L. V. R.
G. F. L.
A. L.
If done in gold or aluminum apply a coat of rubbing varnish over the leaf before shading and washing with the transparent colors. Thus will the varnish check the subsequent coatings from striking in and tarnishing the brilliancy of the leaf. In the case of gold being used, follow the varnish with shadings of asphaltum diluted with varnish. The dark shades may be produced by recoating with the asphaltum until the desired shade is reached. Once the asphaltum is quite dry, proceed to coat those parts of the monogram desired to be in colors with such glazing colors as carmine, ultramarine, or cobalt blue, verdigris, etc. The shades of asphaltum are reflected through these transparent colors to the measure of a beautiful appearance, and the sum total of effects thus produced are particularly rich and brilliant. The letters of a monogram painted vermilion glazed with carmine, and the carmine then being shaded with asphaltum and high lighted with pale canary color afford a splendid effect.
In executing the script monogram the workman will agree with us that carmine and vermilion mixtures produce the finest color effects. In fact, all lean bodied letters show at their best when done in some of the gorgeous reds now popular. A very fetching monogram, as to color, is made by laying the design in vermilion and then glazing part of it with carmine. Or, if the striping suggests green for the color, lay the design in a shade of green to harmonize nicely with the striping, and glaze a portion of it with verdigris. Heavy bodied letters such as are combined in some of the monograms accompanying this chapter show admirably with the upper halves done in vermilion and the nether parts put in Indian red, or, preferably, flamingo red. The vermilion should be given a light wash of carmine, and the letters then outlined with deep orange. In some of the large cities where the trappings and the suits of fashion are ever in the foreground one may see the monogram having one of its letters tricked out in all the finery of a graded shade. The manner of shading consists of beginning at the top of the letter with the palest shade of a certain color, and then gradually deepening the shade as the painting descends until, when the base of the letter is reached, the very deepest and darkest shade of the color is developed. As for example, the striping indicates the employment of green as one of the prominent colors in the monogram. Begin at the top of the letter with the very palest shade of green then continuing with the various gradations down to the deepest shade. A graded shade is most successfully accomplished with color containing a binder of raw linseed oil to give the pigment a free working property. A short stiff pencil, lightly, very lightly, tipped with color works most effectively in blending each shade into the next. Reds and blues respond splendidly to the attractions of the graded shade.
The high lights are justly important features of a monogram. Many monogramists contend that a high light is almost invariably improved by the addition of a bit of the color of the letter being executed. As, for instance, the letter is painted medium shade of green, and the high light goes white. To the white add a dash of the green, and note the restful, pleasing effect secured thereby.
