How to amuse yourself and others

by Lina Beard; Adelia B. Beard

The turpentine and siccatif Courtray have such drying properties that by the next day you may work again on the study.

Begin the second painting by putting in the half-tints. These unite the decided light and shade, and should be dragged over their edges, but not blended with them. Once more go over the shadows, strengthening them and putting in the reflected lights.

Add more color in the lights where it is needed, and put in the high lights with clear, crisp touches. Work on your background in this second painting. Indicate the shadows, but do not make them strong, except the one which will probably be cast by the object; that can be strengthened, as it helps to set the object out from the background and gives the idea of space. Do not make the background strong; keep it toned down, that it may not become too prominent. Drag the background a little over the edges of the vase, or whatever it may be you are painting, and then paint over it again with the colors of the vase. Do this while working around the edges of the vase, or object, to prevent its looking flat, as if it were pasted on.

These directions are to be applied to painting any subject; but after you have learned how to manage the colors and wish to really paint a picture, the medium must be changed from turpentine and siccatif Courtray to oil, either linseed or poppy, using the turpentine only for the first effect of shadow.

When oil is used it will require two or three days for the picture to dry. Many advise the use of but little oil, and there are artists who dissapprove of any medium at all.

Before commencing the second painting, a coating of poppy-oil should be put all over the canvas with a large, flat camel’s-hair brush. Every bit should be covered without touching the brush twice to the same spot. This softens the first coat of paint sufficiently to allow of its blending with the next. If a raw potato be cut in half and rubbed over the painting before the oil is put on, it will prevent the oil from crawling, or separating into drops on the canvas.

Do not use the same brushes for dark and light tints, but keep them separate. Mix your tints on your palette, the dark tint below the dark colors, and the light tint below the light colors.

In putting away your work after painting, be sure that the tops are screwed on to all your color-tubes, and arrange them neatly in their box. Clean your palette with the palette-knife, and then wipe it off with a rag. Dip your brushes, one by one, in turpentine and wipe them on a rag; this removes most of the paint and makes them easier to wash. Warm, not hot, water should be used for washing the brushes. The best way is to hold several brushes in the right hand, their sticks being in an upright position, dip them in the water, rub them on a piece of common soap, and then scrub them round and round on the palm of the left hand; rinse them in clear water, and wipe dry with a clean rag.

Our limited space will not allow of our going more fully into the details of painting; but we hope that these directions will give some idea of how to make a beginning as a painter in oil-colors, and after you have made a start you will find two good professors at your elbow to help you along and encourage you—Prof. Judgment and Prof. Experience.