Ladies' manual of art; or, profit and pastime. / A self teacher in all branches of decorative art, embracing every variety of painting and drawing on china, glass, velvet, canvas, paper and wood the secret of all glass transparencies, sketching from nature. pastel and crayon drawing, taxidermy, etc.

by Anonymous

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

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

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

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

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

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

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

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

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