Pale Cadmium Yellow*
Indian Yellow*
The colors marked with an asterisk do not dry quickly, except when mixed with much flake-white. To these it is necessary to add a very little drier—a mixture of sugar of lead and boiled oil.
Brushes.—After the colors, the brushes are the most important part of the artist’s materials. Flat hog’s-hair brushes are the most useful for general purposes. These should have polished handles, and the hairs should not straggle at the point, but keep together, so as to form a straight, thin edge. The small sizes are most convenient when made very short and very thin in the hair, it being difficult to make the long-haired ones keep together at the point. For fine touches, sable brushes are the most convenient, some flat and some round; the former thin and short-haired, the latter coming to a fine point.
Badger’s-hair softeners are used, as their name implies, to soften broad tints in skies, etc., but require the greatest caution in their use, or they will certainly produce a disagreeable “woolliness,” or smudginess. They are made with the hair radiating, or spreading out, towards the point, and are used by dabbing or jobbing them lightly over the work, and should always be used clean and dry.
The brushes should always be cleaned as soon as they are done with for the day. The easiest way is to rinse them in a little spirits of turpentine, and, after drying them on a rag, wash them out clean by rubbing them in the palm of the hand with thick soap and water, and then rinsing them in clean water, and allowing them to dry with the hair in its proper position. It happens sometimes that, leaving off in a hurry, one has no time to wash out the brushes carefully. In that case they may be laid by for a few days, dirty as they are, with their ends under water. The paint will keep under water without drying.
Canvas.—This is the best material for painting upon. It is sold ready stretched on frames, and is kept of all sizes at the artists’ color warehouses.
Prepared Paper is perhaps the most convenient material for the beginner, occupying so very little space when the picture is dry. It must be fastened, when in use, to a board by means of drawing-pins. It is also kept bound up into blocks, like those used for water-color sketching, and this is, perhaps, the most convenient form in which to buy it, though not the cheapest.
Millboards seem to me to possess no advantage over paper, and are very heavy, and liable to break at the corners.
Panels are heavy and rather bulky, but are peculiarly well adapted for works requiring high finish.