Stationery and Artist’s Materials.

It is to be supposed that most persons visiting little-known regions will at least keep a diary for private gratification, if not for public use; and now that drawing from nature is so essential a branch of education, they will most likely also wish to sketch such objects or scenes as may be most interesting. Some who aspire to more exactitude of detail than an artist can hope for in a hasty sketch may wish to practise photography; and in this beautiful art the greatest possible facilities are offered to those who practise it. We have lately seen in London many most beautiful pictures taken by Dr. Kirk on the Zambesi with a small and inexpensive camera, carried as a mere supplement to his private equipment; but unless the traveller possesses, as Kirk did, chemical knowledge enough to enable him to contend successfully against the various contingencies of changing climate, impurity or scarcity of water, and innumerable other new and unexpected difficulties, we are inclined to think that the pencil, guided with what artistic skill the individual may be able to command, will afford, if not the best, at least the most certainly available results; and, without undervaluing photography, we may in this preliminary chapter notice principally the appliances which will enable a man to keep his journal and illustrate it with sketches of interesting scenes or objects.

The journal.

First, then, as to the journal. Of course, for purposes of correspondence, a traveller will take care to supply himself with some one of the substantial and economical portable desks in which pens, ink, note-paper, and envelopes are always at hand to enable him to write a creditable letter from almost any part of the world. But the journal or diary is another matter; its value consists chiefly in its being what its name indicates—a diary or diurnal record. It must be written while the events described are fresh on the memory, or there is neither life nor spirit in it. If the journal of to-day is put off, the events of to-morrow will confuse and dim the impressions that ought in all their pristine vigour to have been committed to paper; procrastination is the thief of time, and we may well say that it will rob the journal of the traveller of all that freshness and vivacity which alone can make it interesting.

The question, then, is, how shall he carry with him material so that each night, by the blazing camp-fire, the scantily-fed oil lamp, or the last half hour of the quickly waning twilight, he may record his impressions of the events of the day? We will suppose that the chase has occupied him; or he has been engaged, as we have, in desultory warfare in Kaffirland or India; or even, it may be, passing through a peaceful country, with no other than the common difficulties of exploration and objects of interest in botany, zoology, or any of the innumerable departments of science crowding on him at every hour. He will, perhaps, wish to send home one or more copies of his diary as correspondence, and it is absolutely necessary that he himself should retain a perfect copy. Ink he cannot at all times carry, nor could he use it, for the drying up of the fluid, the clogging and corroding of his pens, would be insuperable difficulties; and, beside this, as his time is not sufficient for him to write in detail, even for the first time, all that he wishes, how shall he obtain a copy? In answer we will simply state the plan we have successfully adopted. Pen and ink we discarded altogether, and trusted simply to the powers of a good HH. pencil and a supply of thin white foolscap interleaved with semi-carbonic paper, as shown in the illustration here given. By this arrangement we were able at any time to record all needful remarks or observations in duplicate, and could have extended this if necessary to five copies, while all the labour of re-writing was saved and all chance of error obviated by this simple process.

Artist’s materials.

With regard to artist’s materials, until we have an opportunity of going farther into detail, perhaps all that need be said is that the traveller, knowing his own capabilities and requirements, should supply himself with material from some respectable colourman—Reeves, Winsor and Newton, or others—with such materials as he requires. To one who has real facility in sketching, the black-lead pencil and a few quires of sketching cartridge paper will be the means of affording illustrations which, compared with the simple means employed, may be accounted marvellous; but if he has skill in colouring and will add to this a water-colour box, with tubes, or moist colours in porcelain pans, in assortments (always kept by the best colourmen), with a few sable or other pencils, and brushes of the best quality (for there is really no saving in buying cheap goods), he may obtain results that will in after years more than repay the cost and labour he has expended upon them.

Details of our own outfit and expenditure will hereafter be given; and we may now briefly mention that, for pure and careful painting, white paper—say Whatman’s—is indispensable; but where strict accuracy of tint is not essential, it is very soothing to the eye, especially under the fervid rays of an almost vertical sun, to have the paper slightly tinted with pearl, warm grey, light drab, or neutral colours, which, if well chosen, will enable the artist to make very effective drawings in sepia, or colours heightened with Chinese white.

For persons wishing to employ their leisure in pleasing mementoes of the scenes they visit, perhaps the following brief list—amplified, should they desire it—will afford sufficient guidance; and they will also do well to choose one or more of the shilling handbooks published by Rowney and Co., or Winsor and Newton.

A sketching portfolio, with folding tin frame to confine the paper while in use, and pocket for spare paper—quarto size. Do not take sketching blocks where they have to stand rough usage.

One of folio size, if desired.

A good strong havresac of canvas, with leather slings for each folio. Stout canvas is almost waterproof. This should have pockets for colour box, water bottle, pencils, and penknife.

Half quire Whatman’s drawing paper (white). Some of it should be cut to the size of the folio.

Half quire sketching cartridge for less finished work.

Half quire tinted drawing paper (pearl, light drab, cool and warm greys).

A proportion of all these papers should be cut to the size of the sketch book when purchased; but a few sheets should be kept whole, as a larger drawing may be required.

Two dozen drawing pencils—8 HH., 12 H., and 4 HB. In practice, it will be found HB. is black enough, and it should be used sparingly, as, unless a drawing is fixed immediately, the deep shades are very apt to smear when the backs of other sketches are packed against them.

Two single bladed penknives.

Very compact sketching boxes with assorted colours in cakes, in porcelain pans, or in collapsible tubes, are provided; and the amateur can hardly do better than select one of these with any number of colours from two to twenty-four.

We prefer to use the collapsible tubes, as from them any amount of colour may be placed upon the palette ready for use, without the trouble of grinding from the cake or washing up from the moist pan. Another advantage is that the colour remaining in the tube cannot be spoiled by the admixture of any other—the tubes might be carried loose in the pocket of a white waistcoat without fear of spoiling it. There are, however, a few which do not keep well, as, from their weight, they separate from the medium they are mixed with and become hard. Some of these are seldom used; but, where they are necessary, we should advise that they be taken in cakes.

On tinted paper very nice effective sketches may be made with one tube of sepia and a cake of Chinese white. With these we should advise three brown sable pencils in flat German silver ferrules—Nos. 1, 3, and 6. With the addition to these of the three primitive colours—red, blue, and yellow—a considerable range of subjects may be painted; indeed could we obtain these in perfect purity, we should require no other. But, as this is impossible, we subjoin a list of colours, placing first in order those that we have found most useful (Chinese white and sepia have been already mentioned):—

With these, the whole set from 1 to 6 of the sables in flat albata will be needed, and we advise two each of 1, 2, and 3, as well as one or two large swans’ quills for washing in the sky or flat tints. A tripod sketching stool folding to the size of a special’s staff would be useful, but the rivet should be strong and well clinched. Let the watercolour box have divisions on the edge of the palette for every colour it contains. If you take an easel, do not trust an india-rubber collar joint; it will not stand tropical heat; let the joint be brass. The tripod easel, folding up like a single rod, is most portable. We have in this said nothing of oil colours; amateurs will hardly need them in a wild country; but when we treat more at length on this subject our own equipment will be given.