. Besides, a bad water-color, a total failure, may be torn up and thrown in the fire on the spot, and all evidences of its existence removed; Avhereas an oil painting, the worse it is, the longer it survives, it Avould almost seem ; for dreadful blotches of untrained beginners are constantly turning up from quiet corners to which they have been relegated, to the despair of their perpetrators. Oil-cauAmsses, to be sure, may be painted over and over, as the surface grows better when overlaid with paint. All these things are in favo]- of water-colors. OIL AND WATER-COLOR PAINTING. 119 Though the beginning is easy, it should be carefully learned ; for if the first steps are not taken faithfully, and with much repetition, no good will follow as the work be- comes jnore difficult. Wet your block with a sponge, always, as soon as you have your materials collected, ready to begin. This will make it, probably, just diy enough by the time you are ready to paint. It should he damp, but not so wet as to be shiny when turned towards the light. Rule spaces the size and shape of a postal card by marking them with a pencil all over the block. There will be room for six on a 14-|-10 block, leaving a little inargin for each. With a good large brush that has a nice point, filled with water, transfer plenty of cobalt from the top of its pan to the palette connected with the box, or a china slant, and keep dipping water from the tumbler to the palette, and adding cobalt, until you have a pool of pale blue. At the very outset learn to transfer water to the palette with- out discoloring the whole tumbler with blue. This wastes the color, and is quite unnecessary. Do not shake the brush round in the water, but dip it in and swiftly with- draw it filled. Have the palette close to the tumbler. Put something under your drawing-block, so that it may be slightly inclined ; the top should be an inch or so higher than the bottom. Fill the brush with this pale color, and cover one of the spaces, beginning in the left-hand upper corner and paint- ing from left to right, pressing lightly but firmly on the brush, to squeeze out, as it were, all the color it holds. Paint along the pencil edge at the top with the point of 120 SELF-INSTRUCTIVE LESSONS. your brush, and then lead the color in a broad band across the upper part of the space, shaping the corners Avell. The color should be laid on so wet that a line of wet drops, a continuous pool of blue, hangs on the lower edge. Refill 3^our brush, and begin again on the left, just below the band of color, touching this pool with the point of the brush, but not stirring round in it. The color of itself will join your new color and run down into it. Paint across another broad band of blue, always joining the last lightly at the edge; and so on until you have arrived at the bottom of the space. One of two things is sure to happen. Either your color will give out and you will be streaking over the paper, trying to make both ends meet, or there will be too much when you reach the bottom, and a long puddle of blue hanging over the edge of the lower pencil line. In tlie first case, do not fear to mix more color, for there is no hurry; if your tint is not enough on the paper, you can prepare more by dipping water and adding cobalt from the paint. You will be wise, however, to mix a good deal of color before beginning, so as to have enough. In the second case, when the bottom is reached, dry your brush a little by passing it over the damp sponge, and you will find it empty enough to soak up the superfluous color, so that you can lead it about and fill the corners accurately and well. One object of this lesson is to practise filling the space close up to the edges, without going over or leaving tliem jagged ; in flat decoration, later on, when you have irregular surfaces to cover, you will be glad of all previous practice. If the color has run over at the OIL AND WATER-COLOR PAINTING. 121 bottom, and seems inclined to go coursing down the block, seize a piece of blotting-paper and lay it on the block, with the straight edge along the lower pencil line, the rest of the blotting-paper below. Press it firmly down with your hand, as you would to dry a signature, and it will take up the color outside the space and leave a good line. Try, however, to make the color arrive where it should without the use of blotting-paper. Practise laying on flat tints until you can master the wet color flowing down the space. It is not well done unless the space presents a perfectly even surface of one tint, exactly as if cut out of colored paper. You may fill some of the spaces with yellow ochre, and others with rose-madder, and with these three tints enforce your knowledge of the complementary colors, by overlaying one tint with another (after the first wash is dry), and by putting one half the space in shadow, by the addition of the necessary complement. This shoidd impress upon your mind that cobalt, rose- madder, and yellow ochre belong together for one range of primary colors and their combinations. The purple made of rose-madder and cobalt is delicate and tender, suitable for hare-bells, pale violets, and the like. A little yellow ochre in the purple will make a suitable shadow-color for such flowers. The three together make the softest of grays, much used in landscape for cloud-shadows, and far prettier than Payne’s gray for all the gradations of delicate white. You may of course make it warmer with rose, cooler with cobalt, brighter with yellow ; with enough 5ml- low you can make any “ brown ” you like. I put “ brown ” 122 SELF-INSTRUCTIVE LESSONS. in quotation-marks because, as generally used, it is such a vague term, betraying generally a vague idea in the mind that lays hold of it helplessly. Vague ideas are not good in painting. If you do not know yourself exactly what you want to depict, how can you convey an idea to other people ? Flat tints once mastered, you may try gradating ; and for this, iTidess you have spoiled the sheet of paper you have been using by rubbing or some mischance, it may be washed off with plenty of pure water running from tlie faucet, and the sponge perfectly clean. Tlie process is the same, only as you go down the space dip the tip of your brush in water, but keeping the top of it full of blue at the same time, and with this paint the second stripe across the space. The third has .more water, and the lower part should be done with pure water, the faint remaining blue in your brush shaken out in the tumbler. If the color flows well down the space, a gra- dated eflect will show itself, darkest at the top, colorless at the bottom, without any streaks or lines of demarcation between the grades of tint. Now repeat these, only narrower, so that pure water ap- pears about a third down the square. Into the very wet long pool at the lower edge paint a stripe of yellow ochre. The pool will affect the first of it so that it will be very pale, but the second stripe will be darker, if your brush be full of good, wet color. Stop using yellow ochre before you get to the bottom, and, without washing your brush, complete the space with rose-madder. The yellow ochre pool will run into the rose, also influenced by the yellow OIL AND WATER-COLOR PAINTING. 123 left in tlie brush ; so that not pure rose, but orange made of it and yellow, will appear on the paper. These effects of wet color, blending themselves upon the paper without any preliminary stirring together on the i:>alette, are the clearest and most beautiful of water-color effects. The one you have now made suggests a sunset sky, and this process is among the earliest acquired in landscape prac- tice. You may need in decoration gradated backgrounds prepared in exactly this manner ; and you will do well to practise long upon the three processes just described, not allowing yourself to be satisfied with anything short of perfection. Another set of primary colors which belong together is the one of Prussian blue, crimson lake, and gamboge, with which you studied the laws of complementary colors. If you paint a gradated square with these three, you will see for yourselves how much more vivid and pronounced is the effect of these colors. The former set makes tints suitable for delicate backgrounds and delicate flowers ; this one is better for the local colors of flowers upon light backgrounds. As Prussian blue is a violent, disagreeable color, with moreover a bad reputation for fading, indigo is better to use with this set, although Prussian is more vivid. Indigo and gamboge, with a little crimson lake, makes a suitable green for leaves and stalks, and the green so made, with enough crimson lake added, makes a suit- able “brown” for the trunks of trees, and woody stems. French blue, carmine, and Indian 3mllow, are three prima- ries still richer than the last I mentioned. The two first make a rich purple, good for pansies; Indian jmllow added 124 SELF-INSTRUCTIVE LESSONS. in greater or less quantity makes the right shadow color for purples, and gives all the gradations of “brown” need- ed for their infinite variety. Many of the large, yellow flowers so good for decora- tion — snnfloAver, rndbeckia, coreopsis, and so on — maybe painted with Indian yellow, shaded and enriched with the same purple made of French blue and carmine. There is a pigment, violet carmine, very rich and delicious in a vel- vety effect, for purple petals ; and the aniline colors, mauve and magenta, are Jieeded for certain rich tints. Neither of these should be used just as it comes from the pan or tube; but modified, to match the petal imitated, with red, blue, or yellow, the delicate ones for delicate tints, and strong for rich effects. There are other paints in the boxes and lists of colors, useful to have if properly employed. Light red is a good and effective color, very different from crimson lake, from containing so much yellow effect. For this reason it may be regarded as a secondary color (orange), and so used in combination witli blue alone, itself furnishing the red and yellow. Thus light red and cobalt makes a lovely gray, good for all occasions when a ruddy gray — like a sun- tinted fog — is wanted; light red and French blue make a good color for old wood fences, tumble-down houses grown gray with exposure. In these combinations one pigment, i. e., light red, furnishes the red and yellow both. Most of the browns in pans and tubes are secondary colors by nature, if not manufactured; you may use them all, if you like them, Avith the addition of some little blue, yellow, or red, to make them truly complement the bright OIL AND WATER-COLOR PAINTING. 125 color they are to go with, but do not use them without consideration. Vermillion, scarlet lake, and similar reds, made of lead, are quite likely to turn black in time, and sometimes soon. They are also opaque and chalky, and it is better to avoid them. Carmine and Indian yellow combined make the richest possible scarlet, and most red petals can be made intensely brilliant by some gradating of more or less yel- low with more or less carmine. A little brown madder, or burnt carmine, for the deeper tints, make a delicious range of reds, which should be shaded with green dropped into the wet color. Carmine has a bad reputation for fading, but it will last long enough for decorated textiles which are evanescent in themselves. LIQUID COLORS. Materials foe Liquid Colors. A set of Liquid Colors, Pooiiah Brushes, Camel’s-Hair Brushes, Paper for practice work. Cloth for practice work. Liquid colors are iu reality water-colors : they differ from what have already been described under the name of water-colors in the coloring-matter, which, instead of being prepared from pigments used for artists’ colors, are made from colors used in dyeing. They are not intended to supply the place of artist colors, but in painting on tapes- try and other textiles they will be found more permanent than the regular water-colors. What we mean by perma- nent in this connection is, that water will not cause them to run: they may be even moderately washed without destroying the colors. The method of using “ Liquid Colors ” is the same as has been described in Water-Color Painting. 128 CHAPTER XL LIQUID COLORS. Tapestry painting, which will be described later in this book, is really dyeing with mordant colors by scrub- bing liquid color into the textile made use of, so that the material receives and absorbs the tints which become a part of it. The dyes are so strong that when once dry they cannot easily be removed ; and, even while wet, it is troublesome to wash out spots made by mistake or acci- dent. The process has been called tapestry painting, be- 129 130 SELF-INS TR UCTI VE LESSONS. cause these colors have been used to imitate old tapestries, and thus they were Ijrought into notice ; but the dyes employed in the process are so rich in tint, and so desira- ble on many accounts, that tliey are likely to become very useful for decorative work. They are colors of great ten- acity, and are very easy to manage, as they combine readily with water, and may be used just as transparent water colors are. In fact, they are deliciously transparent, The objections to them are, first, the troublesome form in which they are liy necessity put up. They come in glass bottles, not easy to transport, and they must be kept tightly corked when not in use. The corks are always breaking, the bottles are liable to upset, and, as their con- tents are mordant djTS of a violent nature, the results of an overllow are disastrous upon carpet or table-cloth. Nevertheless, they are coming into use rapidly ; and somebody must invent a more convenient way of putting them up, to avoid these diniculties. These colors deserve to be placed next to water-colors, as the method of using is almost precisely the same as theirs. The tints are so bright that they are even more vivid l)y artificial light than in the daytime ; this makes them desirable for decor- ations which are to be seen in the evening as well as at other times. Tlieir permanence, however, is what gives them the chief advantage over ordinary water-colors, which disappear and run at the approach of water or dampness. In combination with embroidery, charming effects may be produced. Curtains and bedspreads of washing materials are painted in natural colors of flat designs, the outlines of petal and leaf being defined by “ outline ” stitch in OIL AND WATER-COLOR PAINTING. 131 colors closely allied to the tints employed in painting with the dyes. To use the colors in this way requires but little skill be- yond a general knowledge of transparent rvater-color, as the outlines are to be made by the needle, and ordinary care will be sufficient to ensure the complete filling of spaces, and to avoid the over-spreading of color beyond these out- lines. The brushes called Poonah brushes, or scrubs, are the best for scrubbing in the dye. A se})arate one should be kept for each color; for this reason, as well as others, it is better to limit your subject to a range of a few colors. A china palette divided into square spaces is convenient for holding the different tints. Pour a very little of each tint you are to use into one of these shallow squares, not more than you want at the moment, as the color is injured by exposure to the air, and therefore wasted. Yon had better practise on something of no importance before risking the new method on valuable material ; therefore, for experiment, try some effects fii’st on your dj-awing block. The paints work very prettily on paper. Damp the block as Ivefore for the lesson in Chapter X., and draw carefully upon it some simple forms of flowers and leaves, and then practise scrubbing in the color with the stumpy brush. It must be dijjped eveid}^ into the shallow palette, lifted from it full, and set down square on the surface to be tinted, then scrul) it round in the space, leading the tint carefully up into the corners. The only ti’ouble about the process is doing this with such a clumsy brush ; and you may take a better-pointed bristle brush for difficult corners, only do not relinquish the scrubbed 132 SELF-INSTR UCTIVE LESSONS. effect. In this process the color is not to be laid on, but rul)l)ed in. Leave every })art of the design that is to be white untoiiched, and rub in the lightest shades of each color first, using a separate scrubber for each. _ The colors dry fainter than they appear; therefore, thougli you uia}' freely dilute them with water, do not make them as light as the tint to be matched. Scrub the color well in, and do not attempt any gradation of tone, but apply the light- est color in a perfectly Hat tint ; but you may scrub anotlier layer of the same tint on the first, wliile it is still wet, which will give a second gradation of tone, with soft- ened edges. By doing a block full of small squares, you will get an idea of tlie different colors, which do not all, in the bottle, look as they do on paper, cloth, or canvas. Next, try the same process with any of Tilton’s outline flower-designs. They look very pretty tinted in this manner, and this will give you practice in handling the scrub-brush. This must be held upright, at right angles to the paper you are working on, which had better be laid flat on the table, for, you see, the flat bottom of the funny round brush must touch equally the surface, as if you were ironing the material with a little rose-colored flat-iron. Have ready a piece of strong cotton cloth, damped and stretched on the frame of a drawing-board, or, better, on an embroidery frame. This is to be a sort of sampler, or “ try-piece.” Mark it out with squares, or spaces, as in Chapter X., and prepare within these a kind of palette of color ; that is, rub in different colors upon the separate squares. Put over these washes of the same tint repeated, or their secondaries, making your own observations as to OIL AND WATER-COLOR PAINTING. 133 the quantity of color to be used. You can refer later to this palette, and judge from the most successful parts how to proceed with your final piece of work. Do not attempt too much of modelling and gradation, but select a design to be filled with flat tints as far as possible. You had better repeat your first designs of flowers and leaves on some “ try-piece ” of cloth ; then your mind will be free from anxiety as to the result, and you can store up experiences for future work. When the flat tints are in and dry, — unless the work is to be finished in embroidery, — ■ go over all the outlines with a sable brush, and paint in the small details, such as stamens of flowers, veins of leaves, etc., just as you would in any other painting. The outlines may be made in the colors of the part they run round, or marked in some dark color, even black, if you like. If the tints are perfectly flat, the latter way is the most effective ; if anything real- istic has been attempted in the modelling of the petals and leaves, a dark outline should be avoided. On cloth, you had best confine yourself to simple, flat tints of color, outlined with a dark, clear line. On draw- ing-paper, however, you may paint just as you would in moist colors, as well as you know how, selecting flowers of the most brilliant lines, to give a chance to show tlie bright, rich tints of tlie colors. They come out with great vividness in the evening, and are good, therefore, for fans and screens likely to be dis})layed by candlelight. The last touches are best made with ordinary moist colors. GOUACHE COLORS. Mateeials foe Gouache Coloes. A Set of Gouache Colors, or a substitute, as described ill the chapter. Brushes, Hog’s-Hair, Nos. 1, 2, 3, 4. Brushes, Sable or Gamers Hair. Blendiiig-Fluid. Palette-Knife. Drawing Board or Frame. Gouache Coloes. What has been said in previous chapters, by way of in- struction concerning the application of colors, refers more particularly to transparent colors; that is, colors which do not hide or conceal the ground or material on which they are used, but allow it to show through them. This style of painting, which may be called the legitimate water- color painting, of course appears to the best advantage on white or colorless grounds. In the following chapter we come to opaque colors ; that is, colors which do hide or conceal the ground or material upon which they are used : consequently they may be employed in })ainting on colored grounds, such as silks, tinted papers, etc. The general management and application of gouache colors is quite similar to oil-colors, so that those who learn transparent and opaque water-color painting will ex- perience but little difficulty in painting with oil-colors, or in fact, colors mixed with any medium. 136 OIL AND WATER-COLOR PAINTING. 137 In painting one color over another with gouache colors, care must be taken not to disturb or mix with the under color. There is a knack in doing this which can only be acquired by some practice. The instructions for combining and mixing colors, al- ready given, will apply to gouache, oil, and colors gener- ally. The reader may practise on any scraps of colored silks, satins, or tinted papers. Plain wall-paper, which is quite inexpensive, will also answer ; it can be had of any color. Those who prefer to draw their own designs may draw directly on the material, or make use of the “Transferring Designs.” If the latter are used, and the painting is to be done on silk or satin, it will be a good j>lan to try it first on paper of the same color : this will not only be good practice, but will enable one to see liow his design will look when completed. Glazing, a word frequently used, is explained in the list of technical terms. GOUACHE OR BODY COLORS. Sets of gouache paints may be bought in bottles or tubes, all prepared for working in opaque color. The word is a French one, and commonly applied in English to opaque, in distinction from transparent Avater-color. Except that the medium with which it is applied is water, it is more closely allied to oil-painting in the method of working it. It may be said to have the merits, or rather, perhaps, the defects, of both methods. Bristle brushes, like those employed in oil-painting, are the best for painting in body color, especially for the first tints. The color in the bottles is thick ; it shoidd be taken out on the point of a knife, and mixed on the pal- ette with a palette-knife (an old case-knife will do), Avitli water, to a smooth paste. Tilton’s Blending Fluid is 1.39 140 SELF-INS TR UC TI VE LESSONS. softer and better tlian water as a medium for gouache- colors, especially for painting on textiles, and you had better have it, althoiigh you can learn to do without it. It is to be used instead of water to thin the color, water being used still to wash out the l)rush Avhen changing the color. It is very Avell to have two or three brushes, one for each range of color. These will be enough if you keep your scheme of colors simple, that is, limited to two or three. The process of laying on opaque colors is just the reverse of tliat usetl with transparent color. Opaque colors are best employed t>n dark backgrounds ; thus it is impossible to get high lights by leaving the natural tint of the paper or other surface. Probably all the values but the darkest are lighter than the background, so that they must all 1)6 laid on with the paint. For practice the broAvnish-gray l)oard left Avhen a block of draAving-paper is used up, is very good, Avhich I recom- mend as a background for the cube in Chapter IX., i. e., bookbinders’ or junk board. The neutral color is agree- able as a background for l)righter tints, and the surface is good. DraAv some design upon it, taken from Tilton’s collection. You had best have a subject already colored, to imitate, — a Christmas card Avhich pleases you aauII ansAver perfectly Avell. With a small, flat, bristle-brush lay on the first tint, all over the tloAver-petals. This tint is not the highest value, as I IxaAm just said, nor yet the darkest, but the half-tint, or local color. If the thin liquid you haAm prepared Avith the Blending Fluid is not light enough to match this tint, add Chinese white, mixing it smooth and even on the palette. It should be quite liquid. OIL AND WATER-COLOR PAINTING. U1 not pasty, and free from bubbles, which come in it if you stir it up too violently with the j^alette-knife. Do not stir it with the brush at all. Lay this all on the flower, and, while it is drying, paint the leaves, in the same way, with anothe]' brush, and greens prepared by mixing tlie color with a few drops of Chinese white, and Blending Fluid. The color will sink in, at first, in drying, and disappoint you. In time you will learn to mix it in just the right thickness. It should not, however, be too tliick in this first layer. If the effect is semi-transparent, with some suggestion of the under-tone of the gray board shining through, it may have a pleasant effect of transparent shading, and help the next process, which is modelling* the flower with a shadow tone made according to the rules of complementary color, with common transparent water- colors, out of your ordinary box, laid on with a sable brush, upon the dry surface, or under-tone first prepared. Paint lightly, not to stir u^) the opaque color beneath, and model your flower with clear forms; that is, define the lapping over of one petal on another in a good shape, that will leave the under-tone in a good shajje also, to express the varied surfaces of the petal. Leave it to dry while you model the leaves. The stems should be put in with some green. If now the color of the florver does not please you, on account of drying too light, or sinking in too much, you may glaze it lightly with transparent color ; that is, lay a thin wash of whatever color will bring it back to the desired local tint. This is to be done with moist color, and a sable brush. Repeat the same on the leaves. Prob- 142 SELF-INSTR UCTIVE LESSONS. ably the darkest tints may be also now painted with your moist colors, and softened or run in on tlie edges, — not to look too bard, — but you cannot stir round much with- out disturbing the undei-tone. The highest lights must be laid on with the bristle-brush, and with gouache much thicker than you have been using it. Have it as thick as butter; put it on lightly, loading the petal with color, whicli will look well even if it is raised a little from the surface, provided it is applied in just the right shape to represent the raised parts of the ilower. Remember that on all curved surfaces the highest lights are not close on the edge, Init a little inside, leaving the local tint (which is your under-tone) between tliem and the darker parts. The dark markings are put in with dark trans]3arent color, and a hne-pointed sable Inaish. Light stamens and yellow anthers must be put on with thick body color, in sharp, quick touches, when all is dry. Precisely the same ])rocess is used, without any set of gouache-colors at all, with only a bottle or tube of Chinese white to combine with ordinary moist colors. You will find you can make opa<[ue colors out of transparent ones by mixing them with Chinese white, and save the expense of a set of gouaclie-colors, which moreover, are trouble- some, and dry up quickly, and when they are dry and hardened are useless. With fresh Chinese white you can combine all your transparent colors, and get a range of tints Avith whicli you are familiar. The Liquid Colors com- bine equally well — or even better — with Chinese Avhite, and you may avail yourself of their ricli tints. If, how- ever, you liaA'e no set of gouache colors, you must be on OIL AND WATER-COLOR PAINTING. 143 your guard in the use of Chinese white. Water added to moist colors lightens their value without changing their tints ; but Chinese white really changes the tints of colors in a most disap2)ointing manner, giving a cold, wan look to tones that were rich and warm before it was added. For instance, the brightest possible green, made of I’rus- sian blue and gamboge, when mixed with Chinese white, takes on a dull, chilled aspect. With reds it has just the effect that cream has upon damson juice, or a cold day upon bright-red lips. Chinese white has an equally un- pleasant effect upon yellows, and on all combinations which have yellow in them, — as the oranges and reds employed for nasturtiums and similar Howers, and upon yellov/ greens. Blue greens, on the other hand, are enhanced by it. Carmine or lake, used for pink flowers, grow delicious by the addition of Chinese white. The trouble is obviated by the glazing I just spoke of. After the first llat tint is on, and the warm shad- ows added in transparent color, and both are perfectly dry, you may put a light wash of gamlioge, or whatever will bring back the tone you want, over dark and light alike. The thick, high lights, laid on with opaque color, may be glazed also, but with caution. Pure white is good for these bright touches, unless it is evidently the wrong tint. In leaves, tlie blue tone characteristic of Chinese white combinations is sometimes just the thing to rej)re- sent the sort of bloom seen on many shiny leaves when the light falls upon them in one direction ; therefore leave this effect on the parts wliere it is useful, only glazing the rest with transparent color. 144 SELF-TNS TR UCTI VE LESSONS. Flowers painted on gra}^ ]mper with body-color are, per- haps, more charming than any others when they are well done. You will do well to study tire best specimens of this work (chietly French), in order to see what may be attempted with success. There is no final blending of tints with the brush, or stippling, or much rounding of form. The color is laid on fiat, and in some places semi- transparent for the half lights and transparent shadows. Tlfick spots of color ai'e used for tlie high lights, and common moist color for darker parts, and for modelling or “shading.” These effects, you will see, are much more like those of oil painting than of transparent water-color. The advantages of both gouache and oils is, that they can be applied to dark surfaces, which are Ijest and most durable for almost all kinds of decoration. Body color seems to me preferable to oils for most things, on account of the greater neatness of water mediiims, as almost all of the effects of oils can be produced by careful use of opaque water-colors. Among the common moist colors there are some more opaque tlian others. These, which it is Avell to avoid when working in transparent color, come well into play in body color. They are those which in the pans have a chalky look, as if — as they probably are — they were crjmbined, in making, with Chinese white. For glazing, use transparent colors. OIL PAINTING. Mateeials foe Painting- with Oil-Coloes on Silk, Satin, etc. Sable Brush for Oil Paint- ing, No. 3 or 4. Box of Oil-Colors in Tubes. Bristle Brushes, Nos. 0, 1, 2, 3. Drawing-Board. Thumb-Tacks. Blotting-Paper. Turpentine. Old Rags. Palette-Knife. Palette (Wood). Chinese White. Gelatine. Medium for mixing the Colors with. Of the above articles, all which are not demanded for this chapter will be required in Chapter XV. The instructions which have been given so far for the management of colors have been for a Avater medium, that is, water-colors. We now come to colors mixed with oil, and if the reader has learned what the previous chap- ters are intended to teach, he will find no difficulty in painting with oil-colors, as the method is almost the same as with gouache or opaque water-colors. Although the main principles are the same, whether colors are mixed with oil or water, there are, however, certain differences to be observed with each medium or veliicle, as the fluid with which they are mixed is called. For example: in the use of water-colors, lighter tones are obtained by adding water^ OIL AND WATER-COLOR PAINTING. 147 and darker ones by repeated ivashes of tire same color. In oil painting, however, lighter tones are obtained by the addition of lohite, but the addition of black does not always produce darker tones : thus, suppose it necessary to deepen a yellow, the addition of black would give a muddy, greenish tone, not by any means the deeper yellow desired. Another yellow, deeper in tone, must be taken, as lemon yelloAv can be deepened by the addition of cadmium or chrome. With blues and reds the case is less marked, but better results are obtained when different and darker blues and reds are taken instead of black to deepen the tone. Thus : a very good blue scale runs from cobalt through permanent blue to indigo ; a crimson red scale from the lighter tones of crimson lake and white through its deep tones to brown madder; a scarlet red scale from vermilion through burnt sienna to brown. It is of course impossible, in the short space allowed, to give complete directions for every scale, but enough has been said to illustrate the principle, and the student will soon be able to apply it to special cases. With the change of medium from water to oil, some change in the list of colors will be necessary, as all colors do not work equally well with both mediums ; we will also add black and white to the list, viz. : — Flake White. Yellow Ochre. Chrome Yellow. Raw Sienna. Burnt Sienna. Light Red. Vermilion. Crimson Lake. Emerald Green. Permanent Blue. Vandyke Brown. Ivory Black. 148 SELF-INS Til UCTIVE LESS ON S. In forming our palette we liave, with two exceptions, selected the colors which are the most generally used by artists. The two exceptions are chrome yellow and crim- son lake, which are taken in place of cadmium yellow and madder lake solely on the ground of economy, as they cost only about one-quarter as much, and, for beginners’ use, are just as good. The difference is that chrome yellow and crimson lake will not stand ; they will change, perhaps disappear altogether, while cadmium and madder lake are permanent colors. Our twelve-color boxes all contain mixing directions. We should, however, advise the reader to try other colors. What has been learned from practice with water-colors may be applied here. CHAPTER XIII. OIL PAINTING. For painting on canvas and on wood, oil colors are the best pigments, and they may be used on silk or velvet, to which the great objection is the oil in them, which makes a stain in the material if it spreads out beyond tlie design on the surface. It is a good plan, to avoid this, to have thick blotting paper under the colors as you squeeze them from their tubes ; this absorbs the superfluous oil, and makes them as dry as you desire. Some skilful workers on silk employ magnesia rubbed on the back of tlie material to absorb the oil. Magnesia has a doubtful effect, hoAvever, on the texture of the stuff. The process is just like that described for the use of body color. The color taken from the tube should be mixed with turpentine by the use of a palette knife, till it 149 150 SELF-INSTRUCTIVE LESSONS. reaches the thickness, or rather thinness, jnst right for the first nntlertone, to he laid on the surface of the petals to be painted. This represents neither the highest light nor deepest dark, bnt a tint between. More than with body color, the imder-tone of the background may be allowed to shine through and intluence the shadow-parts. The only places which should be loaded are the lights, and these must be laid on when the under-tone is dry, in sharp clear forms. Tlie relief given by the thick color aids very much the brilliancy of the effect, and this is lost if it is shared by the lower values. As the opaque na.ture of oils makes it possible to cover up one tint with another, beginners are apt to think that they can hide their mistakes by painting over the bad place with some new attempt at excellence. This is a poor plan, and cannot be used in decoration, for the design must look fresh and spontaneous, as the background upon which you are employed will' not bear working over, especially textiles like silk and satin. You must know, before you touch brush to background, just what you want to do, and then put it in boldly and firmly. It is for this reason that I recommend experiments before attacking the real work ; but even on your try-piece, do not “fuss” over it. If you get on a wrong tint, leave that attempt and start another one, not trying to cover up faults. One great advantage of beginning with water- colors is that you cannot cover up your mistakes, but must take care to nse the right colors the first time. The proper mixing of oil colors may easily be mastered with a due attention to the simple rules of colors I have OIL AND WATER-COLOR PAINTING. 151 given, which apply equally to all mediums. Flake white takes the place iu oil paiutiug that Cliiuese white does iu gouache, with this addition, that it makes all the colors it is combined with work to advantage. As in the other ways of paintiDg, yellow, blue, and red are to be taken as the elementary principles of all colors, for they cannot be produced by the mixture of any other colors, while all the others may be produced by the proper mixture of these. Flake white mixed with other colors not only lightens their tint in proportion to its quantity, but increases their opaqueness, and cools (or makes bluer) their hues like Cdiinese white. are formed Thus with flake white and Clirome Yellow Naples Yellow Yellow Ochre Raw Sienna Vermilion Red Lead Light Red Indian Red Ultramarine Cobalt Prussian blue Different oranges may be mixed by are formed J Primrose. Lemon Color, j Yellow Buffs. [ Darker Buffs. ( Pink Flesh Tint. Salmon Color. Flesh Tints. L Purplish Flesh Tints. are foi'ined cool light blues of differ- ent tints and highness. Chrome Yellow ) Naples Yellow y Yellow Ochre j with Vermilion Light Red Red Lead to make various bright and opaque oranges, while Yellow Lake j Raw Sienna > with Lemon Yellow * make transparent orange. 5 Pink Madder Carmine ( Scarlet Lake 152 SELF-INSTRUCTIVE LESSONS. Chrome Yellow) r Ultramarine Naples Yellow ^ with Cobalt Yellow Ochre ) ( Antwerp Blue produce greens more or less opaque, wliile Yellow Lake ) r Ulti-amarine Raw Sienna > with k Cobalt Blue Lemon Yellow ) ( Prussian Blue produce togetlier transparent greens. Mixed purples are made in the same manner by combi- nations of blues and reds, and an infinite variety of mixed browns can be produced by judicious combinations. Nearly all grays are produced by mixture ; among them. Ivory Black, and White, Light Red, Ultramarine, and AYhite, Vandyke Brown and White, will give us sufficient variety. It is even more important in oils than in water-colors to keep your colors pure, and to avoid indiscriminate mixtures of all sorts of things, hoping for good results. The combinations absolutely necessary must be made on the palette, with the palette- knife, of but a few primary tints, and lightly touched together, not stirred up into a hopeless mess. The above lists will show you that some of the colors are transparent in themselves before they are combined Avith Avhite. These may be used pure for glazing after the undertone is dry; that is, for leading lightly over a sur- face to change the local color Avhen that does not please you, as may be the case if the flake white has produced too cool a tone. Do not undertake to use all the colors here mentioned ; OIL AND WATER-COLOR PAINTING. 153 but begin by buying a few primary colors, and trying experiments in combining tbem with flake white and with each other. Your knowledge of your water-color palette Avill help you in this ; for, with a few exceptions, even the names of the colors are the same. You will miss gam- boge, Avhich in oils is not the faithful stand-by it is in *water-colors ; but you must choose from the range of yel- lows those suitable for different occasions. You will find further information on this subject in “ Tilton’s Artists’ Colors, and How to Mix Them.” This book describes all of the different colors employed by art- ists, explains their uses, and shows hoAV, by mixing, good substitutes for any of them can be obtained from the sev- eral colors in our boxes. The following list will hel^A you in mixing colors ; use the most of the first-mentioned and least of the last-men- tioned ; z.e., for Black, — a good deal of Vandyke Brown and a little Per- manent Blue. Blue Black, — Permanent Blue, Crimson Lake.* Vandyke Brown. “ Bright, — Permanent Blue and a little White. “ “ — Cobalt. “ Dark, — Permanent Blue. “ Darker, — Permanent Blue and Black. “ Dark Grayish, — Permanent Blue, Yellow Ochre, and a little White. “ Dark Greenish, — Permanent Blue and a little Yel- low Ochre. * Or Madder Lake if you have it. 154 SELF-INSTRUCTIVE LESSONS. Blue Dull, — Permanent Blue and a little Raw Sienna. “ Pale, — add White to Permanent Blue until the shade desired has been obtained. “ Peacock, — Permanent Blue and Emerald Green. “ Robin’s Egg, — same as above, with White. Brick Red, — Vermilion, a little Yellow Ochre, and Burnt Sienna or Light Red. Red, Dark, — add a little Vandyke Brown to the above. Brown, Olive, — ^ Vandyke Brown and a little Yellow Ochre. “ Dark, — Vandyke Brown. “ Medium, — Vandyke Brown and Burnt Sienna. “ Light, — add Yellow Ochre to above. “ Reddish, — Vandyke Brown and Crimson Lake, or Vermilion. Buff, — Yellow Ochre and a little White. Cobalt,- — Permanent Blue and Emerald Green in about equal proportions. Cranberry, — Crimson Lake, a little Yellow Ochre, and White. Cream Color, — White with a very little Yellow Ochre. Crimson, — Crimson Lake. “ Bright, — Crimson Lake and Vermilion. “ Dark, Crimson Lake and Vandyke Brown. Emerald, — Emerald Green. Fawn, — Light Red, Yellow Ochi’e, and White. Flesh Color, — White and Light Red. “ “ “ Vermilion. “ “ “ Vermilion, and Light Red. “ “ “■ Yellow Ochre, and Vermilion. “ “ “ Crimson Lake. OIL AND WATER-COLOR PAINTING. 155 Variations of these combinations will give all the flesh tints required from early childhood to advanced age. Gray, Light Blue, — Emerald Green, Permanent Blue, and White. “ Dull, — Permanent Blue, Burnt Sienna, and White. Green, Bright, — Permanent Blue and a little Chrome.* “ Dark, — Permanent Blue and less Chrome than above. “ Dull, — same as above, with a little Burnt Sienna. “ Yellowish, — Chrome and a little Permanent Blue. “ Reddish, — add Light Red to above. “ Blue, — Permanent Blue and Chrome. “ Olive, — Light, Vandyke Brown and Chrome. “ Olive, — Light, Permanent Blue and Raw Sienna. “ Olive, — Dark, add more Vandyke Brown. “ Peacock, — Emerald Green and a little Permanent Blue. Hair, Auburn, — Yellow Ochre and Light Red. “ Brown, — Vandyke Brown. “ Brown, — Vandyke Brown and Raw Sienna. “ Brown, — Vandyke Brown and a little Yellow Ochre. “ Flaxen, — Yellow Ochre. “ Flaxen, — Yellow Ochre and White. “ Gray, — Light Red, Permanent Blue, and White. “ Gray, — for dark streaks. Black. “ Reddish Brown, — Vandyke Brown and Light Red. Old Gold, — Yellow Ochre and a little Chrome. Olive, — Yellow Ochre and Black. * Or Cadmium if you have it. 156 SELF-INSTRUCTIVE LESSONS. Orange, — Chrome with a little Vermilion. “ Reel, — Chrome with more Vermilion. Peacock Blue, — Permanent Blue and a little Emerald Green. “ Green, — Emerald Green and a little Permanent Blue. Pink, — White and Vermilion. “ — White and Crimson Lake. “ • — White, Crimson Lake, and a little Chrome. Purple, — Crimson Lake and Permanent Blue. Red, Bright, — Vermilion. Dark, — Vermilion and a little Burnt Sienna, or Vermilion and Crimson Lake. Rose, — White and Crimson Lake. Salmon, — White, a little Vermilion and Raw Sienna. Scarlet, — Vermilion. Straw Color, — White and Yellow Ochre. Strawberry, — Crimson Lake and Vermilion. Tan, — -Raw Sienna and a little Yellow Ochre. Terra-cotta, — Raw Sienna, Crimson Lake, and White. “■ — Dark, add Burnt Sienna. Wine, — Crimson Lake and a little Vandyke Brown. Yellow, Bright, — Chrome. “ Dingy, — Yellow Ochre and a little Chrome. “ Pale, — White and a little Chrome. “ Reddish, — Yellow Ochre, Chrome, and a little Light Red. * Madder Lake and Cadmium may be substituted for Crimson Lake and Chrome Yellow. PAINTING ON SILK AND SATIN. The following chapter deals directly with subjects for which the preceding pages have been preparatory. The materials will be the same as required for the different mediums with wliich the pigments oi’ colors are mixed, viz. : Transparent Water Colors, p. 112. Liquid Colors, p. 123. Gouaclie or Body Colors, p. 136. Oil Painting, p. 146. Wliichever medium the reader decides to employ, she cannot well afford to neglect reading what has been said of the others, as all have more or less connection with each other. Gouaclie or body-color painting may be new to many of our readers. The method, as well as the effects, are so much like oil painting, that the same directions for the management of colors would, with trifling exceptions, answer for either. The advantage over oil painting is in drying immediately, and no danger from spreading oil or turpentine. To paint with oil-colors successfully on such delicate materials as silk and satin requires some knowledge of the capacity of the materials employed ; even then it is not without difficulty. Tlie preceding pages will afford those 158 OIL AND WATER-COLOR PAINTING. 159 who are prudent an opportunity to acquire some know- ledge of the subject. A drop of oil or turpentine on a delicate silk or satin is not usually regarded as highly ornamental, no matter how skilfully it may have been apjdied ; and this is what is likely to occur when one dabbles with such things without proper experience. Nevertheless there are those whose conceit will prompt them to do so, whatever those of experience might say to try and prevent sucli folly. In tlie following pages the reader is told to thin her colors Avith turpentine, it being supposed that she has already considered the advice given in Chapter XIII. to first squeeze the colors on blotting paper, so as to extract the superfluous oil and prevent its spreading when applied to the material. By this method, while the danger from spreading oil is partially avoided, a lesser one is incurred by the use of turpentine, which may also spread, but not so disastrously. This new danger can oidy be avoided by acquiring skill in mixing, which is only born of experience. Some professional decoraters will not use turpentine, and only practise with clear color after extracting the oil, as above mentioned. The same methods may also be used as are described for preparing the ground in Transparent Water-Color painting, and for Body Colors, viz : fill in the outlines with Chinese White. CHAPTER XIV. PAINTING ON SILK AND SATIN. I. water-coi.gr. As both silk and satin materials, when painted, re- quire similar preparation and treatment, I class them to- gether, simply pointing ont differences in the treatment of the two when snch occur. The first question that presents itself is the choice of the silk or satin. With regard to color, for silk, all shades of white, from cream-white to pink, and from lemon-white to yellow, are suitable, hut not dead or flake-white, which is not in itself so pretty as the other shades, and which is. too much like the tint of the white paint about to be laid upon it. The yellow tint now called “old gold,” blue such as is known as sky-blue, green of the “ eau de Nil” shade, and cinnamon-reds, all look well. Colors l)righter 162 SELF-JNSTK UCTI VE LESSONS. tlian these are not suitable for backgrounds ; for they are too vivid ill tone to show the beauty of the iiaiiiting. Oil light backgrounds, such as these I have iiieiitioned, the design will stand out witli its own effect of color and form, on its own merits, so to speak, as if it were seen in the open air. A dark background, on the other hand, lends itself more to the composition, and, while relieving more the light values of the design put upon it, is more a necessary of it. For this reason, although a very light background can receive almost aiiy colors dark enough in value to be relieved upon it, the colors of a dark background must be chosen with more care in reference to the design put on it, that it may both harmonize and contrast in agreeable gradation of tint and value. For dark backgrounds, Oxford and navy blue, maroon or veiy deep cardinal red, olive and sage green, or plum-color, are all suital)le. If I were going to paint a design i;pon a light background, I should think first of the subject and coloring of the design, and then choose some light, pretty silk or satin shade to put it on ; on tlie other hand, for a dark background, I should search first for some piece of stuff ill itself delicious in rich shade and texture, and then think what design would be suitable to put upon it. Silk, as to texture, should be of a close and even make, not corded, and not much dressed. Satin should be cotton-backed, firing and well woven, with a smooth surface. There are different methods of preparing both silk and satin to receive the color. Some teachers claim that both are really better lor a sizing jiassed over before they are painted. OIL AND WATER-COLOR PAINTING. 163 to take away the dressing upon tlie surface ; but, unless this be done with care, it will tend to cockle the material, which is one of the worst difficulties to overcome. Before sizing, stretch the silk in an open frame, such as is used in needle-work, or attacli with thumb-tacks to a drawing- board. Take gieat care to stretch the silk evenly, and to attach it firmly ; any error in the stretching Avill result in unevenness to the silk, and can never be remedied. To size, take half an ounce of gelatine, and put it in a tall tumbler just covered with cold water. Leave it for an hour, pour off the cold water, and add a pint of boiling water to the gelatine, stirring and dissolving it in the water ; run the mixture through coarse muslin to strain it, and, while still hot, ap[)ly it to the silk, which we will suppose you have stretched as above directed. Take a small, soft, and clean sponge, dip it into the hot gelatine, and thoroughly wash over the surface of the silk. Do not make it too wet, but rub the mixture well in, and leave no })lace untouched, as such places will show when the gelatine has dried. Rub with a piece of soft silk, and leave the silk stretched until it is })erfect- ly dry ; then it may require stretching again, but very likely not. The same mixture can be applied to satin, only upon satin every stroke of the sponge will show, if not care- fully joined to the next, like imtting on a wet wash of water color on paper. The design, as Ijefoi’e stated, should, in every case, have l>een carefully drawn out on paper, with due reference to the form of the space to be occupied by it. Transfer the outlines of the design upon 164 SELF-TNS TR UCTI VE LESSONS. tlie silk or satin with tracing paper, according to the direc- tions at tlie end of Cliapter V. The objection to the above-described nietliod is, that silk prepared in this way is liable to crack and break; besides, it destroys the original lustre of the material. Another way is to stretch the material as above directed ; then draw or transfer yonr design to it, and 1111 in the outlines — that is, the parts which are to receive the color — with the sizing. This gives the same foundation as the lirst method, and will preserve the lustre of the ma- terial not covered by the design, and, at the same time, lessen the danger of breaking or cracking. Or, you may paint directly on the material without sizing, after stretching and applying the design. All of these meth- ods are in general use. You had better try them all on waste material, and decide for yourself which you like best. Tims far, the process is the same for all painting upon silk or satin ; but now there are two ways of using water color, the first and, })erhaps, most distinguished of which is in Transparent water-colors. This is done with the ordinary moist colors in tubes or pans, absolutely as I have described it for practice on paper, except that it is harder to carry out the process on silk or satin with good effect; and, to obtain the best results, you must confine yourself to white or the lightest tints of silk and satin, as the transparent colors will not work satisfactorily on the darker shades unless the mate- rial lias been prepared to receive them. Landscapes, sea views and “Watteau” groups of figures, can only be OIL AND WATER-COLOR PAINTING. 1G5 effectually done in transparent color, as the delicate work they require is hardly possible in what I will now de- scribe. II. PAINTING IN BODY OOLOK. One method which I do not much admire is, having- drawn, as l)efore instructed, the outline of the design, then to fill in this outline with Chinese white mixed with Til- ton’s resisting medium. This mixture should be applied carefully and smoothly to every part which is t(j receive color. When dr3% the design may be painted as you would paint on white paper. The better way, if you have a set of gouache-colors, is to use them direct from their bottles ; otherwise, work by nuxing CUiinese white with ordinary moist paints. Stretch carefully on an embroidery frame some spare pieces of the silk and satin you mean to paint on, upon which }mu can try the effect of the various shades of color before risking tlieni upon jmur work. Be careful not to get Chinese white into the pans of moist color, by transferring the pure color to the ]>alette before mixing it with white, or all your paints will become dirty and muddled together. Tilton's Chinese white, fresh from a new tube, has a delicious, soft, pasty consistency. It is very apt to become dry, when it will cake, and rub off at the slightest touch. If it should, on trial, thus come off in your ex})eriment upon the spare silk, add Blending Fluid to it before using, and rnb it well up with a palette-knife to make the mix- ture perfectly smooth. Begin to paint by laying a coat of Chinese white, thus mixed, over the chief forms of the design which are to 1G6 SELF-INSTR UCTl VE LESSONS. stand out in front. For this, you will liave to exercise all your skill in flat tints acquired by practice on paper; for it is very easy to make the quickly drying body-color look streaky. It must look as if it were cut out of tliin, white paper applied to the satin. To effect this, each successive brushful of white should be laid close to the wet edse of o the last, the outline lirmly touched, but kept together with the inside, not lined round and afterwards filled in. While still wet and sluny, drop into the white surface whatever tint is desired, with a different brush from that which carries the white. Thus, your first process results in a flat, white representation of the design, with a sug- gestion in it of all the colors of its different parts — viz., for a green leaf, drop in green ; a pink flower, drop in pink, — and, as you grow bold in the manipulation of the wet white, you will carry these first effects farther and farther. While this is drying, paint such other ]>arts of the design, as are meant to recede, with somewhat shadowy tints mixed with white. These, if neatly done, will require no retouching; in fact, if they are not iieatly done, no amount of retouching Avill redeem them. They are frequently painted in soft grays, yellow-broAvns, and other plain shades, to interpose between the other more prominent objects and the backgi'ound. For the second painting, return to the petals, and put in the half-tints. You will find that })ainting upon the under-coating is a delicate business ; the point of the brush is apt to stir up the white underneath, even Avhen it is quite dry, as it should be. This can be overcome by using Tilton’s resisting medium. Therefore, be perfectly sure OIL AND WATER-COLOR PAINTING. 167 what you mean to do before touching the work witli your brush ; put in your forms liglitly, but firmly, without any attempt to blend tins shadow color with the under-tone. Such blending implies a want of faith in the forms you are now putting in, as if you hoped your doubt as to their being right would be concealed by vagueness, — a sad mis- take. These shadows should be of a warm gray, influ- enced by the local color of the part }mu are painting. You will find the addition of white tp any tint changes the actual color of it, while lowering also its value ; there- fore, in working this second time, use pure color, as much as possible, with Blending Fluid to wet it. Your first tint should remain always to indicate the local color; the modelling is given by the half-tint, after which, the high lights can be added with pure white, or white slightly tinted. Much depends upon the shape in which these high lights are added. You must have a defnite idea of the form of that little spot of light before attempting it, and then put it on at once, frmly and Avell. To convince yourself of the importance of this, look at your own eyes in a looking-glass, with a good liglit upon them. Notice that white reflected spot upon each pupil, and you will see that it has a form as definite as any other part of your face. It would not do at all to represent that spot by a hasty poke with the tip of a brush full of white paint. It mnst be as nicely modelled as if it wei'e cut out Avith scissors and stuck on. Do not attem^jt minute shading or stippling; but let the wet colors do their own blending, or remain distinct, which is much more effective when the forms are good. Mark out the stems clearly, Avith appro- 168 SELF-INSTR UCTl VE LESSONS. priate tints, and trace with a fine point of a brusli the veins of leaves, stamens, etc., of flowers, and any fine lines that will define and give character to the design. Hod}' Color Painting on Satin will allow of even less shading than upon silk. White satin will not need a ground of Chinese white, as it will be sufficient to mix it and the Blending Fluid with the first tints of the flowers and leaves on the palette ; l)ut the high lights, or first val- ues, should, in all cases, be laid on in such a manner that the satin or silk texture is hidden by them. 1 have spoken of flowers as being the most available forms for designs to use on silk or satin ; birds, butterflies, ladybirds, flies, aud insects, are great accessories to any painting. The brightest tints of the color-box can be used to paint them with, over the layer of Chinese white. Gilding is often added to increase the effect of body- color painting; it is not very suitable for flower subjects, except on dark backgrounds to mark out ears of wheat, or when employed upon dark materials upon which white flowers and brown leaves Have been selected as the sub- ject. The gilding is then used about the leaves as their highest light and the veins. It should be remembered that gold has a quieting effect in decoration, rather than a gamly one. The gold metallic colors used in lustra paint- ing are the best to use. Another method of painting on silk or satin is to tint the design Avith the various shades of one color only. This depends for its success upon the truthfulness of the drawing and the selection of tints for the background and painting which will best harmonize. OIL AND WATER-COLOR PAINTING. 169 m. SILK AND SATIN IN OILS. Silk and satin can both be painted in oil colors with no previous preparation. Tightly stretcli the material, and thin the colors with turpentine, not enough to make them run. It is this that requires the most practice, as the supertluous turpentine spreads about on the material outside the design. There are two ways to proceed in painting with oils on these fabrics. The first is to use color enough, and not more than enough, to cover the texture of the fabric underneath, as with Chinese white in })ainting in body color. If the inate- I'ial shows through when the first coat is dry, apply a sec- ond; but this should be avoided by putting the paint on right at first, it is so tiresome waiting for oil colors to dry. Bring out the stamens of flowers and the markings of the leaves, stems, etc., sharply, and attempt even less grading than in body color. The second method, and the one which seems most popular at present, is to allow the color of the background — that is, the silk or satin — to prevail, as a part of the painted design, instead of covering it up with the first layer of paint, as in the previous instance. To make this way effective, choose flowers and leaves, for your design, of which the edges and outer parts are lighter than the inner parts. Then, having prepared your palette with such tints as you wish to use, coml)ined with Chinese white in the proper proportions, according to the general directions given for oil painting in Chapter XIII., ])aint the high lights and the second tints with a color answering to the local color of the object. 1 will take, foi' example, a 170 SELF-IN STR UCTI VE LESSONS. rose-leaf. With your brush Avell filled witli a suitable green for tlie local color, — i. e., the real color of the leaf, which may be found between the shadows and the highest light or value, — paint round the slightly indented edge of the leaf, and towards the middle of it, perhaps covering all of one half of the leaf Avith this color, but leaving the other half unpainted in certain parts, giving these unpainted parts the form of the darker parts of the leaf. The paint you are putting on will define the shape of the leaf, while the silk underneath will look right for the darker part without any painting. This, of course, woiild be the case Avith dark green silk ; if the background be of maroon or dark crimson silk, it Avill also be effective as a part of the leaf, as there is almost as much dark crimson in rose-leaves as there is green. The side veins of the leaf may be sug- gested Avith green paint. When this is dry, on top of this color, the highest value may be laid ; and tiie veins and other markings may be further carried out Avith dark paint, pencilled Avith a fine- pointed brush. Tliis way has a lighter, freer effect than the first, which seems to overload too much the silk Avith color ; but the other Avay leaves less to the skill of the Avorkman. Do not alloAV your hand to rest on tlie silk or satin. If you have acquired the proper liabit of working from tlie shoulder, you Avill not need any hand rest. There is a wooden frame for this purpose ; or the material may be covered with paper or cloth Avhere the hand rests on it. 'Idle finished painting will take four or five days to dry if it then looks dead and colorless, it may be varnished OIL AND WATER-COLOR PAINTING. 171 with white sjhrit varnish. But when the paint has been put on with just the right amount of turpentine, and thick enough, the colors will remain bright ; and it is far better to omit the varnish, which has always a sticky look. The success of oil painting on silk or satin depends upon the clearness with which the oils are (sparingly) employed. PAINTING ON VELVET. MATERIALS. The same as given in the preceding chapter. 174 CHAPTER XV. PAINTING ON VELVET. This was much practised in England during the first half of the present century, and in families that have pre- served their relics there may still he seen faded old pin- cushions and reticules still graceful and dainty, with a faint perfume of the olden time clinging to them. Most of this old-fashioned painting vas done upon white cotton velvet ; but it vi^as executed before the soft modem shades of color were manufactured, and the idea of laying on heavy body color wf)uld have shocked our delicate grandmothers, who never employed dark background, and held closely to clear transparent colors. It is so hard to paint well on velvet, and failures in this 175 176 SELF-INS TR EC TI VE LESSONS. art are so ugly, that one is reminded of Dr. Johnson’s famous comment on a difficult piece of music: “Madam, I wish it were impossible.” The difficulties of the work arise from, — 1 The great power of absorbing color in the raised pile of the material, which can never be worked up to any minuteness of finish from having to contend against this loss of color. 2 . The fact that the .pile becomes matted together if even the smallest quantity too much of paint is laid on. 3. If anything less than the just amount of paint is applied, it rests in little separate drops on the separate hairs of the pile, leaving vague the outline of the design, while the color of the background is apparent between these little drops, instead of the tint requisite to the design. Moreover, handsome velvet is too expensive to be wasted on experiments likely to prove, at first, failures ; while the cheaper velvets, good enough for such attempts, are so inferior to the fine ones that success in painting upon these by no means ensures success upon the long ])ile of the richest velvet or plush. The brave beginner, not discouraged by these remarks, should select for practice cotton velvet or velveteen of a close pile and make, as much practice is necessary to enable the worker to manage the color so that it may be neither too liquid or too thick. 1 shall describe, as before, the three methods of painting, viz. : (1) in transparent moist colors ; (2) gouache, or body colors ; (3) with oil-paints. OIL AND WATER-COLOR PAINTING. 177 I. TRANSPARENT MOIST COLORS. This method can he nsed only on white or very light velvet, but the work }iresents no difficulty except the ever- present one of making it look well under adverse circum- stances. The velvet should be stretched upon a board or embroidery frame, and the design, if it is your own, trans- ferred to it, first carefully drawn and colored upon coarse paper. In this case, to ensure its being laid upon the right place on the velvet, you may indicate the top, sides, etc., of the design with pins stuck into the velvet at these places; afterwards connect these with the proper outlines, kept as simple, but at the same time as accurate, as possible, with a little dark color in a fine-pointed sable brush. ^ Now paint the design as prettily as you can, using rich, pure colors, and working as you would upon paper, only not attempting too much. The velvet itself will give enough softness to your touches, and the difficulty lies in rendering character and sharpness sufficient to render your intention clear. Paint with the usual moist water-colors, much dryer than on paper. II. GOUACHE, OR BODY COLORS. The process of opaque painting on velvet is much the same, whether done with gouache or with oils. I prefer the use of gouache, and liquid colors diluted in water, to oil-color in tubes ; but this is a matter of taste, and affected by the * Otherwise see list of Tilton’s Transferring Designs. 178 SELF-INSTRUCTIVE LESSONS. nature of the thing to be decorated. One way is, after stretching the velvet — the closer and shorter its pile the better — tightly in its frame, which should be open, so as to have access to the back as well as the front; put your design upon it as before, either by Tilton’s transferring patterns, or by copying your own previously prepared design with Chi- nese white in your bnish for the outline; repeat the outline on the back, making sure that it is upon exactly the same part of the velvet. Tliis you can ensure by means of pins stuck through from the front to guide you. On the back, paint in all strong bits of color or deep shadows, letting the colors soak well tlirough to the front, but without wetting the pile of the velvet. Then begin coloring on the front, lajdng in the local tints most nearly allied to the highest values, then the shadows ; these two will blend with each other enough for gradation of tone. You will find the color previously put on the back helps greatly. Use a scrub-brush to rub in the largest surfaces, flat bristle brushes for smaller parts, and a sable brush witli a good point for outline. I think the secret of all good painting in body color on textiles is using bristle brushes instead of sable, except for the finishing work on top of the first layers of color. Work your brush with the pile of the velvet, not against it, and take great care not to soak the pile with wet ; tliis is hopeless, it takes a long time to dry, and then has lost all its velvety character. Allow the natural tint of the velvet to serve ’wherever it will, and to come through a light film of color dragged over the surface in the half- tints, or even darker parts, with the brush held down side- ways. OIL AND WATER-COLOR PAINTING. 179 The high lights must he laid on sharp and clear, with thick light color picked up on the end of the brush and deposited on the material with as little manipulation as possible. If they may be pure white, this is easiest to manage, and they may be put on in pure white and lightly glazed afterwards. When the material is to he fastened down or lined, you need not paint at all on the back of it. You may, on the other hand, work all the time on the surface of the velvet, laying a wash of thin .Chinese wdiite, slightly tinted with color, over all the petals and flowers, and afterwards model tills surface with shades and markings ; in fact, you may try all the ways of working in body color upon dark paper, as described in Chapter XII. In my opinion, the prettiest method is to work with only one set of touches for the whole design, relying for effect upon the lovely texture of the velvet, the richness of color you have chosen, and, above all, the precision and excellence of your drawdng. You will choose from the transferring patterns some flower which is or may be lightest at the outside of its petals, for example, a wild rose. On the velvet, undis- turbed by under-tone, blending fluid, or any other medium, lay a thick mass of color, as thick as butter, made of Chinese Avhite just tinted with rich red, so as to be a lovely pink. Do not try to work this in, but leave it just in the shape of the edge of the petal, then press down the brush along the petal, so that its whole side may give a little color, not much, to the velvet. It will be very nice if np at the top of the brush there is some bright pink which Avill lend a tint to this film, catching upon the top of the velvet pile. 180 SELF-INS TR UC TI VE LESSONS. Do not meddle with it, but lay another petal close to it. You will be pleased to see how prettily the velvet shades and grades the petal, only lost under the thick layer of paint on the edge. The yellow centre of the rose may be made in the same way, thick points of color bounding the half-color caused by the sort of film I have described. The brush must do the whole of itself, laid on warily, — a small, flat, bristle brush that will pick up a good little mass of color on its point and deposit it just in the right shape. The green leaves of the rose can be done in the same way; it is desirable to have the lighter values on the outside, as you can only with them define outlines, as you are working on the plan of letting the velvet itself give the darker values, more or less obscured by a film of paint from the top of the brush. If you have seen velvet painted in this way, you will not only be able to do it, but will not want to work in the heavy overlaid method of putting an under-tone on first. It is, of course, better to see some one do it once or twice if you can, for this laying the brush down and squeezing the color off from it is hard to describe, but I am sure you will be able to manage it with perseverance. ni. OILS. In painting velvet in oils the same difficulties present themselves, and the crude properties of oil color seem not harmonious with the soft folds and rich texture of the material. The great danger is that the oil which is com- bined with the paint will exude upon the velvet over OIL AND WATER-COLOR PAINTING. 181 the outline, and leave a dark greasy rim, a kind of halo, which is anything l)ut ornamental to the work. To prevent this, cut a piece of thick white blotting- paper about the size of your palette, and lay it over the whole, while the palette is still clean. If it is a thumb- hole palette, cut a hole in the blotting-paper to correspond with the bole in the palette ; this, when your thumb is put through it, will steady the blotting-paper and prevent its slipping. If you now squeeze your colors from the oil- tubes upon the surface of blotting-paper, the superllous oil will spread upon it, leaving the colors just dry enough for immediate use. In this case you will do well to squeeze only just so much at a time, as you are likely to use at once, for the blotting paper will go on absorbing the oil, so that by the next day the color will be hard and no longer manageable. Throw away this piece of blotting- paper as soon as you leave off working, and prepare a fresh one next time with a moderate amount of color, so that none may be wasted. Another method used by some to prevent the oil from running is to rub magnesia carefully over the back of the velvet ; this will absorb the oil and prevent its running. You may now paint your design exactly as I have pre- viously directed ; you will do well to read over the general directions in Chajjter XIII., and also the directions for painting on silk in oils. There are various methods of workiiig, as you will recognize for yoiirselves by this time : 1. To lay an under- tone of thin color over tlie whole design, and then to model it with shades and markings. I do not recommend 18-2 SELF-INS TR UC TI VE LESSONS. this for velvet, as the pile, overlaid with color, gets a clogged and matted look which you cannot avoid. The opposite fault is to drag a brush thinly charged with color over the surface of petals and leaves. This is temj)ting, and you think at first you have hit upon a lovely way of decorating velvet. But you will soon cease to be pleased with the vague, undefined look of your work. The outline is lost, the color is confounded with the pile of the velvet, and there is no richness of tint, only a soft, blurry attempt at something which did not succeed. The better method is : 2. When a pattern is selected with the lighter values on the outside of petal and leaf. These may be laid on with thick, good masses of color, defining the outline very sharply by painting close to the edge, rather inside than outside of the lines. You may “ drag ” if you please a little within the outline, to soften the gradation between the thick color and the darkest parts within, where the velvet itself may be left, but not else- where; and above all avoid “dragging” for tendrils and stems, as these must be put in sharp and clear to give a good effect. Kensington Painting. As this method of painting, now much in vogue, is one process of applying oil paint to velvet, it comes properly into this chapter, although its intention is somewhat different, being a direct imitation of the stitches of the so- called Kensington embroidery. It may well be inquired why this embroidery, so beau- 'iful in itself, should be imitated in paint, and not done OIL AND WATER-COLOR PAINTING. 183 with all the lovely silks and flosses at the disposition of the needlewoman. The answer is, I believe, that the materials are much less expensive than these silks and flosses ; besides, it is somethiiig iieAv, and does not take so long to do it. The skill required for it is rather that of the needlewoman than the artist, for, undoubtedly, any one familiar witli the laying of stitches in the proper direction for effect would find no difficulty in reproducing the same effect with paints instead of silk threads. This work had best be first attempted on velveteen ; it may be done on silk, felting, and any of the fabrics now used for embroidery. Plush of a short pile, Avhich furnishes a richer background for the bright tints which should be employed, is the best adapted for the work. The pattern maj'- be one of Tilton’s transferring designs, which can be transferred any number of times to any material, or you can make jmur own design. I should advise at first a small design stamped several times on a piece of cheap velveteen, for practice. Large flowers should be chosen, and, as I have said before, siieh flowers and leaves as have their edges defined by the lighter values, leaving the interior parts darker, in case you prefer to leave the velveteen unpainted to represent these paints, as is fre- quently done in embroidery, for you nuist remember that you are not now imitating nature direct, but the way in which threads are applied with a needle, and nature only indirectly, as she is imitated with the needle. Therefore you had Iretter look at good specimens of embroidery be- fore you begin — Japanese, for example and see how they get different effects of form, and even of light and 184 SELF-INSTRUCTIVE LESSONS. shade, by placing sets of stitches at different angles to each other. In embroidery the reason this is done is, that these sets of stitches iu different directions catch the light differently, and so show separately as different colors do ; the reason it is done in painting “ Kensington ” is merely to imitate embroidery. After the pattern is transferred, the material should be stretched in an embroidery frame, or it may be tacked upon a drawing board. The painting is done with oil- colors in tubes, applied just as they are squeezed out, with- out the addition of oik or turpentine. The brush is not a brush, but a coarse pen. Different workers have different favorites. Some think a gold pen is best for transmitting the color, others prefer the great pen called a bank-pen, but any stout pen will do. A common saucer is rather better than a palette, on account of the curving side, to receive the color squeezed from the tubes. Mix your tints with a palette-kiufe (or old case-knife) just as for any other kind of i)ainting, according to the li jts of colors in Chapter XIII., adding flake-white to produce the lighter tints. Limit yourself to but few tints, and remember that as a skein of silk remains from one end to the other of precisely the same “ value,” so your tints should each be uniform with itself throughout. You Avant now to get a quantity of paint into the hollow of the })en. There are different ways of doing this. By the Avay, do not put the pen in a holder, — it is quite un- necessary. You may take it by the point and scoop the hollow full of }>aint, afterwards wiping the back of the pen so that you can handle it without soiling your fingers. OIL AND WATER-COLOR PAINTING. 185 Now mark over the outlines with the back of the pen next the material, turning the pen, however, slightly, so as to make the outline clear and sharp. Fill your pen again, and deposit as much color as possible upon the petal or leaf, drawing the pen towards the centre, or following such a direction as long stitches would be likely to take. You may apply various tints in this manner, blending them together Avith the pen. Do not be afraid to have the color stick up thick, like butter, from the material ; remember the raised look of embroidery. Now, Avhile the paint is soft, Avith your pen dry, scratch the petal or leaf over AAuth little furroAA's in tbe direction you think proper to repre- sent stitches. In petals these should be toAvards the centre, but parallel as far as possible, to give the neat, flat look of embroidered stitches. This scratching must be done after all the paint is laid on, be., the chief colors, the darker shades and the high lights. Remember that the scratches should not be continuous over tAvo sliades, for one stitch could not be made of a dark and liglit color, there- fore scratcli all of one value first, then all of another, etc. You may put in stamens, fine stems, and slight markings Avith the point of a sable brush, precisely as you A\u)uld do in any oil j)ainting, but give all these strokes the eftect of stitches ; do not curve them, for single stitches do not make curA'es. This knack of scratching the paint will be caught with a little ju'actice, and it is upon this tliat the whole de- pends. You may find that a little sharp-pointed stick — for instance, the end of a match sharpened, or an orange-AVOod toothpick — helps you in making tlie markings. 180 SELF-INSTRUCTIVE LESSONS. As the paint is laid on thickly, it must be left a day or two to dry. On looking at it then, if you think it needs “touching up,” lay on here and there bright points of light, or little dark effects, but do not destroy your stitches. Kensington stitch is best on dark grounds ; if you undertake to do it on very delicate silk, you may squeeze the paint on blotting-paper, but it is likely to diminish the buttery consistency of the surface so necessary for marking the imitation of stitches. Kensington painting may be done with gouache or body- color, and also with the Lustra paints. LUSTRA PAINTING. Mateiuals for Lustra Painting. Lusti’cT Colors. Mixing Medium. Brushes. Piilette, Slant, or Tinting saucers. Palette Knife. Drawing Board or Frame. Thumb Tacks. Turpentine. Flitters. In the following chapter the reader is directed to grind the colors down with a palette knife. This will not be necessary with the bronzes if they are properly prepared, but the dull colors will require it. Flitters do not come in the boxes, but may be bought separately. 188 CHAPTER XVI. Lustra or Metallic Paintikg, This style of painting will recommend itself to those who have had no experience in decorative art, and who would like to make a beginning with a fair chance of success. It is very simple, and easily acquired, as it demands no knowledge of drawing, and no more of painting than can be readily leariied, or can be gained from the practice with water-colors, which we have suggested as a foundation 189 190 SELF-INSTR UCTI VE LESSONS. for all beginners. It requires no familiarity with drawing, because designs can be had, drawn in outline on the mate- rial, requiring only to be filled in with color ; or the design can l)e selected from the transferring designs and reproduced iqx)U the material. This kind of painting is done upon textiles v/ith metal- lic-poAvder colors, which are made to adhere to the mate- rial by means of a medium, mixed with the colors before they are Avorked in. The piainting can be apjDlied to every variety of decorative ornament, and looks Avell upon pdush, velvet, velveteen, felting-cloths, ribbed or plain silk, and fine or coarse linen, &c., as Avell as terra-cotta, Avood, leather, glass — -anything. Upon fine linen it makes ex- cellent d’oyleys ; up)on coarser kinds, chair-backs, Avash- backs, and afternoon tea-table coAmrs, for, as the coloring sinks into the material and almost becomes ingrain, it allows moderate Avashing of the thing adorned. Upon p)lush, velvet, and other non-Avashing materials, the paint- ing is used either for friezes, dados, door-panels, lambre- quins, table-borders, and curtain-borders, Avith rich and handsome effect. Upon plush or velvet it can be made up intp innumer- able decorative articles, such as clock-scarfs, thermometer- stands, calendars, brush, slipper, umbrella, or shaving cases, bags of all kinds, l)anner-screens, pin-cushions, &c., &c., Avhich are pretty for home decoration and for presents to friends. The colors essentially characteristic of lustra painting are metallic; it is these Avhich give the novelty to the pro- cess. Formerly the gold and silver paints in bottles, and OIL AND WATER-COLOR PAINTING. 191 the gold and silver shells used in illumination and water- color decoration, were so expensive and difficult to man- age that they were but sparingly used. By the invention of the metallic colors we are furnished with a wide range of lustrous, brilliant pigments, which sparkle like tinsel or l)urnished metal. The shades obtained from them in yellow metal range from pale gold to the reddish tinge of copper ; in white, from silver, through steely gray to the darkest lustrous black; greens and purples represent all the tints of burnished bronzes. There is an immense variety of these colors. One is surprised to learn how many changing irridescent tints exist, by looking at the little bottles which contain them. In connection with the metallics, the regular pigments — we mean the colors which mixed Avith oil are called oil- colors ; with water, Avater-colors, &c. — can be used. For the sake of a name, and to avoid confusion, I shall call those I have first described the lustrous paints, and the others the chill paints, although they are dull only by contrast with the shining surface produced by the metallic paints. Both the lustrous paints and the dull paints are used in the same way, i. e., by mixing with the medium Avhich comes with them in the boxes. In regard to colors, they may be had separate!}", or put up in boxes, including medium and brushes. It Avill be very much the same with these as with any other colors ; some will be able to obtain all of their effects from a few, while others will conclude that they will require a larger number. For a limited number, we would simo'est the box containing eight bronzes and four dull colors, as fob 192 SELF-INS TR UC TI VE LESSONS. lows : bronzes, — gold, green, orange, copper, scarlet, sil- ver, terra-cotta, purple; dull colors, — blue, green, red, and yellow ; also, bottle of medium, brushes, and direc- tions for mixing. This box contains all tliat will be necessary for the beginner. The following list includes all that come in tlie larger boxes : — SILVER TINTS. 13. Lustrous, Terra-Cotta. 1. Dull, Black. GOLD TINTS. o Steel blue. 3. Green. 14. Dull, Chrome yellow. 4. Lustrous, Blue. 15. Lustrous, Green gold. 5. Dark green. 16. “ Gold. 6. U Light green. 17. “ Orange. 7. Silver. 18. “ Old gold. 8. Dull, White. CRIMSON TINTS. COPPER TINTS. 19. Dull, Crimson lake. 9. Dull, Vermilion. 20. Lustrous, Carmine. 10. Lustrous 1 , Fire. 21. “ Purple. 11. U Brown. 22. “ Chocolate. 12. U Copper. It will be observed that the dull colors here placed at the head of each division harmonize with and suggest the gradation of tones which can be produced with each set of lustrous colors. Thus, black stands as the deepest value, and white for the lightest value, of the whole range of silver powders. If blue is employed with these, a set of lustrous blue grays, like steel, is obtained. If, instead of blue, you use green for retouching, you will OIL AND WATER-COLOR PAINTING. 193 get a greeiiisli scale of effects quite different from the blue grays, — more like oxidized silver than steel. The gold tints, touched and combined with yellow, will give rich and pure gold effects. The copper lustrous powders, worked in connection with vermilion, give all possible gradations of flaming orange effects. The crimsons, as I have called them for Avant of a better name, are very different; Avhen employed Avith dull crimson, tfjere is no fiery or yellow element in them, but only rich rose-red. These results are brought al)out Ijy using a dull poAvder in harmony Avith the like lustrous ones. You can try every experiment of contrasted tints. Black enriches all the metallic colors as Avell as silver. “Flitters” is a name given to sparkling bits of lustrous matter Avhich may be sprinkled upon the sui'face of Avet color to give extraordinary glitter to the effect. There are little bottles of “ flitters ” to be procured in the vari- ous shades of gold, copper, etc. Flitters are also used in A'eining leaves. They can be used by mixing Avith the medium, although they Avill pro- duce more satisfactory results if sprinkled dry upon the surface of color before it becomes dry. There is very great inequality in the colors Avhich are sold for this Avork, and the slight saAung Avhich can be made in their cost Avill hardly compensate one for the inferiority of the product. The most permanent and sat- isfactory results can oifly be obtained by using the best. As it Avill be quite impossible for the noAdce to detect any difference in the colors before using tliem, it will be pnr- 194 SELF-INSTR UCTIVE LESSONS. dent to ]juy only from reliable dealers. The temptation to substitute inferior goods which can be snp})lied at a lower price, so as to have the appearance of selling cheap, is too strong to be resisted by some who are in the trade. The materials supplied l)y Mr. Tilton are reliable. Equally good can be obtained of others. But where a doubt exists, send to Mr. Tilton rather than run any risks of spoiling the material intended for decoration. Brushes. The kind of brush to use depends somewhat upon the material to be painted and the style of painting. On coarse or rougli fabrics, and where it is desirable to scrub the paint in, a bristle brush Avill be better ; on smooth materials, and when a lighter touch is required, an oil-color sable will work more satisfactorily. Numbers one to four are all good sizes to liave. Mixing Colors. The colors can be nuxed in a china slant, or in small tinting-saucers. We prefer the latter for convenience. The metallics of the better quality do not require grind- ing with a palette knife. They may be mixed with the medium wdth the brush. Dining the painting they should be stirred frequently with the brush, as the colors sink to the bottom. Mix but a little at a time, and add color and medium as may be needed. A very little expe- rience will teach one how to manage the colors. Some materials will require a thick mixture, while upon others a OIL AND WATER-COLOR PAINTING. 195 better effect will be bad applying it tbin, that is, more medium and less color. Material and Designs. At tbe pi'esent time, lustra painting is done more on plusb and velvet, altbougb it can be done to look well upon any fabric. Tbe material can be obtained with tbe design already drawn and prepared for filling in with colors ; or it can be procured plain, and tbe design transferred to it from a transferring design. Select, especially for your first attempt, from these transferring patterns, one representing some single-pet- aled, flat flowers, wdtb well-marked leaves, or brilliant au- tumn leaves. Tbe outlines of tbe different flowers and leaves sbould be separate and distinct, leaving agreeable forms of background between, tbe bgures not overlapping or massed. The Process. We tbink it will be more satisfactory to tbe decorator to make ber first attempt on some waste material. Fasten tbe material to your open frame, or pin it firmly on a drawing-board. A little powder from any one of tbe bottles sbonld be put upon tbe palette, tbe liquid medium added, and tbe two ground together by rubbing with tbe palette knife until a ])erfectly smooth liquid is obtained. Do not hesi- tate to use tbe liquid medium freely, as tbe color sboidd be quite wet when it is applied. 196 SELF-INSTR UCTI VE LESSONS. The lustrous paints may be laid all over the surface of the design. You are not to attempt, in color, any absolute imitation of nature, but your taste will lead ycm to a pretty adaptation of the colors. For instance, poppies may be represented with flaming red gold; lilies, with silver, etc. Lay the lustrous color you have chosen with a scrub- brush well over the petals of the flower, rubbing the li(|iud well in. This lustrous paint is to serve as the uiider-tone, like Chinese white in body-color painting. You are more likely to get on too little than too much, as you want thick, brilliant effects. When this is done, your whole design will appear in flat, lustrous tints, as if cut (mt of different tinsel papers. The medium is of such a nature that it dries quickly ; and by the time you have covered all the design you can probably work again on the first parts. The lights and shadows may be worked in as the fancy dictates, using the liglit lustrous colors for the high lights, and the darker colors for the shadows. Anotlier method is to use the dull paints for modelling the flat under-tone spoken of above, and also for heighten- ing the effect by giving some repose from the shiny nature of the lustrous surface. The paints can lie laid on top of the lustrous ones, leaving these to represent the local color, and the high lights may lie given by touches of pure white, or whatever color harmony may suggest. You will find that, in spite of their brilliancy, the lustrous paints are lower in value than others, although I have called these “dull;” for instance, pure white will heighten silver. OIL AND WATER-COLOR PAINTING. 197 bl'iglit 5 'ellow will appear lighter (in value) than gold. On the other liand, “ dull ” crimson lake will appear to shade the brillianc}^ of the lustrous red gold. You have only to try a few experiments with the colors to understand what 1 mean. You may very much enrich the lustre of the lustrous paints b}' overlaying them with touches of the dull ones. Paint stems and tendrils with the sable brush, either with lustrous paint lined with dull, or exactly the reverse ; do not attempt very fine lines, as they are not effective. Instead of covering the whole surface, as I have just described, with lustrous ])aint, you may work as in Ken- sington or other velvet j)ainting, leaving the material you are working on to tell as a darker part of the design ; using lustrous paints for the briglit edges of the flowers or leaves, and mai'king the outlines where you like v'ith dull paints of tints suited to the metallic ones they are near. On linen and such materials no under-tone is required. Use both lustrous and dull paints as your fancy dictates. The dull paints in my box are blue, red, yellow, and emerald green. The first three, being primaries, may be combined to make purple, orange, and green, but emerald green cannot well Ije made by combination. White and black are needed for finishing touches. The lustrous colors are so rich in themselves that they need not be com- bined with each other ; iise each direct from its bottle, well mixed with the medium. While you will probably like to use the lustrous paints with great freedom, only retouching with dull paints, you will find that it is very pretty to use the lustrous ones 11)8 SELF-INSTR UCTI VE LESSONS. merely iis iiccessory to ordinary llower-paiiitiiig. For this yon will re(tuire a greater range of the dull paints than is allowed you in this box. Tliey are powder-colors, easily [)roeured and easily managed, combined with the lustra medium. You may enhance their effect with bright touches of lustrous paint. Another Method l)y whicli a considerable saving may be made in the (quantity of metallic colors to be used, and with better ef- fect, too, is to lay a foundation with water-colors before applying the inetallics. Proceed as follows. We will sup- pose that the design has been outlined on the material to be painted : now, with a coat of water-color., fill in the outlines ; that is, all of the space inside of the outlines is to be covered with a Hat or even coat of color; paint over this with lustra colors. 'Fliis foundation of water-color paint may be Chinese white, or a color to match the tint of the material to be painted upon. If Chinese white is used, lighter as well as brighter effects will be produced l)y painting over it. If the foundation color be made to match the material to be painted on, the effect will be similar to what would be obtained by painting directly upon the material. By this method a very small cpiantity of lustra color can be made to produce more satisfactory results than a larger amount will do by the old way. If the water-colors are mixed too thin they will sink in and not show when dry — they should be a[)plied quite thick. .\fter ])aiiding, do not fail to wash out your brushes, OIL ANT) WATER-COLOR PAINTING. 199 first ill turpentine, and afterwards with soap and water ; and to have them thoroughly clean wlien yon begin to work the next time. General Remarks. By reading the previous directions, the reader will see that there are several methods for painting with lustra colors, viz. : — 1st. By completely covering the design with lustra colors, and afterwards working in the lights and shadows with darker or lighter colors over the first painting. By this method an extravagant use of the metallics is de- manded. 2d. By mixing the bronze colors thin — that is, more medium and less color — and applying it so that the mate- rial painted upon will show through and form the shading. 3d. By using the dull colors in connection with the bronzes. 4th. By filling in the outline with a foundation of water-color paint and applying the lustra colors over it. This method involves the most economical use of the bronzes. It will l)e observed that we speak of lustra colors both as bronzes and metallics ; they are simply different names for the same thing. In working on plush, velvet, and other delicate materials, the hands should not be allowed to rest upon the work so as to crush the pile or otherwise disfigure it. Do not fold or crease the work, or attempt to decorate on plusli, velvet or silk which has been creased. If oeca- 200 SEL F-INS TR UC TI VE LESSONS. sioii re(i[uii'es a transportation of work in process of paint- ing, or after it is completed, it should l_>e rolled., not folded. It is not supposed that any attempt will be made to follow nature in lustra painting, exce[)t in a general way. Consecpiently liberties may be taken which Avonld not be alloAvable in any other style of painting — -thns, flowers growing on the same stalk may he painted differently, etc. In shading or blending, do not cleanse the brush of the pre- vious color, hut keep right on with the second ; the old color left in the brush will assist in mingling the two together. Dry lustra colors are sometimes used to obtain high lights, or es})ecially brilliant effects. They should be a}>- plied AAdth a drj/ brush over colors previously laid on. Of course, they must be used in this Avay before the first color has had time to dry. Lustra colors are more effective on black or dark grounds. During painting, it aauII be found convenient to have a cup partly filled Avith turpentine at hand; it Avill be found useful in cleansing Inaishes, removing spots from the hands or material, etc. It AAdll assist one in painting to rinse out the brushes occasionally in turpentine, to prevent their becoming clogged ; and Avhen the painting is finished for the day, Avash out the brushes thoroughly with soap and Avarm water. If they are left to dry Avithout proper care, they will be unfit for further use ; Avhereas by giving them proper atteAition they can be made to last for a long time, and to improve by use. Lustra painting ma}^ be done by artificial light as AAmll as by daylight. OIL AND WATER-COLOR PAINTING. 201 Lustra Colors may be used on All textile fabrics, wliicli include silk satin, plush, velvet, etc., viz.: — LINEN. 1) ’o}dies, napkins, etc. COTTON. Momie-cloth, bolting-cloth, muslin, jeaii, nainsook, sat- ine, cotton-velvet, etc. WOOLEN. Broadcloth, flannel, felting, cashmere, billiard-cloth, etc., can be painted upon. MISCELLANEOUS. Straw hats, straw matting, crazy patch-work, etc. INLAID PAINTING. Note to Chapter XVII. Materials the same as in the previous chapter. After this book was in type, and while Aliss Hale was absent, the following chapter was prepared other hands and from different experience. We have printed the chapter just as it was handed to us, with these comments. We think the writer, in her enthusiasm for “Inlaid Painting,” rather overstates the difficulties of the old method. While we think that the new style may be more easy of execution, inasmuch as the rough surface has been changed to a smooth, there is no doubt but what those who have never before attempted any style of painting can succeed satisfactorily with the lirst method. The Avater-color foundation described in Chapter XVI. will apply to “ Inlaid Painting.” 204 Inlaid Painting. The multitudes of people everywhere seeking for some- thing to do in decorative art which will not require a long and tedious study to enable one to produce satisfactory results — in fact, sometliing that they can “sit right down and do without learning how” — will find a very near approach to it in Inlaid Painting. This art, recpiiring hut a slight expenditure of time or money in comparison with the remuneration it can be 20.1 206 SELF-INSTR UCTIVE LESSONS. made to afford, is really (|uite charming, one of its great- est attractions lieing the ease with which it is acquired aaid its facility of execution. Another advantage is the rapidity with which it caai be done, in comparison with embroidery, oil-painting, or, in fact, any other form of decoration. ddie design being already prepared and executed in the material, there is, of course, no drawing to be done. It is work whicli can be taken up at odd moments or at an}^ time, and left unceremoniously without disadvantage. It may be done in the evening by artilicial light as well as by daylight, which will recommend it to those who have no other time but evenings to do such work in. There are no exasperating delays in waiting for colors to dry before others can be applied, and, above all, lustra colors appear in their superiority when displayed on plush and velvet in the style here introduced as Inlaid Paintdng. The advantages embodied in this method of painting are not nullified or rendered inoperative from any lack of op])ortunity for use, as there are innumerable really useful and ornamental things which can be made from it, which will be thankfully received as }n’esents, or find ready sale if made to realize money from. The painting is done on plush and velvet, prepared by Mr. Tilton especially for the work, b}^ crushing, or, as it Avere, inlaying the pattern Avith the material. Under ordinary circumstances, plush and A'elvet are the most diffi- cult as Avell as the most unsatisfactory of all fabrics to paint upon. EAmn those Avho have had long experience in the use of colors object to them, AAdnle a prudent beginner OIL AND WATER-COLOR PAINTING. 207 would hardly attempt to work on such difficult and unre- liable surfaces. The reason for this is that the long pile or nap renders it peculiarly troublesome to operate upon, either with pencil or paint. Even after the design has been drawn or transferred, it will be found almost impossi- ble to control the paint so as to obtain clear and sharp outlines, and the whole work presents a matted and jagged appearance, besides absorbijig jjaint in quantities out of all proportion to the space covered. Of course, the work is done, but in quite a limited way, because of its many difficulties. By the inlaying method, all of tliene difficulties are at once removed. There is no drawing or transferring to do, as the design has been set in the material, and in the pro- cess those portions of the fabric which are to receive paint have been transformed from the most difficult of all fabrics to work upon Avith colors to the most sini2)le and enticing. Instead of requiring large quantities of paint to scrub in, as in the former case, the most brilliant and effective results from inlaid painting with lustra colors will be obtained by applying the paint sparingly to the parts which have been inlaid to receive them; thus obtaining all of the advantages of plush and velvet paint- ing, without any of the disadvantages. Proceed as follows : After selecting a design, pin it to the drawing-board, with lilotting-paper between it and tlie board. The object in using blotting-paper is to prevent the material from sticking to the board, and to absorb any of the medium or iiaint which may penetrate it. The method previously given for painting witli lustra 208 SELF-INS'rR UCTIVE LESSONS. colors applies to plush and fabrics having pile or nap in their original condition (that is, not prepared for inlaid painting), and inust not 1)8 confounded with the instructions we now })ropose to give for fabrics which have been prepared for inlaid painting. Between these two methods there is a wide difference, and a knowledge of both will enable one to understand how to paint with lustra colors on any fabric. In painting on plush and velvet after the old style of lustra painting, the colors must be mixed quite thick, and considerable quantities are consumed in the scrubbing or rubbing-in process, which is required to produce effects ; Avhile for inlaid painting the colors should be quite thin; that is, more of the medium and less of the bronze being used, and laid on (not rubbed in) quite sparingly. Their application is quite similar to the method of using water- colors on paper. In the old form a bristle brush is employed, so that the colors may be scrubbed or rubbed in, Avhile inlaid painting requires no such harsh treatment. The colors can be applied with oil-color sable brushes; immbers two and four are Amry good sizes for all ordinary work. We have tried camels’ hair brushes, but they are too soft and yielding to be effective. The results produced by these tAvo methods of painting Avhich have been described are quite different. The process of scrubbing-in is apt to destroy the irridescent or opaline quality Avhich constitutes one of the chief beauties of lustra colors, giving instead a hard, metallic look not at all agreeable to the eye ; while the method of inlaid paint- OIL AND WATER-COLOR PAINTING. 209 ing preserves the colors in all of thcir natural brilliancy and irridescence. We have before uS at this writing the same design worked out by the two methods, and notwith- standing the first was done by a teacher who has had years of experience with color, and the inlaid by a young lady just commencing, the latter has attracted the greater attention and admiration. This comment is not intended to discourage the old form of lustra painting, but to show that brilliant results can be obtained from inlaid painting without a long and perhaps tedious course of practice by those who may not have the time to give to decorative work. Mix but a small quantity of paint at a time, as follows : pour a few drops of medium into a tinting saucer, and add the bronze ; it will be impossible to give the exact propor- tions — a little experience will be the best teacher. The mixture should be quite thin ; that is, tlie medium must not be made thick with bronze, but only enough added so that when applied to a fabric it will sparsely cover the design and allow the material to show through. This is desirable for producing certain effects. A second applica- tion or painting will completely cover any parts requiring to be fully covered. One great trouble with beginners is that they use too much bronze in mixing, and load it on to the design. This has a tendency to destroy the effects which these colors are intended to produce. It is possible that some may prefer the loading process ; it Avill require no especial instructions. Our object is to avoid it, as we think that the beauty of lustra colors is their irridescence, and to preserve this requires as much care in mixing them as in laying them on. 210 SELF-INSTRUCTIVE LESSONS. We give below a list of some of tlie designs which have been prepared expressly for “Inlaid Painting,” their di- mensions, directions for painting, and the uses which can be made of them. No. 1. Daisy. Dimensions, 7x4;^ inches. Directions for painting: — For t\\e j^etals, either gold or silver may be used. Silver will be more effective on dark material. Begin at the extremity of the petals, with the brush well charged with color, mixed thinly, that is, con- siderable medium with less color than would be used in ordinary lustra painting ; draw the brush lightly toward the centre of the flower. The effect of this will be that the material will show througli and assist in the shading. With another coat go over the extremities and outer edges. This will give depth instead of a flat appearance. If silver has been used, fill in the centre with lemon and orange. Use the orange over the lemon for the darker shading. The centre can be made more brilliant with flit- ters if desired. For the leaves., use green, mixed as above directed, laying it on heavily at the edges, and working lightly to the centre of the leaf, leaving a line down the centre for the veining. The veining can be done with flitters or dry bronze pow- der, first painting with a coat of medium the space left for veins, so that the powder will adhere. For this, use a fine brush. The stems may be green or a darker color. No. 2. Narcissus. Dimensions 7^ x inches. Directions for painting: — The method will be the same OIL AND WATER-COLOR PAINTING. 211 as in former directions ; that is, the extremities and outer edges heavier, working lightly towards the centre. Leaves., green. Petals of floiver, white — silver. It will be observed that several of the petals curl so as to show a portion of the under side. This is indicated in the design by a line in the petal. The curled-over part should be painted heavier or thicker than the other parts, while directly under the curled part the color should be applied very lightly, allowing the material to show though and form a dark shadow. The centre., paint with copper first; afterwards, paint the outer circle of the centre with orange. No. 3. Azalea. Dimensions 7| x 4|- inches. Directions for painting: — The method will be the same as in former directions ; that is, the extremities and outer edges heavier, working lightly toward the centre. The fiotvers are either pink or white. White is usually the more effective. If white, use silver; for red, scarlet; following the same general directions for curled leaves as in the narcissus. Stamens, gold. Leaves, green. It will be observed that some leaves overlap others. In all such cases the leaf nearest to you should be painted with more color than the leaves behiml it. The distant leaves can be made to appear darker by using less color, so that the material will show through and form a sliadoAV. Stems, copper. 212 SELF-INSTRUCTIVE LESSONS. No. 4. Poppy. Dimensions, 7 s 4| indies. First, paint the floioer jjetah with the dull red from the box, mixing it with the medinm; over this, paint with the metallic scarlet. Care must be used not to get too much color on the centre and lower portions of the petals. Follow the same general directions for applying both colors which we have before given. This will throw one leaf up from another, and give a deep, full appearance. Leaves., green. First, however, paint them with a coat of silver, and over tliat with green. The silver will partly show through, giving the leaves that grayish color seen with poppies. The dots in the centre may be green. Buds and stems., green. No. 5. Apple Blossoms. Dimensions, 5 x 4i inches. Directions for painting : — The method will be the same as in former directions ; that is, the extremities and outer edges heavier, working lightly towards the centres. Floiver 'petals, white (silver), edged with pink (scarlet). Outside petals, scarlet. Stamens, either gold or copper. Centre of Jlotver, a dot of green. Buds, scarlet. Leaves, green. Stems and branch, copper. In painting the branch, one side should be heavier than the other. That is, cover one side completely, so that the material will not show through, while the other side may OIL AND WATER-COLOR PAINTING. 213 be put on thinly, allowing the material to show through and assist in shading, or the entire branch may be painted with thin color, and a second coat over one half of it, which will produce the same effect. No. 6. Wild Rose. Dimensions, 5^ x 4 inches. Directions for painting: — The method will be the same as in former directions; that is, the extremities and outer edges heavier, working lightly towards the centre. Flozver petals, scarlet. Centre, green, with dots of orange around it. Buds, red — scarlet. Leaves and stems, green. The small star-flower may be painted with a gold center and silver petals. No. 7. Rosebuds. Dimensions, 7^ x 4i inches. Directions for painting: — The method will be the same as in former directions ; that is, the extremities and outer edges heavier, working more lightly toward the centre. The buds may be painted with either red (scarlet), white (silver), or yellow (orange). Leaves and stems, green. No. 8. Woodbine. Dimensions, 5 x 15 inches. Directions for painting: — The method will be the same as in former directions ; that is, the extremities and outer edges heavier, working more lightly toward the centre. In painting the woodbine, nearly if not quite all of the lustra colors can be used on the leaves. One may follow 214 SELF-mS TR UCTIVE LESSONS. liis own fancy in selecting tlie colors. It will be well, however, to finish each cluster of leaves with the color it is begun with. Berries., purple ; lights, silver. Stems and tendrils, scarlet or copper. General Remarks. The directions for painting “ The Daisy,” No. 1, are . given more in detail than in those which follow, and as the same principle will apply to all, there seems to be no need of repeating the same thing in each, and we refer from all to No. 1 for general method. In painting leaves, a very pretty effect can sometimes be produced by blending a contrasting color. The method of painting in a foundation with water- colors, referred to in the latter part of Chapter XVI., may be practised with equally good effects in this style of paint- ing. Another way will be to underlay every thing with silver. We think Chinese white will answer quite as well, however. In this same book, under another heading, directions are given for painting with opaque water-colors. All of these “Inlaid Designs” may be painted in that way in imitation of nature, and afterwards touched up with lustra colors so as to be quite effective. Or they can be painted over entire with a very thin coat of lustra colors, with good results. The Inlaid Designs may also be painted in the regular way, with either oil or water colors. OIL AND WATER-COLOR PAINTING. 215 What to do with Aeticles which have been Painted. The above materials, after being painted upon, can be made into almost innumerable articles, including, — Panels for clocks, thermometers, calendars, door-panels, etc. ; Brush-cases, slipper-cases, umbrella-eases, shaving-cases ; Bags of all kinds, rag-bags, shopping-bags, tobacco- pouches ; ' Mantel-shelf scarfs, lambrequins, curtains, portieres, clock-scarfs, bracket-scarfs, piano-covers, furniture-covers, fireplace-curtains, window-curtains, sofa-cushions, clock- carpets ; Baskets, catch-alls, clothes-baskets, work-baskets, waste- baskets, wall-pockets ; Banner-screens, hand-screens, folding-screens, fire-screens, tea-screens ; Toilet-covers, toilet-sets, bureau-sets, pin-cushion mats, tidies, pillow-shams ; Glove-boxes, handkerchief sacks and boxes, key-boards, tea-cosies, watch-cases ; ' Table-mats, d ’oylies, side-board covers, easel-scarts, mirror-scarfs, picture-scarfs, tray-covers, duster-covers, table-covers ; Shawls, carriage-shawls, baby-carriage outfit, slumber- robes, dog-blankets, wall-frieze; Lamp-shades, slippers, fans; Bell-pulls, rolls for feather-dusters, duster-cases, blotter- covers, music-rolls, satchels, book-covers, frame-boixlers, portfolio-covers ; 216 SELF-INSTRUCTIVE LESSONS. Christmas and New Year’s cards, Valentines, Easter and birthdaj'-cards. For other information see Chapter XXTY., What to Decorate. TAPESTRY PAINTING. Tlie list of materials required for Tapestry Painting will be found preceding Chapter XI., of which this is a continuation. 218 CHAPTER XVIII. TAPESTRY PAINTING. The process of tapestry painting with the durable water colors described in Chapter XI. is an imitation of the old woven tapestries. These were in vogue in remote times for the decoration of walls. The ancient tapestry Avas woven by the so-called “ high-warp ” loom ; in this pro- cess, the design was fastened across the front of the warji, and traced in color on the back, thus reversing the picture to be copied, which is then worked out always from the 220 SELF-INS TR IJC TI VE LESSONS. back, so that in front the design appears exactly repro- duced. The Roman theatres had curtains of such tapes- try, of which the modern drop scene is a relic. The manufactory had fallen into decay before the twelfth cen- tury, when it was revived, and began to thrive again, especially in Flanders. It was also made in Paris, but the products of Brussels and Arras were [)referred ; in fact, the name of the latter place became transferred to the work, as we know from Polonins “behind the arras” in Shakespeai’e. The famous tapestries for the Sixtine Chapel of Leo X., for which Raphael drew the cartoon, were woven at Brussels. Leonardo da Vinci had already made tapestry designs ; and Raphael and his pupil Giulio Romano also found them worthy subjects for their skill. The royal factory of Gobelins, in Paris, originated as early as 1450, when Jean Gobelin erected a dyeing estab- lislnnent on the banks of a little brook running into the Seine. This was combined by his successors with a manu- factory of tapestry, which had acquired such a high reputation by the middle of the seventeenth century that Louis XIV. caused the establishment to be purchased by government, and carried on at the public expense. The manufactory was found, however, to yield profits totally inadequate to the expense of its maintenance. It was therefore converted into an establishment to supply the family of the reigning monarch with the choicest fabrics of art, which were also presented, as gifts, to foreign courts, ambassadors, etc. Contemporary with the Gobelin tapestry was that of Beauvais, upon low-warp looms, of which the process OIL AND WATER-COLOR PAINTING. 221 slightly differs from the other, with less valuable, though beautiful, results. As tapestry, therefore, has for its object to copy works of high art with textiles, in order to have the strength and durability of woven stuff, it seems most unsuitable to imitate the process with paints, transferring the defects and faults of the process into the realm of art. It is like translating a translated book back into its original tongue, and with it all the errors which may have crept into the first transcript. However, with the advisability of the practice we have not now to do. This is the way it is done. Canvas can be procured, woven with yarn, prepared for this kind of painting, with an especial affinity for the liquid colors. It should be stretched on a frame so that the strands, or ribs, are kept straight, and parallel to the edges of the stretcher. This can easily be done, with ordinary care. The canvas should not be strained too tightl}n The brushes are the scrub brushes already described (also called Poonah or stencil brushes), with several bristle brushes to lay in small tints and fill in corners up to outlines, not manageable with the scrubber. One brush may be used for all the various reds, another for the greens, etc. The design may be pounced upon the canvas, or trans- ferred by Tilton’s transferring method, from a good water- color design, previously prepared. As the object is to reproduce ancient tapestry, the design had best be copied from some old, authenticated piece. If you like, you can imitate the worn places and defects, and try to reproduce 222 SELF-INSTRUCTIVE LESSONS. the faded dulness of the colors ; but, as the especial char- acteristic of the tapestry colors is their brilliancy, you will do better to aim at restoring the brightness of 5mur copy, as it came fresh from the Gobelin loom some two centuries ago. Landscapes are the most characteristic subjects for tapestry, with much movement of knights, fair dames, iiorses, pet dogs, in the foreground, all in rich dresses and bright colors. The design, once upon the canvas, is outlined with a sable brush and the colors appropriate to the tone of . the object to be painted ; thus, for the foliage of plants, a green tone is used, the trunks of tire trees and foreground details may be burnt sienna. The colors should be diluted with water, as they are very strong and brilliant in the bottle, but do not make them too pale ; for, as the colors become paler in drying, it is desirable to make every tone deeper than that of the copy. Several washes of the same tone may be overlaid to obtain the various depths of value desired for the highest light, the local color, the defining tone, or third value, and the deepest darks, or “ touching up ” tone for the final markings. These directions, with ordinary knowledge of color and some little experience in landscape painting, will en- able you to produce the required effects, only remember that you are not imitating nature, but the stiff forms of an ancient picture and the tints of faded wools. A pecu- liar faded grade of the greens and an unnatural burnt- sienna yellow should pervade the work, plants out of proportion distinguish the foreground, and impossible rivers running under impracticable bridges. In this description, OIL AND WATER-COLOR PAINTLNG. 223 I am not criticising the highest tapestry work from de- signs of Raphael or Da Vinci, but the average excellence of old tapestry landscape. If yon wished to copy the Sistine Madonna, I cannot imagine that you would choose to represent it translated into. woven tapestry and back again with pigments. Do not try to conceal the ribs of the canvas, but paint along the lines of it when possible, as if working a row of stitches. In examining tapestry, you will see that the outlines are always upright, pointed, sometimes tapered, but always with a vertical tendency, not slanting, and never curved, the result of the ribs, or lines, in which it is woven. For the same reason, the tones are in separate values, as Berlin wools are in skeins, and this effect should be imitated. The following list of colors contains those best suited to imitate the tints of ancient tapestries : — Turquoise Blue. Ultramarine. Prussian Blue. Indigo. Cobalt. BLUES. REDS. Carmine. Rose Madder. Carmine Lake. Vermilion. Red Lead. BROWNS. Sepia. GREENS. Raw Umber. Cassel Earth. Burnt Sienna. Red Brown. Vegetable Green. Emerald Green. Prussian Green. Saj) Green. Olive Green. Vandyke Brown. SELF-INSTRUCTIVE LESSONS. PURPLES. Violet (bluish). Purple Violet. YELLOWS. Chrome. Golden Yellow. Cadmium. Raw Sienna. PAINTING WITH WATER-COLORS ON MUSLIN AND OTHER SEMI-TRANSPARENT TEXTILES, SATIN-FACED JEAN, SATEEN, LACE, AND RICE PAPER. MATERIALS. The textile fabrics mentioned in the following chapter : Drawing Board or Frame. A set of Water or Liquid Colors, Chinese White. Blending Fluid. A Number 3 Lead Pencil. Brushes. Gelatine. Gum Arabic. GENERAL REMARKS. In undertahing to paint on any new fabric, the prudent worker will give a short time to practise on some waste material before beginning with the real work, so as to become acqiiainted with its peculiarities. It will not be difficult to acquire the knack of painting on muslin, al- though the first attempt may not be successful. In the following chapter the reader is directed to stretch the material in an open frame ; a hoop frame, such as is used in embroidery, Avill answer. They can be bought at the embroidery store ; or one can very easily be made with two hoops, one just fitting into the other. Lay the mate- OIL AND WATER-COLOR PAINTING. 227 rial over the smaller hoop, then fit the larger one over it, as a cover fits its box, which will secure the muslin and stretch it at the same time. In this way an opportunity will be afforded to work on both sides of the material, if desirable ; and if gelatine is used, as hereafter described, it will be free to dry without sticking to anything, as might be the case if stretched to a drawing-board. The design may be drawn or traced on the material either before or after stretching ; but we think it will be found more convenient to do so before it is stretched: and if it is to be painted on both sides the design should be drawn on both sides, which can be done quite easily as follows: after drawing on one side, turn the material over, laying it upon a white surface, when the lines which have been traced on the otlier side will show through, and can be marked over without difficulty. The frame, however, is only practicable for small work. When large pieces are to be painted it must be dispensed with, and some smooth board of convenient length be substituted. This should be covered with Avhite paper, and over it stretch the mate- rial with the design traced upon it. In the instructions for painting on muslin, the reader is told to first paint over, or fill in, the outlines of the de- sign with Chinese White, the object being to obtain a foundation to work upon, as it will be found quite im- possible to paint directly on the material, with thin transparent colors, without danger of their spreading and becoming unmanageable. We would suggest to the reader to use a gelatine size in place of Chinese White, made in the proportions of one onnce of gelatine to a pint of water, 228 SELF-INSTU UCTI VE LElSSONS. viz. : first soak the gelatine in cold water for half an hour, then pour off the cold water and add hot, stirring till all is dissolved, and apply before it is cool. This will give a foundation Avhich can be painted upon freely without danger of mixing with the colors. It can also be painted on both sides, and has the advantage of being trans- parent. Whichever medium is used, Chinese White or gelatine, it must not be allowed to dry while stretched to the board, as it would stick. If a large piece of work is to be done, fill in a part of it ; then, while still moist, loosen the lower part of the material from the board, and hold it by each side up from the board, until it dries, keeping it stretched between the two hands, so that it will not cockle when dry. It may then be fastened again to the board, and the work continued until completed. When the foundation is all laid and dry, it may be painted as directed. Color may be dropped into the gelatine size before dry, with the same effect as in Chinese White. The reader will of course understand that there is a great difference in mus- lin. It can be found sheer (without sizing), and also so highly finished or sized as to require no preparation or foundation for painting. Our remarks apply to material unsized. The difficulty in painting on such fabrics is to keep within the outlines and to lay the color smoothly. Use but little color or size in the brush when applying them to the material, and practise first on some waste material like that it is intended to paint on. OIL AND WATER-COLOR PAINTING. 229 PAINTING ON SATIN-FACED JEAN OR SATEEN WITH WATER-COLORS. Satin-faced jean or drilling is a thick cotton cloth with one side satin faced. Sateen is similar, hut perhaps not so thick. The difficulty in painting on them is to keep the colors within the outlines of the design to be painted. Thei’e is so little sizing in the material that the colors will run and spread if applied directly. If a sizing is first applied, it will be just as difficult to keep it within tlie outlines ; and if that is done successfully the trouble will not be removed, because it will be necessary to jxist cover the sizing which has been applied with color ; and in doing this there is danger of the colors running if it over- laps the sizing ever so little. Tliis Ave learned by actual experience, and, carrying our experiments still further, we found that a sizing made Avith gelatine and gum arabic could be applied Avithout spreading; but Avhen the color Avas laid OA^er it, it (the color) Avould run as before. We then mixed the size Avith the color, using it (the size) in place of Avater, and found no further trouble from running or spreading. This size can be made as folloAvs : Dissolve one teaspoon level full of poAvdered gum arabic with four teaspoonfixls of liot Avater, and add to an equal quantity of gelatine size prepared as previously directed. Use hot in place of cold Avater, and apply as in Avater-color paint- ing. Another advantage in using this sizing is, that, as gelatine is not soluble in cold Avater, a few drops Avill not 280 SELF-INS TR UC TI VE LESSONS. mar the design if spilled upon it, and allowed to dry with- out being disturbed. Muslin, for which directions have been already given, may be painted in the same way. PAINTING ON LACE WITH WATER-COLORS. The same size, mixed with color, can be used for paint- ing on lace, instead of gelatine and Chinese White. Theke is a new material called silk bolting-cloth, used in the finest processes of flour sifting, which is very lovely in appearance, and, being firm as well as fiaie in texture, is admirable to work or paint on. It is thicker than Swiss muslin, but thin enough to give the same half-transparent effect. For all such thin materials, painting has tlie great ad- vantage over embroidery that both sides are presentable, although the one on Avhich the paints are applied is, of course, the brighter and more finished. The back of a j)iece of embroidery, however neatly managed, is better out of sight, and, therefore, in general, recpiires to be lined. No such disadvantage attends painting ; and very pretty 231 232 SELF-INS TR UCTI VE LESSONS. fans, band-screens, transparencies, cbair-l)acbs (or tidies), aprons, and even dresses, may be tbns oi-namented. Tlie work is done in water-color, and is not difficult, requiring care and accuracy, and, above all, neatness in execution. Tbe muslin sbouid be stretcbed in an open frame. Having previously piit your design upon cartridge paper, lay tbe frame down upon it, and carefully trace it on tbe muslin with a No. 3 lead pencil. There are now two methods of working. 1. Paint over all tbe design with Chinese white, mixed witli a few drops of Blending Fluid or Resisting Medium. Tbe laying on of tbe white, as in all other cases, is tbe great difficulty, especially in muslin painting. If it is too liquid, it will run over the outline, and spoil tbe work; if it is too dry, every brush-mark will sliow ; if it is lumpy and full of spots, tbe rest of tbe painting will look coarse; and, as no mistakes made in laying on the ground color can be altered by tlie succeeding work, it is exti'emely important that it sbouid be done well. Each petal or leaf sbouid look as if cut out of one smooth piece of shiny paper, and stuck upon tbe material. As tbe prevailing chalky tint of Chinese white will always obtrude itself, it is better to change it, even in this under-tone, Avith the local color of each object in the de- sign. To avoid a number of separate spots of prepared Avhite on the palette, you can drop, this local tint into the white already on the design with a brush filled with trans- parent color. But this is delicate work, especially on muslin ; and the beginner may coAmr the whole design with white, reserving the tinting for the second process. OIL AND WATER-COLOR PAINTING. 233 Wlien the white is dry, paint over it with ordinary water colors, keeping their natural tones as far as possible, which are always somewhat degraded by the mixture of white ; therefore, touch the under-tone lightly and quickl}^ not to stir it up with the point of the brush. Finally, the highest lights may be added in sharp, clear touches of white, mixed with the proper local tint. Like all work done on a prepared surface, anything like retouching f>r stippling must be avoided, and broad effects and good drawing relied upon. Hand-screens may be painted on both sides; in this case, the open frame must be turned round, the Chinese white laid on the back of the design, great care being taken to follow the same lines as on the front, and then painted as above. 2. With Tilton’s liquid colors you may work upon all semi-transparent materials by scrubbing in the color with a scrub-brush, and afterwards delicately defining the out- line with a pointed sable brush, either with the same color as the petals and leaves, or Avith some uniform dark color. Or, calling in the aid of embroidery, you may define the edges and markings with outline stitch in embroidery silk. II. PAINTING ON JEAN IN WATER-COLORS. This is a kind of work A^eiy pretty for decorating the small d’o}deys placed under finger boAvls. It is done with moist or tube water-colors, or with body colors and Blend- ing Fluid. Use smooth, satin-faced jean, and cut it out so that no 234 SELF-INS TR UC TI VE LESSONS. crease may appear. The form may be round or square, with ravelled fringe. The same process may be used on little napkins, which come all made for the purpose ; but jean is firmer in texture than ordinary damask, and so better to paint on. Draw in the outline of the subject faintly with a lead pencil, from your design previously prepared on paper. Fill in the outlines with Chinese white, droppiiig in the lightest tint of each part of the design. When this first coat is dry, paint the natural colors upon it. It is, per- haps, best to put in all the shadows, in good forms, with a neutral tint, influenced in every case by the local color ; this can be overlaid with transparent color, and finished with sharp, clear markings. III. LACE. This work is an imitation of the old Creton laces, which were made with colored threads arranged as pat- terns upon a black or white ground. It is done Avith Avater-colors, and used for furniture lace, or as trimmings to dress fabrics. Thin portieres, Avhich in small rooms are more agree- able than heavy ones, even in winter, on account of their alloAving free passage of air from one room to another, may be made effective \Aflth tliis Avork upon a set of cheap white lace curtains Avith bold designs. The colors are made fast by using Tilton’s Resisting Medium, and, though they Avill not stand Avashing, Avill look Avell a long time. Stretch tlie lace, and pin it doAvn securely to a draAving- OIL AND WATER-COLOR PAINTING. 235 board, a part at a time. The design will be the pattern woven into the lace, every part of which must be first wet with gelatine, and, when that is dry, washed with Chinese white mixed with the Resisting Medium. Thus j)i‘epared, you can paint the pattern with bright colors, tinting the leading lines of the design with brilliant colors, re- lieved by the secondary tint applied to the otlier part of it. The more broken up and diversified the coloring, the better the effect. Put on the colors flat, without any grading, and so thick as to be thoroughly absorbed into the material. The pattern on the lace should be wholly covered with colors, leaving the connecting threads white. Instead of water-colors, you may use Lustra paints ; and by a judicious combination of the lustrous and the dull ones you will produce a rich oriental effect. IV. RICE PAPER. The Chinese paint deliciously on rice paper ; but, as it is not too much to say that we can never hope to attain their dainty touch and execution, and as the results are not veryaiseful in decoration, because rice paper is so fragile, it is hardly worth while to give it much space in this book. As the paper is transparent, di’aw the outlines of the design, either flowers, birds, or figures, upon common paper, ink this over, and put it beneath the rice paper. The outlines will show through. Fasten tlie rice paper- down upon it with drawing pins, and paint without any outline on the rice paper, which will not bear pencil 236 SELF-INSTRUCTIVE LESSONS. marks. Put on opaque colors, the brightest you can find, in clear, bright tones, getting your effects at once, as little can be done by retouching. Over the first coat, Avhen it is dry, markings can be made, and stamens and fine touches added, with bright body color or a little gold. PAINTING ON GOLD PAPER WITH WATER-COLORS, AND ON GOLD CANVAS WITH OIL-COLORS. MATERIALS. Water-Coloes : Brushes and Gold Paper. Oil-Colors : Brushes and Gold Canvas. 238 PAINTING GOLD PAPER IN WATER-COLORS. What is known as “craped gold paper” is the best when large surfaces are to be painted, like friezes or dado panels ; and this can be painted upon in body water-colors. The craped or crinkled surface is jirettier and easier to manage than smooth gold paper. It is about twenty-one inches wide, and is sold by the piece for wall-paper. Any colors may be used, with due taste and discretion, but a good effect is produced by using only the shades from light yellow to red-gold ; the background being supplied by the gold paper. Cut out the gold ]iaper into just tlie shape of the space you mean to fill, and, having transferred some design upon it, well pinned down upon a drawing board, lay Chinese white, mixed with Blending Fluid, over the whole surface 239 240 SELF-INS TR UCTI VE LESSONS. to be painted. Secure the edges first of each form, and fill in witli the white. When this is dry, the different values of yellows can be applied over it. After this is done, make a fine, sharp line of sepia carefully round every edge of the design. This may be done Avith a broad, blunt pen, the color diluted just enough to flow, or Avith a Avell-pointed sable brush. If the hand is steady, and the eye accurate, these outlines Avill be good Avitli either instrument; Avith- out a firm hand and Avatchful eye, they Avill look ill, no matter Avhat implement is used. This painting can be pasted upon the Avail like any Avall- paper. A stencil-plate Avith some formal design of bor- dering can be ap[)lied to the places Avhere it meets the Avail, to break the hard line at the edges of the gold paper and assimilate it Avith the rest of the Avail. This material, also, is very suitable for Lustra painting, as described in Chapter XVI. GOLD CANVAS IN OILS. Gold canvas is made of the ordinary picture canvas, which, instead of being coated Avith paint, is covered over with sheets of gold leaf. The best quality is gilded tAvice, and is therefore expensive, but it is very durable, and resists exposure to the air. Its surface is slightly rough, and makes a good background for broad floAver painting, and still better for bold, Avell-draAvn figures. After transferring the design to the canvas, paint Avith ordinary oil paints and sable brushes, as on common can- vas, bnt Avithout attempting to go over the surface a sec- ond time, or to work up the design. Put the tints on at OIL AND WATER-COLOR PAINTING. 241 once, and soften their edges while still wet, so as not to clog the canvas with too much color. Leave the gold as background. Cabinets, corner cupboards, and mantel-pieces can have paintings upon gold canvas inserted into their panels, and the material is handsome for large folding screens. PAINTING TRANSPARENCIES AND LANTERNS. Matekials. Strong Bleached Cotton Cloth. A Wooden Frame. Gelatine Size. Oil Colors. Ivory Black. Flake White. Permanent Blue. Raw Sienna. Crimson Lake. Palette-Knife. Bristle Brushes. India Ink. Sponges, Coarse and Fine. Pumicestone. Old Rags. Quill or Stub Pen. 244 CHAPTER XXI. TRANSPARENCIES AND LANTERNS. Either oils or water-colors can be used in this kind of painting, which is useful for illuminations at public rejoic- ings, and also for hall lamps and piazza lanterns. The effect of water-color painting is poor when com- pared with oil or varnish colors in this kind of work, which is to be seen by the light of a lamp shining from behind. If oil colors are not at hand, however, and it is desirable to get up a patriotic illumination in a hurry, water-colors, mixed with size — the same as used in preparing the cot- 245 246 SELF-INSTRUCTl VE LESSONS. ton cloth to receive the paint — may be used. Chinese wliite should be put upon the parts of the design in half- light or shadow, leaving the high lights to shine with bril- liancy and the full power of their local tints. By thus making opaque surroundings, which will block out sharply the shapes of the light shining through the transparent places, a bright effect is given, but judgment is required not to overdo such opaque parts of the design, and thus turn the whole into a picture pretty by daylight, but im- pervious to the candle-light from within. Otherwise, the directions for painting transparencies in water-colors are the same as with oils. For the latter the materials required are strong, bleached, cotton cloth, wooden frame, gelatine size, gilders’ size, oil colors in tubes, bristle brushes, sponges coarse and fine. The cotton cloth should be line and good, but strong, stretched in a wooden frame made the size required for the transparency. The lantern should be constructed of four or more slight wooden frames, like those of a child’s slate, fastened togetlier with wire eyes. Any carpenter can manage tins; the fourth side should join by a little hook, that the lantern may lie flat in the daytime, as desired. It is l)est to paint the sides separately, and have them joined together afterwards. To imitate the bizarre forms of Chinese and Japanese lanterns, the maker must exercise her own ingenuity. The cotton cloth must be tightly stretched, and sized with gelatine made by soaking one ounce of gelatine, first, for ten minutes in cold water. Then pour off the cold water, and add one pint of boiling water, and stir till all is OIL AND WATER-COLOR PAINTING. 247 dissolved ; use liot, — to make it capable of receiving the oil paint. Two coats of size are enough, if upon trial the paint lies upon the surface of the cloth and does not sink in ; but if it should, add a third coat and let it dry. Rough places in the sizing may be rubbed down with pumice-stone. It is necessary that the cloth should be tightly attached to its frame. For a large transparency, tacks are best at the back ; for a lantern, the cloth should be firmly glued to the frames and left to dry before painting. Draw the design (always previously made with care and accuracy on cartridge paper) directly upon the cloth with Indian ink in a quill pen, or a soft “ stub ” pen. The col- ors and designs used in slides for magic lanterns are really the best guide for imitation in large transparencies, for nothing more detailed will have any good effect. Squeeze each color in a saucer, and mix it with the me- dium described at the end of the chapter, rubbing it well in with a palette knife. Use the brightest colors, and only transparent ones, and attempt only the simplest com- binations. The three primitive colors — yellow, red and blue — and the secondaries — green, purple and orange — are best ; and do not fear to have the outlines of your design sharply defined with black. Fill one of your little sponges with color and dab it on to the cloth as thick as is consist- ent with having some light shine through. You will find it quite amusing to work in this way at night, with gas or a candle behind. Remember that in this case your values are gained by more or less light shining through the col- ors. Thus the highest light or value will l)e the cloth feft white, or slightly tinted with bright light shining through 248 SELF-INS TR UC TI VE LESSONS. it. The darkest value may be black, caused by a coat of paint so thick that no light shines through. You can make your picture effective by only employing these two values, and one between, where the paint is put on just thick enough to show its local color by the light shining throiigh. When a tint is nearly dry, you can take off some of it with the palette knife, to make lights and half- lights in the shape required. For small spaces apply the paint with little dabbers made of a rolled-up rag, and tlie faces of figures can be done with round bristle brushes, relying for detail upon the pen outline with India ink. You are not trying to imitate nature direct, but stained glass, which you will remember is set in leaden casements round each separate piece ; so you need not fear the black outline, for the more conspicuous it is, the better your effect. Landscapes look well, if broadly executed. An effect of distance can be procured by painting sky, mountains and remote objects on one piece of cotton, and figures and prominent foreground objects upon another laid over it. In preparing the cloth to receive paint, the same sizing, viz., gelatine, may be used for preparing it to receive either water or oil colors. The medium used for mixing with water colors may be the same gelatine size used in preparing the cloth, while for oil colors it will depend upon the skill of the artist. A professional artist, who fully understands the effects of colors and how to apply them, may use a medium composed of Japan, varnish, and a little turpentine — this is what is called a quick dryer. It dries so quickly that no OIL AND WATER-COLOR PAINTING. 249 preparation is needed for the cloth, whereas oil, the base of all size mediums, used clear, is the slowest dryer. As the greater number of our readers will be amateurs, I should advise them not to attempt this style of painting until they have acquired some knowledge of colors, and the method of applying them, and then to begin with a slow drying medium, namely, drying oil mixed with a little Japan or varnish. PAINTING ON WOOD AND LEATHER WITH OIL, WATER, AND LUSTRA COLORS. MATERIALS. Prepared Wood and Leather. Brushes. Colors. Glue. Turpentine. Gilder’s Size. PAINTING ON WOOD. I. OILS. Painting upon polished wood, either plain or ebon- ized, or upon a gilded surface, is an effective method of decorating. There is no difficulty about the back- ground, as it is furnished by the nature of the material. It is best when done flat, with a sharply defined outline, marked out with a fine line of brown paint. It is hard to transfer the design to wood; therefore, you had better 21)3 254 SELF-INSTR UCTIVE LESSONS. copy it carefully, taking all precautions to put it in the right place on tlie surface you wish to decorate. Use tube color mixed with turpentine, the quantity of which you must learn to regulate by practice. Tlie turpentine takes away the shiny effect of oil, and gives a dead, Hat appear- ance, which is the result intended in this sort of work. Paint all the broad surfaces with a plain tint of the right color ; when dry, lay on shadow tints and a few high liglits, but do not attempt to give relief and roundness, as it does not l^elong to this style of decoration. Mark out the details and chief outlines with a fine line of brown paint. You can, of course, paint upon this surface with oil colors as upon canvas, and omit the hard outline. This, however, is not the fashion at present. Good easel painting demands a painted background, and is simply wasted in wood decoration. The background for wood painting may be an already painted surface, like the panels of doors within a room, or it may be prepared on purpose. Any ordinary house painter will do this better than an amateur, and you had best admit this, and let him do it. To decorate a room, fiowers may be j^ainted in a realistic way, with all the care and judgment you have at your disposition ; or landscapes may be attempted, with subjects well suited to the form of the panel which is to enclose them. For long door-panels, an effective subject is some long, straggling plant growing up from the bottom panel, appar- ently behind the cross-work wood, reappearing above it, and so on to the top of the door. Remember that, in a room always lived in, these decorations are to be always OIL AND WATER-COLOR PAINTING. 255 in sight; while the merits of the work continue to charm indefinitely, the faults become more and more evident, as time goes on, and more wearisome to the urdiappy family which must contemplate them. A bad water-color may he taken down and put in the fire whenever it grows insupportable ; but a panel of a door must remain year after year. Therefore, my advice about painting a panel in your own drawing-room would be, Dont., unless you are sure you will do it delightfully. II. PAINTING IN WATER-COLOPvS can be done with body color, or by applying a lajmr of Chinese white diluted with Tilton’s Blending Fluid, just as in painting on silk and velvet. The same flat method as advised above for oils, with a decided, firm outline of brown or some dark color, is the best. This may lie highly polished at a carriage-maker's, to give a brilliant, inlaid effect. The Lustra paints described in Chapter XVI. are very effective on wood; and the process differs in no way from that already given. III. LEATHER PAINTED IN OILS. Stamped and gilded leather was a favorite material for hangings in the fifteenth century, and later. At the present time, painting upon leather has been revived for panel and cabinet spaces, and the effect of the raised and painted design upon a gold or silver background is very good. The leather used is morocco. It is sold in skins, which 256 SELF-INS TR UC TI VE LESS ONS. measure from twenty-one to twenty-eight inches in width, and somewhat more in lengtli. The skin must be well moistened, and put under a stamping-machine with a de- sign of figures, game, fruit, or some conventional subject. The leather already stamped and gilded, however, can be liought at an upholsterer’s, which saves the trouble of both. If you gild it yourself, size the background with gilder’s size, and press the gold-leaf down on it carefully. Leave the pattern untouched ; and when the background is dry, paint the raised parts in oil colors. The grain of the leather makes a good surface. Use sable brushes, and soften the paint into the leather, putting on as little paint as possible, and allowing the local color of the leather to serve as one of your tints. If yoii have seen a nice piece of painted leather work, you can easily imitate it, observ- ing that the effect is to tint the leather, not to overlay it with masses of paint. Put on only one coating of color, which is subservient to the leather and gilding. Dark colors and rich reds, with only very moderate high lights, are allowable. When the leather is painted, it must be glued into its jDOsition with strong, hot glue. A slight wood moulding round its edges, fitted to the space it is to occupy, will finish the effect. Lustra paints are very pretty for leather, as the metallic l)rilliancy they possess is well brought out by the material. STENCILLING. MATERIALS. Stout Brown Wrapping or Cartridge Paper. Colors. Stencil or Scrub Brushes. A Square of Glass. A Sharp Knife. 258 CHAPTER XXIII. STENCILLING. A KIND of wall-paper called “ Ingrain,” also common brown wrapping-paper, “butchers’ paper,” and the dark blue paper used for wrapi)ing cones of loaf sugar, are all capable of decoration. The back of the cheapest wall- papers is also of a good texture for amateur ivork. The natural shades of those papers are retained for back- grounds, and they can be combined to paper a room in such a manner as to break up the wall into dado, middle, 259 260 SELF-INSTRUCTIVE LESSONS. or frieze of contrasting or harmonizing shades, without any more expensive material. For this object the coarser and rougher the paper the - better the effect. Arabesque or geometrical designs are the most effective, and to make them you must prepare your own stencil-plate, which is easily done, if you are skilful in the use of a sharp kirife. Select a good arabesque pattern wherever you can find i^, enlarge it, if necessary, to the proportions suited to the wall it is to cover, and trace it on thick strips of brown paper, long enough to secure the repetition once of the pattern, so that it may join accurately. Lay this marked paper on a large piece of glass or tin, as the best thing to cut upon, and with a sharp knife cut away all the parts between the lines of the design, so that only those parts of the paper that form the background of it remain. As this is more puzzling than you think, in most arabesques, you will have been wise to roughly cover the design itself with a shading of charcoal, and then take care to cut aAvay only the paper left brown. Before cutting out the design, see that no part of the pat- tern thus cut through will take away any of the ground with it, as will happen in the case of a circle within a circle, for instance. It is best to choose a design that is all connected together, to avoid this trouble ; in fact, only such are Avell adapted for stencil work; but you can, in troublesome cases, leave narrow bars of paper across the open parts (technically called “ ties ” or “ tags”), which must be painted over after the stencil-plate is renewed. Prepare several strips of the pattern, and make sure OIL AND WATER-COLOR PAINTING. 261 that they will join each other correctly, for the continuous- ness of the design. IN'Ieanwhile your papers have been applied to the wall by a paper-hanger, who may be yourself, if the manage- ment of paste-brushes is among yonr accomplishments. The color may be made Avith finely ground powder paints, mixed Avith glne size and Avater. Melt the glue size in a small quantity of hot Avater over the fire ; Avhile hot, strain it through a coarse cloth, and then mix it with color until it is stiff enough not to run, taking care not to get it sticky Avith too much glue. One color is all that can be used with one stencil-pattern. Take a short stiff scrub brush in the right hand, and hold the pattern against the Avail in its right position Avith the left hand, fill the brush Avith paint and carefully rub it over the broAvn paper and through the openings in the pattern upon tlie Avail, Avitli a straight firm stroke, Avithout streaks or lines. The pattern must be held very tight, or the paint Avill run under it and make an untidy jagged edge instead of a good line. This is Avhy each strip of the pattern should be short ; you cannot control a large one Avith the hand, and should yon fasten it Avith tacks or pins, the holes made by them Avould shoAV on the Avail. Finish an arabesque border with a straight line also cut out of broAvn paper and stencilled on. This may be an- other color, and thus give Auiriety. I advise using stencil patterns for all arabesque or geo- metrical designs of any size ; in fact small ones can be neatly cut out Avith scissors. The practice insures accuracy, and if you have cut out a pattern, once for all you have 262 SELF-INSTR UCTI VE LESSONS. it, and are spared the fatigue of mind needed each time in copying a regular design to make sure of repeating it cor- rectly. All tlie rough papers above mentioned can he used for screens, wall panels, and s}uall objects, painted with oil col- ors in tubes the ordinary way. The rough paper takes the color easily. No painted background is required, as the natural tint of the paper supplies one, and there is no dan- ger of the color spreading, as on silk, velvet, and other textiles. Stencilling may be done also in Avater-colors. The cost is trilling, as poAvder colors, size, and Avater are all that are required. They can be applied much more easily and quickly than oils, but are not so durable, and so should be used only in places not likely to be rubbed against, and dampness is fatal. Stout cartridge paper is best for making the patterns to be used in Avater color. The powder colors, as in the pre- vious process, are the common ones produced in an ordi- nary painter’s shop, Avell and finely ground. They must be mixed Avith Tilton’s Blending Fluid. The various shades of color are made by adding Chinese Avhite to the different tints to make them light, AAdth black to deepen them. The four colors chiefly used should be indigo, Indian red, ochre, and Avhite. They may be deepened and enriched to produce various shades. Tlius, cobalt blue is made light Avith Avhite, and dark Avith inAligo ; Indian red is made light Avith Vermil- lion, and dark Avith black. The complementary colors can be used to their full effect in this style of decoration. The simplest combinations are the best. WHAT TO DECORATE. vr CHAPTER XXIV. WHAT TO DECORATE. Havihg now described in general tlie method of work- ing with transparent water-color, body color, and oil paints, I will give this chapter to some suggestions of what may Im best done by the different methods, and which medium is the best for each bit of decoration. And first, let me say, the greater the skill the less need of great usefidness in the object it is expended upon. “ A thing of beauty is a joy forever,” and a slight design thrown by the hand of genius on a scrap of paper will be treasured after all the panels and fire-screens of inferior workmanship liave gone up chim- ney. But if you paint only pretty well, you may compass a wall-pocket or an umbrella stand, which your friend will prize provided “she wants one dreadfully.” Try not to give her a “ dreadful ” object, liowever, because she wants one dreadfully. 265 266 SELF-INSTR UCTI VE LESSONS. All the things execTited on drawing-paper or cardboard, in simple moist colors, are pretty if they are executed pret- tily. Christmas-cards, panels, wall-pockets, hand-screens, all these things — their name is legion — will hold their own, j^rovided they are executed with taste. Each year brings up some new whimsical application of design to trifling uses. A panel, or a large Christinas-card should be painted in a realistic manner, as well as you know how. A little landscape prettily executed on a piece of drawing paper about 5+7 inches, and mounted on tinted card, leaving a narrow margin, with perhaps a pretty little bow of taste, tied with taste, is a pretty present. The designs for these need not be original, but they gain a certain sentiment if transferred from your own summer sketcli-book, which may compensate for a lack of technical skill in their exe- cution. A little device, not yet too common, is that of a close bunch of flowers, nicely painted in a realistic manner on thick drawing-paper. For siich things drawing-paper with the smoother surface is best. A design should be chosen which is compact, without any tendrils or project- ing leaves, and having a positive bunch of stems below the flowers ; and the colors should be massed well, that is, the flowers crowded together, not broken up, so as to look spotty with leaves interspersed, with some leaves below the flowers. It should represent such a little bunch of flowers as one would like to hold in the hand, like mignon- ette, sweet violets, or our spring Mayflower. After the bunch is painted, cut it all out with sharp scissors, follow- OIL AND WATER-COLOR PAINTING. 267 I OIL AND WATER-COLOR PAINTING. 269 ing all the iucleotations of the design; it is in doing this that you will be glad to find the outline simple and re- quiring not too delicate work for the scissors. Ciit another piece of drawing-paper exactly the same shape, so that the two will fit precisely ; tie them together with a pretty bow of narrow ribbon, to harmonize with the color of the flowers, and on the inner surface of the wliite shape write whatever sentiment your heart may dictate, or your “Familiar Quotations” may afford, for the friend to whom the little gift is dedicated. The custom of decorating small volumes of poems with little water-color designs is still pleasant, although its freshness is somewhat worn off, since the time when a few amateur artists hit upon it. You should choose not only a book of poems which lend themselves to small decora- tions, besides of course considering their literary value, but such as are printed on roughish paper with good broad margins. Yon will do well to pass a damp sponge over the whole page upon which you mean to put a decoration, although you may only paint upon a small part. After the whole book is finished, it may be pressed iinder heavy weights or in a copying-press, to remove the danger of curling leaves. Restrain your decorations chiefly to the margin, but you may let a tendril or a wandering bee stray over the print, if you are using transparent colors ; or you may let the trailing stem with its leaves seem to go under tlie stanzas and emerge between them. Feathers, birds, gaudy insects, butterflies, are suitable to decorate such books ; the remot- est allusion to the feathered tribe will justify your intro- 270 SELF-INS TR UC TI VE LESSONS. diujing a peacock’s plume, if you know how to do it well. A little landscape with a distant sail will do for a “ tail- })iece ” in the blank space, after ships have been even remotely mentioned, and so on. For the sake of indivi- dual sentiment, designs should he your own, original, but 1 would not have you “do them just out of your head,” hut copy them from designs you have previously made from nature, reduced to suit the space now to be filled. In general, things that may be shut up and put away from dust and exposure may be painted on paper or card with transparent water-colors, on things intentionally evanescent, which may be thrown in the fire as soon as they cease to look fresh. You may use moist color upon white or pale surfaces of silk, satin, or velvet, for these will live in drawers where they will keep fresh for a long time; sachets, handkerclnef sacks, glove-boxes, on pale- colored surfaces, and all these articles are lovely if taste- fully decorated and well made up; more artistic, perhaps, painted than embroidered, although embroidery agrees better with the needlework required in completing them. Tilings which must be washed cannot be painted in water-color, body color, or oils. Tilton’s Liquid Colors are strong enough to stand moderate washing; but articles painted with them will have a sadly dilapidated appeai’- ance after washing, if their outlines are not enforced with needlework, in the same way that printed designs of cre- tonne are sometimes lined round with chain-stitch. The effect of this combination of needle-work and painting is very pretty, and beautiful curtains and bed-spreads will doubtless be made in this way, when the Liquid Colors OIL AND WATER-COLOR PAINTING. 271 have fully established their reputation for firmness and permanence. Large flowers should be used for such pur- poses, like the “ sprawling ” designs on old-fashioned chintzes. The degree of “■finish” such coloring can bear can be well learned by studying effective bits of gay cre- tonne. Observe how sharp and clear the outlines of flower and leaf are, how distinct the separate values, how well shaped every space of color and of high light, Avhich is often white cloth left uncolored, in such sharp, clear forms that it seems to bring that part of the work nearer the eye than tlie rest. There is no weak-minded softening of values, one into another, very little gradation even of tints. Perhaps you demand more blending of values into each other ; this may well be, but there should always, in your work, be a moment when it looks sharp-cut and clear like this ; afterwards you may soften the sharpness, but take care not to lose the clearness. Perhaps you will object that you aim higher in art than to copy the me- chanical merits of a piece of printed cotton; but I shall reply that you will do well to be able to imitate its excel- lences, and that after you have produced an original piece of work as effective and true to nature as a good piece of cretonne, you may aspire to improve upon its execution in your own work. “ Splashers ” or “ wash-backs ” are very pretty, to protect the wall of a bedroom behind the washstand, done with washing colors, upon crash or something stout and strong. A yard-wide Turkish towel, cut in two, will make two wash-backs. The fringe and border hang down for the bottom of the wash-back. The upper edge must be 272 SELF-INS TR UCTI VE LESSONS. hemmed. An effective design is large, purple iris thrown across the space, laid in broadly with litpiid colors, and worked round all the outlines with outline-stitch harmon- izing in tone Avith the tints of the paint. As you can make two out of one large towel, one may be in the wash every Aveek. Many things of this sort readily suggest themselves to he done on white Avashing-material with liquid colors confined around the edges Avith needlework. Body colo’r, or gouache, is more enduring than transparent color, for the reason that it is used on dark backgrounds, Avhich do not soil so easily as the light ones required for transparent paints. Everything made of dark silk, satin, or velvet, may he best decorated with body color, unless it is to be exposed to much rubbing or roughness, Avhich with these materials is not likely to be the case. All the things which are embroidered by artists of the needle may be as well decorated in body color Avith the same set of de- signs. In painting it is usual to be a little more realistic than with the needle. Embroidery is more permanent than body color ; on the other hand, the colors of silks and wools used in embroidery are more likely to fade than the tints of the paint-box. All Avater-color productions on wood may be covered with a thin coat of shellac, and thus in a measure protected. It is not very satisfactory to do tiiis, as the process gives an artificial shiuiness to the coloring. The catalogue of things that maj^ be thus decorated is endless, limited only by the number and variety of straight lines in any room capable of receiving a border of silk or OIL AND WATER-COLOR PAINTING. 273 velvet. Lambrequins, table-cloths, clock-carpets, banner- screens, and the like, may all be gracefully ornamented with strips of painted subjects. For articles which cannot be put away on sweeping-day, taken down, shaken, folded up, and laid in a drawer, both body-color and transparent color (and, indeed, silk em- broidery) are too delicate to be used in decorations. Panels which are permanently let into parts of the room, or into wall-cabinets, large screens made of gold canvas, decorations painted directly iq)on doors or window-frames, — all these should be painted in oils, wdiicli resist the at- tacks of dust-brush and broom, and bear the application of soap and water. The ugly marble slabs at the sides of old- fashioned chamber fire-places may be painted in oils effect- ively. It may be done with equal effect in Avater-colors, but when interjection, or some other exclaiming maid, comes in with her broom and scrubbing-brush, she may destroy in half an hour the work of a week. Oil painting is secure from destruction in such oases, and for such things may be appropriately used. It seems to me unsuited for painting on plush and velvet, a process entailing a deal of trouble and paint without adequate results. The surface of these two materials is so rich and beautiful as to be injured rather than ornamented by over- lying coats of paint. Plush and velvet may be better em- ployed as the body of table-cloths, mantel-cloths, and the like, with borders of decorated silk or satin. The con- trasted contact of the two materials enhances the effect of both. The painting of fans is a most legitimate use of color in 274 SELF-lNSTRUCTl VE LESSONS. decoi'atioii, aud it might well be more in vogue than it is at present. Antique fans are esteemed great treasures, and they are valuable for their historic interest as well as for their artistic merits. An old fan is full of romance and sentiment associated with its old-time artist and wearer. The most distinguished artists have not scorned to devote their most delicate touches to this work. Collections and exhibitions of fans show specimens from every century running l)aek to Queen Elizabeth’s time. They mark, in their way, the progress of art at their different periods. Our century and country should contribute likewise their share to keep up the historic chain. Fans are now made and bought so cheaply, und so well, that amateurs are not much in the habit, with us, of working in this branch of art ; but we should not leave the pretty toy in the hands of the Japanese, or the Paris shop-keeper, however well tliese ]uay supply the demand. A fan should have the association of individual sentiment attached to it. You may not inlierit from your great-grandmother a delightful old fan with slender ivory sticks, decorated, by the hand of Watteau himself, with an arch shepherdess and her kneel- ing swain; but you may have inherited that grandmother’s taste cultivated by contemplation of that pretty toy, and her skill in execution. Fans should be painted before being mounted. Cut or ])ull to pieces a cheap paper fan, of the size and shape you like, and make this a j)attern for the one you propose to paint. The material is fastened down upon a board, and painted according to your knowledge of the texture se- lected to work upon. OIL AND WATER-COLOR PAINTING. 275 Paper, linen, silk, satin, or vellum is used. Vellum is the best surface for the brush, where great delicacy, accu- racy, and high finish are to be employed. A fan may suit- ably receive all this care ; for it is held in the hand at periods of leisure, when it will receive all possible examin- ation and admiration, if it deserves it. Upon the other materials mentioned, body colors are best used, even if the color is white. Black silk or satin fans are effective, done in one set of colors only, as “ gris- aille,” for instance ; i. e., grays mixed more or less with Chinese white, and the highest lights pure Chinese white. The shadows may be warmed with touches of brown mad- der and pink. With skill, transparent colors, used very thick, not wet, give a very pretty effect, even on dark silk surfaces. MORE ARTICLES TO DECORATE, WITH DIRECTIONS FOR MAKING HP. Panels for Clocks. — Take a piece of pasteboard the size you wish the panel, cut a piece out the size of the dial of your clock, then cover with velvet or plush, and paint some pretty design on one side. Thermometers and Calendars. — Materials: paste- board, velvet, plush, satin, or silk, satin ribbon, small silk cord. The foundation, of pasteboard, may be cut in any shape, — round, square, oval, or ci’escent shaped. Draw the covering over smoothljq then sew on the ther- 276 SELF-rlNSTRUCTlVE LESSONS. mometer or calendar (small printed calendars can be bonglit for this purpose), putting a bow of ribbon at each end if it is a thermometer. Sew the lining on over and over, and catch on the silk cord to cover the stitches. By covering a narrow strip of pasteboard, and sewing on to the back, it can be made to stand up. Brush-Cases. — Two pieces of heavy pasteboard as wide as the brush is, at the bottom, and half as wide at the other end; point the widest end; cover the back side with cambric, and the other with silk, satin, velvet, or plush, and paint on it; sew the two pieces together at the sides, and finish with plaited satin ribbon or cord. Fasten ribbon or cord to the widest end to hang it up by. Another and very pretty one is made by taking a small picture-frame and fitting the case into it, the case consist- ing of two pieces of pasteboard the width of the frame, but one being three inches longer, so that when they are sewed together at the top and bottom the outside one will give room for the brush. Cover the outside with satin, plush, or velvet, and paint. Slipper-Case. — The foundation may be made of pasteboard and covered, but a carved frame is prettier. If of pasteboard, make the back 16 inches long by 10 wide, and the pockets to contain the slippers the same width, but onl}^ 9 inches long. The pockets are sewed on to the back, and finished with cord. Umbrella-Case. — A piece of momie-cloth as long as an umbrella, and about 8 inches wide, pointed or rounded at the bottom ; another piece 6 inches, more or less, shorter, and a little wider ; bind the edges together with OIL AND WATER-COLOR PAINTING. 277 ribbon or braid, and stitch through the middle ; paint on each side and on the top. ShaviiSTG-Cases. — A piece of thick Whatman paper or pasteboard covered with silk, satin, plush, or velvet, the foundation cut in any pretty shape, 7 by 5 inches ; finish the edge with satin ribbon or cord, and fill with white or colored tissue-paper cut the same size as the case. Fasten ribbon or cord to the upper corners to hang it by. Tilton’s Outline Designs can be used for the outside, and painted, or the designs prepared for iidaid painting, instead of Whatman paper, etc. Bag fob Soiled Linen. — Make a bag of momie-cloth half a yard square ; if you wish it very pretty, put on bands of velvet at top and bottom, and let the painting come partly on the bands ; hem at the top, and fringe at the bottom. Put a strong wire or curtain-stick in the hem at the back to keep it out straight, and liang with ribbons the color of the bands. Shopping-Bags. — Half a yard of satin, plush, or vel- vet ; line with contrasting color. Make two welts half a finger from the top, and run in two ribbons to draw up by. Another. — Three pieces of velvet, satin, or plush 5 inches wide, 8 long, pointed at the bottom ; sew together and line, and finish with a tassel on each point. Paint each piece. Tobacco-Pouch. — A piece of plush, velvet, or momie- cloth, 10 inches long by 6 wide ; cut one end like the top of an envelope. Line with silk, bind, or finish, with a cord; sew the sides together; tie the lap with narroAV ribbon. 278 SELF-INS TR UC TI VE LESSONS. Sunshades. — Any plaiu silk or satin parasol could be done in oil-colors. Straw Hats. — Shade-hats for ladies and children would be very pretty with field flowers painted in oil- colors. Mantel-Scarf. — A piece of felt, plush, or satin — for a bedroom, muslin or satine — as wide as the mantel or bracket shelf, and long enough to admit of painting the ends. If felt, put a band of plush on the ends, and small tassels. Lambrequins. — Cover the mantel, if a wooden one, with a strip of the material of which you are to make the lambrequin, which is simply another strip half a yard wide. If velvet, plush, or satin, line with stiff cambric, and paint them. The lambrequins are fastened on to the shelves with brass-headed nails. all-Bracket. — A very pretty bracket can be made by covering pieces of pasteboard with silk or velvet, and finish with balls or tassels. If made of felt, finish with a band of plush. Make the [>ainting come from one side. 'When finished, tack on to the slielf with small brass nails. Splashers. — These can be made of satine, muslin, or oil-cloth, three fourths of a yard long and the width of the back of the commode and washstand. Wall-Pockets. — Two wooden frames the same width, but one longer than the other, filled with straiv matting, velvet or plush stretched over a thin board, and fastened together with cord. Another is made of a round fan covered with satin, having a pocket of the same. OIL AND WATER-COLOR PAINTING. 279 Banner and hand-screens are used to protect the eyes from too strong light. Folding-screens are used to separate one part of a room from the other, or to keep off uncomfortable draughts. They are often placed in dining-rooms by the door of the china closet. Banner-Screen's. — - These are made of any plush, silk, satin, or velvet, finished with silk cord. The stands for mounting them are kept at all fancy-shops. Hand-Screens. — Tliese are simply fans covered with something and painted. For many of these articles, the inlaid velvet, or any of the Outline Designs, prepared and sold by S. W. Tilton & Co., if prettily painted, would be very effective. Folding-Screens and Fire-Screens. — For both of these the panels may be covered with paper, plush, satin, velvet, felt, straw matting, and fitted into a framework of wood. The design must be large, and painted in oils. These are placed in front of open fireplaces. Fireplace-CupCtains. — These are made of satin, silk, or plush which will harmonize with the other fittings of the room, and are run on a brass rod in front of the fire- place to conceal it when there is no fire. Portieres. — • Plush, satin, velvet, or felting, or any heavy material. A large design can be jiainted on the entire portiere. But a broad band, say from 16 to 18 inches, 9 inches from the top, of some contrasting color, and painted, is more effective. Window-Curtains. — Tliese may be decorated like portieres, nr made of muslin, with either a border of flowers or flowers scattered over them. 280 SELF-INSTE UCTI VE LESSONS. Clothes-Baskets. — The tall baskets used for soiled clothes can be rendered ornamental by painting some large design on them. Waste-Baskets and Catch-alls. — -T hese are both useful and ornamental in every room, but baskets are the prettiest ; they can be made by cutting j^ieces of paste- board the right size and heiglit, covering with momie- cloth, felt, or velvet, paintiiig each side, then sewing together, and linishing with a cord. PiANO-CovEKS. — These are generally made in these days in the same way as mantel and table scarfs. Clock-Carpet. — A piece of felt, velvet, or plush, a little Avider than the clock, put under it, and long enough to hang over the mantel, this end being painted. Tidies. — ^T he varieties are almost endless, also the materials used. Silk bolting-cloth in stripes, Avith alter- nate stripes of lace, and edged Avith lace; felt, finished Avith plush ; silk or satin, with lace. Boll for Feather Dhstbr. — Cover a piece of paste- board as long as the feathers, and Avide enough to go round them, Avith velvet, and clraAV the duster through the roll Avhen liung up. Music-Roll. — Make the outside of velvet or plush ; line with something stiff first, then AAuth silk, and put cord on the edge, or bind Avith ribbon. Frame-Borders. — Frame-borders are the mats over pictures, either mounted in frames, or bound, as in passe- partout. Buy or make for yourself a pasteboard mat, and cover Avith velvet or plush. Christmas, Easter, Birthdaa^, or Valentine OIL AND WATER-COLOR PAINTING. 281 Cards. — These can he bought of S. W. Tilton & Co. ready to paint; othenvise make of wide satin ribbon, fringed at each end. Paint on the satin, and tie on a little card marked with the day. SoFA-CusHiox. — Made of crazy patchwork, with centre- piece painted. Another way is to make the covering of plush a yard long, and one-half wide, and tie with satin ribbon a quarter of a yard from the top. Toilet-Sets. — Pin-cushion and mats covered with silk or satin, painted, and finished round the edge with plaited satin, ribbon, and lace. Another way is to have a mat of lace to cover the cushion, except a place in the middle, which can be painted. Bureau-Scarfs. — Can be made of momie-cloth or satine, the painting coming on the ends. Pillow-Shams. — Are often made of crazy patchwork, with many of the pieces painted. They migiit be made like pin-cushions, — lace over silk. Glove and Handkerchief Boxes. — Make the box of pasteboard covered with satin, plush, or velvet, and paint on the top and sides. Boxes can be bought at some shops all ready to paint. Handkerchief Sack. — Take a square piece of satin, velvet, or plush, say half a yard square; line with quilted silk or satin ; finish the edges witli cord or ribbon; sew a ribbon on each corner, and tie from ojiposite corners. Anotlier is a small satin or plush bag suspended betAveen three bamboo, gilt, or ebonized sticks. Key-Boa UD. — Cover a piece of stiff pasteboard with plush. Make six small holes in this, and put small brass 282 SELF-INSTE UCTl VE LESSONS. liooks through them ; fasten them in firmly, and line the board with silk or satine. Hang up with satin ribbon. These are very useful for button-hooks, keys, and small brushes. Watch-Cases. — Cut the shape you wish out of paste- board; make the little pocket for the watch 3 inches long and 1 inch wider than the bottom of the back, and cover with plush or velvet; finish with cord or ribbon. Table-Mats. — Common straw table-mats can be easily painted and made very ornamental. Table and Sideboaeh Covers. — Make of felting or Turk’s satin ; have the edge pinked, or finished with plush. Duster Cov^ers. — A bag made of silk or satin, which holds the duster. D’Ovlies. — For hnger-bowls, can be made of jean or satine. This should be a quarter of a yard square, and fringed. Easel, Mirror, and Picture Scarf. — Either of these can be made of satin, silk, velvet, plush, muslin, or bolting-cloth. They should be from fi yards to 2 yards long and | of a yard wide. Line velvet or plush with silk. Edge muslin or bolting-cloth with lace. Paint the ends, and drape gracefully over the easel, mirror, or pictures. Shawls. — A square of cashmere or flannel painted in the corners. Slumber-Robe. — Can be made of heavy flannel, felt, or crazy patchwork, filled with down or wool wadding, and lined with silk, flannel, or cashmere. Slumber-Roll. — A round cushion covered with plush or satin, and fastened on to the top of the easy-chair. OIL AND WATER-COLOR PAINTING. 283 Carriage Shawl. — Made of very heavy flannel, with painting in the centre. Blanket for Baby-Carriage. — Made like the above, only of some delicate color, and bound with broad satin ribbon. Dog-Blanket. — Make of flannel, felting, or broad- cloth. Panel for Doors. — A piece of plush, satin, or felting the exact size of the door-panel can be neatly tacked or glued on to the wood. Lamp-Shades. — A piece of silk long enough to go round the shade painted ; shirr at the top by running in narrow ribbon ; put lace at the bottom, or knot hi a fringe of knitting-silk. Slippers. — These can be made of velvet, plush, or broadcloth. Fans. — Plain satin and silk fans are among the pret- tiest articles to decorate. Palm-Leaf Fans. — Are very effective for wall deco- ration. Much the easiest way is to take them to a paint- shop and have the background put on it, then put in the design yourself. They are very pretty gilded, or bronzed. Blotters.- — ^Take six pieces of blotting-paper the size you wish ; tie them together with satin ribbon, and paint the first one, which forms the cover. Sachets. — A piece of satin ribbon i yard long'and 1 yard wide. Fringe the ends, and sew the sides together halfway up, and trim round with narrow lace. Fill with cotton sprinkled with sachet-powder, and tie with narrow 284 , SELF-INSTRUCTIVE LESSONS. ribbon below the fringe. Two of these made of wider ribbon or silk are tied together, and hung on an easel or the back of a chair. Book-Covers, Portfolio-Covers, and Photograph- Cases. — These are all made in the same way. A piece of satin, velvet, or plush long enough to be turned up at each end, that the book or photograph may be slipped in. Tables. — Covered with plush are very ornamental. Have a carpenter make a pine table, round top, or shape of clover leaf, with three legs crossed in the middle ; ebo- nize the legs, and tie with bunch of briglit ribbons where they are crossed. Cover the top ivith plush or felting. Milking-Stools. — These are now used as parlor ornaments. Take them to a painter and have them jiainted or gilded, then put some design on them, and tie bright ribbons round the legs. Sometimes these stools are upholstered. DIKECTIONS FOB. PAIHTIHG THE CUTS AT HEAD OF CHAPTERS. The cuts which are at the beginning of the chapters may all be used as exercises in color, — the landscapes for prac- tising the wet washes of transparent water color described in chapter , and the flowers for trying the different kinds of paints. The flowers also may be used as em- broidery patterns, as I will explain with each. OIL AND WATER-COLOR PAINTING. 285 CHAPTER I. The illustration which heads this chapter is a little land- scape. You may practise enlarging it by putting a little scale in the corner as described in chapter III. Paint a gradated sky with cobalt at the top, running down through yellow ochre to the foreground, Avhere it may be changed to blue for the water and gray for the land. The hill in the foreground shoidd be colored bright green (gamboge, indigo, and a little touch of light red). The grove in the middle distance should be painted a bluer green (cobalt and yellow ochre), and the hills in the distance a pale purple gray. The rock under the tree should be light red, with a cool cobalt shadow. CHAPTER II. Tins pale flower is pretty for painting on light silk with transparent colors. The upper flower will show on a light background if painted with delicate tints of crimson lake. The flower, relieved by its own leaves, may be left nearly white. The tips of the third flower may be pink, the rest left white, relieved by the leaves. The green, mixed with indigo and gamboge, should have plenty of crimson lake added to it, as the leaves of the anemone are more crim- son than green. CHAPTER III. A gradated sky running from deep cobalt to rather bright yellow ochre at the horizon, changing to blue again for the waves, and to gray for the sandy shore. The rocks may be liglit red, with cobalt mixed in it for shadows. 286 SELF-INSTR UCTIVE LESSONS. CHAPTER IV. This will make a pretty continuous pattern if you take a little pains to alter it where it would join. It may be used for })ainting on dark velvet with thick gouache color, as crimson lake or the liquid carmine combines well with Chinese white. The leaves should have a good deal of lake in them. CHAPTER V. Gray clouds, the water gray, the distant hills pinkish- green, of cohalt, yellow ochre, a little lake; the bars a dark gray, made of cobalt and light red ; the foreground green, relieved by glimpses of light red. CHAPTER VI. This design would be pretty good for Kensington stitch, there are so many long marks in it, which you can make with a pen or the pointed stick. The colors should be light pink for the flowers, and blue-green for the leaves. You can easily alter the shape of this design by lengthen- ing the stems. CHAPTER AHI. This great anemone, so different from our delicate ones, grows abundantly in Syria and the south of. Europe. It should be painted with rich scarlets, such as you can find among Tilton’s liquid colors. The centres are nearly black, and the leaves bright green. CHAPTER VIII. Paint this for variety with a gray sky, running into OIL AND WATER-COLOR PAINTING. 287 yellow over tlie water ; the hills gray against the yelloAv, The trees may be bluish-green, to represent willows ; the sloping ground at the left a brighter green, and the road light red in tone to relieve the sombre grays. CHAPTER IX. This flower is an odd color, as it grows in Egypt — a sort of chocolate. It would be effective done in Lustra, with chocolate for the flower and buds, and some gold in the green leaves. It may be made a continuous pattern with very slight alteration in the direction of the stems. CHAPTER X. A little landscape which you may paint to your taste, with, for instance, dark blue mountains against a glowing vellow sky ; brighter greens in the foreground. CHAPTER XI. This Spanisli magnolia is here only about a third of its real size; the flower I drew it from measured ten inches across. Thus enlarged it would be effective in silver lustra paints, with a gold centre and bronze and green leaves. CHAPTER XII. Landscape, with bulrushes ; — which may be painted in dark browns and greens against a blue sky, the river gleaming white in the distance, dark blue in front. CHAPTER XIII. Tiiis landscape may be rather lurid in effect, with a crim- son-tinted yellow for the sky and water, the rocks and beach dark against it, painted with cobalt and light red. 288 SELF-INS TR UCTI VE LESSONS. CHAPTEE XIV. These little Alpine flowers are intense ultramarine blue, with bright green leaves. The pattern is continuous, and would be pretty painted in Tilton’s liquid colors on the straight edge of a towel or some washing material. CHAPTEE XV. This may l)e painted, just as it is, in transparent water- color — bright greens made of Antwerp blue and gam- boge. With a little adaptation it would go well on a fan of white paper or silk. CHAPTEE XVI. The receding road with poplars will look well against a clear sky, gradated from cobalt blue through yellow ochre to rose, made by adding a little pink. The trees on the left should be darker, with more blue in them than those on the right. Bright green turf should run down to the road, which may be colored either gray or light red. CHAPTEE XVII. This will be best on a background, leaving the flowers white. If the background be not too dark, the green leaves may be painted over it. These snowdrops are the size of life. CHAPTEE XVIII. This will serve as good practice for a clear gradated sky reflected in the water. Tlie sails may be painted dark gray against the background, or left out white. OIL AND WATER-COLOR PAINTING. 289 CHAPTER XIX. Cobalt sky, gray clouds, bright green bank, yellow ochre clilf, gray sand, a white curve to indicate surf, and blue- gray water. CHAPTER XX. Cobalt with a little crimson lake will make these violets; they are rather brighter than the New England ones. The stems should be light yellow-green and the leaves darker. CHAPTER XXI. The sky clear cobalt, somewhat gradated. The rock gray, almost yellow ochre on the light part, the tree dark green, with touches of light red, and light red in the fore- ground. The hills warm gray, a little blue on the water. CHAPTER XXII. You may make a pretty gray effect of this by painting almost everything in grays, except the rock, which may be light red, with cobalt in the shadows. CHAPTER XXIII. I should like you to study the tints of some real rose in painting this, to put in practice the laws of complementary color in delicate shading. The design may be enlarged about one third. CHAPTER XXIV. This is a continuous pattern. Enlarged it would do for Kensington stitch painting. EXPLAXATIO^^^ OF THE TECHNICAL WORDS USED IN THIS BOOK. Arabesque, or Moresque. Ornaments with which the Arabs adorned the walls, ceilings, and floors of their buildings. Fruits, flowers, mathematical figures, in short, everything except the forms of men and animals, which were forbidden by the prophet, were thus fantastically used by them. Artist. One who exercises the fine arts, meaning thereby the plastic arts especially. This term is by some writers made to include the musi- cian, and by others even the poet, but it is properly limited to the sculptor, painter, and architect. Decorative Art. A generic term used to designate that branch of the fine arts which is exclusively devoted to ornamental enrichments of every kind. CiiiARO-OscuRO. That important part of painting which relates to light and shade. The aim of painting is to form a picture by means of light and shade, and by colors and their gradations ; the more truly painting accomplishes this end, the more artistic it will be. Dragging. The brush, being charged with thick jiaint, is held loosely in the hand, and dragged over certain parts. Foreshortening. The art of representing objects on a plain surface as they appear to the eye, depending upon a correct knowledge of form, perspective and chiaro-oscuro. It is one of the most difficult studies in the art of design, and, when executed with skill, constitutes the excel- lence of the master. Gi.azino is that part of the practice of oil-painting which consists in the application of an extremely thin layer of color over another for the purpose of modifying its tone. By glazing the painter can produce cer- tain effects, such as transparency and mellowness, impossible with the 292 EXPLANATION OF TECHNICAL TERMS. aid of solid pigments alone. The color employed in glazing should be of a darker tint than the solid pigment over which it is laid. Half-Lights. The lights of a picture intermediate between the high lights and shadows. Harmony. The principal means of xrroducing effect in works of art. It consists in the unity, connection, similarity, and agreement of one part with another under the relations of form, light, and color. High-Light. The brightest light on an object or in a xiicture. Lambrequin is a French word, defined as “the ornamental covering for the helmet of a knight.” Anglicized, it means a piece of drapeiy pendent from a shelf or from a window for the purpose of ornament. Lanhscape. a general view of any portion of the open country not comprehending street architecture or views of edifices merely. Local Color. See page 110. , Medium. .The liquid with which xrigments are mixed and made ready for the artist’s use. OrNjYment. All the accessory jiarts of a work which have the merit of adding to its beauty or effect. Ornament, in the true and proiier meaning of the word, signifies the embellishment of that which is in itself useful in an apiiroxiriate manner. Yet by a iierversion of the term it is frequently aiixilied to mere enrichment, which deserves no other name than that of unmeaning detail dictated by no rule but that of individual fancy and caiirice. Palette. A piece of wood, usually of walnut or mahogany, ux>on which the painter lays the pigments with which he paints his pictures. To “set the pialette” is to lay ujion it the xiigments in certain order, selecting them according to the key in which the iiicture is to be painted. In “The Art of Painting Kestored,” an excellent idan of arranging the palette is given, the order being to commence with white, and then pro- ceed through the yellows, reds, and blues, to black, by which every pos- sible tint can be comxiounded. Pigment. Paints, colors ; the colored material used in painting. They are jiartly artificial and partly natural productions, derived from the three kingdoms of nature, but chiefly from the mineral ; and, even when of animal or vegetable origin, they are always united vuth a min- eral substance, an earth or an oxide, because in themselves they have no body, acquiring it only by union with a mineral. Plaque. (1) A flat jilate of metal upon which enamels are painted ; hence the word is apiilied to designate the small enamels themselves, done at Limoges in the fifteenth century. A similar flat jiiece of china, used for decorative puiqioses, and upon which pictures were painted, is also termed a jilaque, as w^ell as the shell used to guard a sword-hilt. EXPLANATION OF TECHNICAL TERMS. 293 (2) A decorated plate or saucer, designed to be hung upon a wall to ornament a room. Poi:xiEEE. A curtain hanging across an opening for a door, or used as a screen. Eealistic. Faithful to nature or to actual life in artistic or literary productions. Repose (1) alludes to that quality in painting which gives it entire de- pendence on its inherent ability, and does not appeal by gaudiness of color, or exaggeration of attitude, to a false estimate of ability. A gen- eral quietude of color and treatment, an avoidance of obtrusive tints, or striking action in figures. ( 2 ) That harmony or moderation which affords rest for the eye is gen- erally comprehended by this designation when applied to a work of art. SxiPPLiitG is a process by which the effect is produced by dots instead of lines. Tox^e. The prevailing color of a picture, or its general effect. Vaeue. See page 103. Vehicle. Another term for Medium. enta! and Grecian Painting, Amateur Pliotograpliy, IIow to make Christmas and Birth- day Cards, Crayon and Charcoal Drawing, Bronzing and Gilding, Stencilling, I’oonah Painting, Moulding Fruit in Wax and Plaster, Fresco Painting, Chromo Pliotography, Leather Work, Photograph Painting with ()il and Water Colors, besides many other kinds of Decorative Art Work w’licli we have not space to mention here. It also contains designs for variotis kinds of Ornamental Work. Sent hy Mail, postpaid, on receipt of price, .?2.no, by S. W. TiLTON & CO., 333 Washington St. (up one flight) BOSTON, MASS. BULFiNCH’S MYTHOLOGY. THCE AGE OF FABLE, CONTAINING THE STORIES OF THE GODS AND HEROES, Which form the subjects of by far the greater portion of the ANCIENT PAINTINGS ANI3 STATUARY to be found in the ART MUSEUiVIS of the Old and New Worlds, By THOMAS BULFiNCH. An Enlarged Edition, printed from entirely new type, with over One Hundred New Illustrations from Ancient Paintings and Statuary. Edited by Rev. E. E. HALE. Without a knowlege of Mythology much of the elegant literature of our own language cannot be understood and appreciated. In this volume the stories of Mythology are told in such a manner as to make them a sou’rce of amusement and to give our work the charm of a story book, yet by means of it to impart a knowledge, of an important branch of education. In the new edition the publishers have added very largely to the value of the book, as well as to its beauty, by the numerous illustrations from the very best classical sources'. The reader will see that these illustrations, in reproducing the master- pieces of ancient art, give the best idea whic.ti we can have of the conceptions which Greek and Roman had of the sacred beings in their Mythology. We trust our young readers will find it a source of entertainment; those more advanced, a useful companion in their reading; those who travel and visit museums and galleries of art, an interpreter of paintings and sculptures; and those who min- gle in cultivated society, a key to allusions which are occasionally made. The book has been so widely and so successfully used in schools that it seems proper to add that this new edition is considerably enlarged. S. W. TILTOi^ ife CO.J pybilshe-rs. Sold at our Chambers, 333 WASHINGTON STREET, Boston, or sent by mail to any address on receipt of price, $2..*)0. 1 1 I I