Transcriber’s Note:

The cover image was created by the transcriber and is placed in the public domain.

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.

CHICAGO:

DONOHUE, HENNEBERRY & CO.

407–425 Dearborn Street

1890

Preface

In presenting to the public and our artistically inclined people our “Art Manual” we should do so with some trepidation had we not the assurance, in placing before them this work, that it would instantly win its way into their favor by its merits. Most books produced by the press of the present day are novels, compilations, scientific and theological ones, meeting as they do only certain classes, and are subjects which have been constantly before the people. We present you a “new book” in every sense of the word. We propose entering with our readers into the beautiful realms of Art, than which there is no more interesting subject; our object being its promotion and dissemination. We want to see the great majority of our refined, educated, but needy women embrace it as a source of profit as well as pleasure, many of whom with an intellect for greater things, but incapable of muscular labor or exposure, can, by applying themselves energetically to this occupation, earn a good livelihood and famous name, and assist in disseminating its beauties everywhere. Many homes are there in our land, which they can ornament, and embellish to their profit, and the pleasure of others. Those comfortably situated in life, whose home decorations they prefer to be the product of their own hands, will hail our “Manual” as “a friend indeed.” To the child in whom is observed traits of genius it will be of invaluable assistance in developing those traits. Our aim is to combine in this work all the different methods of producing portraits, landscapes, painting on canvas, wood, china, etc., etc., to furnish to all lovers of the useful and beautiful in art a true teacher, making every instruction so plain and comprehensive, that a child can grasp the meaning. In thus combining all these arts in one volume, we save the learner the expense of purchasing a large number of books at a cost which effectually precludes the possibility of many engaging in this profitable and pleasant occupation. Then, to those whose tastes are artistically inclined, and who find it most inconvenient to obtain instructions in all the branches desired; to those in whom genius lies dormant and whom necessity compels to earn their own livelihood; to those who desire to combine pastime with pleasure, and to those who have the means, tastes and desire but not the necessary assistance at hand to ornament their homes, we respectfully dedicate our “Art Manual.”

The Publishers.

INTRODUCTORY REMARKS.

In learning the art of drawing or writing, like all other Arts and Sciences, there are certain first and fixed principles to be observed as a foundation upon which the whole is built. A right understanding of these is absolutely necessary that we may become masters of that art which we undertake to learn. A neglect of these first principles is the reason why so many who have spent time sufficient to become accomplished artists, are, after all their pains and loss of time, incapable of producing even fair work; and are often at a loss to know how to begin. Many commence by copying the work of others, and are surprised to find how little such ability avails them when attempting to make sketches from nature. The instruction for those who intend prosecuting this delightful study, is prepared with great care by the author, who has had very many years of experience in landscape drawing. ’Tis true that much of his ability has been attained by years of patient industry and practice. Yet time might have been saved by little earlier attention to principles and study of works on the subject, prepared by experts. The best advice to those contemplating a study of the art—who possess any degree of skill in the use of the pencil, is to go out into the field, with the “instructor” in one hand and your sketch-book in the other, select some object of interest, and “take it in.” If not satisfactory, try again—be not too easily discouraged. You will find the study of nature a source of pleasure, objects of interest will appear on every hand, in the valleys, on the mountains, the lakes, or by the river side, and as you become familiar with the scenes in nature, difficulties will disappear, and you are happy in the thought that sketching from nature is truly one of the most pure and refined of intellectual pleasures and professions, and the sketch-book with you, as with the writer, will ever be a chosen companion.

When this branch of the work has been completed, and the landscape transferred to paper and shaded up, the most difficult part of the task is accomplished. The next essential element in the advancement of the picture, and that which renders it more beautiful to the eye, is color. ’Tis well to turn aside from your unfinished landscape or portrait, and study the colors in nature, the mixing of tints, and how to apply them, as shown on a subsequent page of this book.

To become an artist requires only a love for the art, a good eye, and an abundance of continuity.

Contents

Sketching
FROM
NATURE

“God has diffused beauty, and Art has combined it.”—Houssaye.

A sketch is a graphic memorandum. “The field of labor is the wide world of nature—her beautiful truths the lessons to be learned by heart. Once fairly within her school, Art awakens to a life of sympathy with its teacher that lasts forever.” A capacity for drawing means more than producing a linear representation. The sculptor draws when he models the plastic clay into imitative or ideal creations. The painter draws when he disposes his pigments with like impulse. The stalwart smith draws when he shapes the heated metal into form. He that cannot draw a crooked line, cannot draw a straight one, and he who cannot draw a straight line, the simplest, easiest, and most comprehensible, has certainly much to learn, and should begin with it.

In Making a Drawing from Nature, we start out with one of two things in view, a desire to make a perfect copy of the scene before us, or a wish to make a choice selection from the whole, and arrange it to suit our fancy. The first is historic, from the fact of its being a true and faithful copy. The second is called poetic, as the effort is for beauty of arrangement and general make up. In the latter, the artist is generally better satisfied with his effort when the picture is complete, than if he followed closely to the laborious work of perfectly copying that which is not altogether interesting. But at the same time the first, that of picturing facts, must form the basis of the art. By it we acquire a knowledge of detail, and store the mind with true nature, which is essential in good work. A true and faithful copy is what is sought after. In following our own fancy, we go out into the field and select from a combination of objects, and make up our picture. We find a log cabin standing beside a rocky stream of rippling water, which is spanned by an ancient log bridge; in another place we find cows grazing; and again a horseman is coming down the road. We combine the three. The cattle are driven into the stream, the horse and his rider are brought into and form a part of the picture, which is now complete.

In sketching from nature it is first essential that we should be trained to some extent in a course of perspective drawing.

Linear Perspective is the application of the principles of geometry to the accurate delineation of the principal lines of the picture. Drawing on a plain surface an object as it appears, or as it would appear on a pane of glass, held between you and the object.

Perspective is absolutely necessary in drawing from nature, not only in perfecting finished work, but in all circumstances. Theoretically, as well as practically, it bears more or less upon all the great requisites of perfection in art. We can by its aid, select our own point of observation, even though it be imaginary.

Materials. Of the variety of instruments and materials for drawing and sketching, there is the lead pencil of different degrees of hardness, and tint; then there is the French crayon, tinted crayons, etc.; French sketching boards, prepared of various tints, with skies, and suggestive effects ready laid in; “solid sketching blocks,” bound as a portfolio, will be found convenient. Paper for “cartoons” can be obtained of most any size, up to six feet wide.

In a Picture we have Six Terms, the center of the picture, or center of view, the distance of the picture, the base line, the horizontal line, the perpendicular line, the point of view.

Lines in Nature. It is a remarkable fact that all the lines in nature are curve lines, the body of trees, the branches and their leaves, and the fruit that grows thereon; the blades of grass, and flowers in the field; the swells of the ocean, the hills and hollows, are all composed of curved lines. Nature is all loveliness and perfection, all her effects are true, and the desire of the student should be to realize them thoroughly, and let nature, and nature alone, be the teacher, following her faithfully, in the full assurance of the attainment of truth, whatever else he may fail to accomplish.

Then let the pencil, the servant of thought,

Copy the lessons which nature has taught;

For the skillful hand of the artist entwines,

No garland more fair than her beautiful lines.

A LESSON IN DRAWING.

Before going into the field to make a sketch, it is essential you become familiar with the different lines used in drawing, the less difficulty you will have in sketching from nature.

The first effort will be to get control of the hand and pencil, or pen, which is the leading essential in learning to write or draw. Secondly, a right understanding of the straight and curve lines used cannot be dispensed with. A neglect of these first principles, and the want of a thorough drilling by an experienced teacher, in our educational institutions, is the leading difficulty in the advancement of students in these branches, and has often been a subject of comment.

There are three leading lines in drawing, the straight horizontal line, thus:

made by carrying the pencil from left to right, and vice versa, beginning and ending abruptly; then perpendicular ones, commencing at the top, draw the pencil down; then a straight oblique line, with 52 deg. slant, which is about the proper angle for writing.

The right and left curve is used as the beginning and ending of all the small letters.

Fig. 1.

The Line of Beauty, as it is called, is the two curves combined; commencing at the top, making first the left and then the right line, equal in length, forming a compound curve, the basis of two-thirds of all the capital letters. A combination of curves lying horizontally, as in fig. 2, gives the line which is formed by the meeting of the lips, from these different lines our sketches from nature are made up.

Fig. 2.
A curved line changes its direction at every point.

A circle is a figure comprehended by a single curve line, called its circumference, every part of which is equally distant from a point called the center. From a to b will be found the left, or convex, and from c to d the right, or concave curve. The whole may be made by a quick movement of the hand, with crayon, on the black-board, thus: Turn your right side to the board, place the crayon at the bottom, c, and with the elbow as the radius, carry the crayon toward the left from c to a, and so on until you reach the starting point, c, again, moving the hand at as rapid a rate as is possible.

Fig. 3.

Now, if these lines can all be drawn correct, and with freedom, take the equilateral triangle and practice it without a ruler.

Fig. 4.
An angle is the space between two lines that start from the same point.

The perpendicular line, passing from the vanishing point a, to the base b. The whole of the fig. 4 forms what appears to us the gable of a house, a the point where the rafters meet, b the center of the plate. This gives the horizontal, vertical, and oblique lines.

I shall endeavor to make these lessons clear and concise for the beginner, touching only on those points which are indispensable in learning to draw. Although many of these principles you may have acquired, the elements of linear perspective is the very first thing to which your attention should be directed.

Landscapes. All objects which present themselves to the eye, such as buildings, forests, fields, mountains, water, &c., whether viewed from a hill or on a level, we will call a landscape. Now as it is impossible to make an exact copy of the subject before us, by means of any transfer process, it can only be effected by a distinct apprehension of the real form of the objects themselves, and of those apparent forms under which they are presented to the eye, in their different positions in the landscape. All these objects have their outlines, composed either of straight or curve lines, which may be irregular in their relation to each other. Now if we were placed on a flat, horizontal plain, the water or ground which we would have in view before us, would appear to rise from the spot on which we stood, the limit of that rise being determined by a clear and well defined straight line, called the horizontal line. It will appear in the lake; between this and the sky no object intervenes. This horizontal or boundary line lies directly opposite to the range of the eye, and the one to which every other line is referred, and by which the accuracy of the drawing is secured. The point where it crosses the perpendicular line will be the center of our picture.

In Placing a Landscape on Paper, first arises the question as to how much of the landscape we will introduce into our picture. Let us suppose it to be taken from the point of view, then that position of the scene which the eye can easily take in, without moving the head, will constitute the picture. The space included between the point where we are standing and a point where our picture commences, establishes the required distance of the eye from the proposed picture. Now, if through this point a straight line be supposed drawn, perpendicular to the horizon, this line will pass through, and determine the foremost objects of the picture—touching all the leading objects directly in front of us.

Position of the Horizontal Line will depend upon whether or not we make the sketch from the ground, or from an elevation. If the view be made from the level with it, the horizontal line may be drawn at about one-fifth of the space of the paper we intend for our picture. If we take the sketch from an elevated point, a little above the level of the ground, then the horizontal line may be placed at about one-third the height, and so on. If the view is to be made from a high hill, or top of the house, place the horizontal line at one-half the height.

Now, in holding up the pencil or ruler horizontally with the eye, and on a level with it, you will see what objects will appear on that horizontal line. In making a photograph of a building it is always best to have the camera a little elevated, and at a considerable distance from the object, as a better picture can be secured. All horizontal planes seem to ascend if they lie below the horizontal line, and to descend if they lie above it, vanish or merge into it, as shown in figures 5 and 6.

In making a sketch from an elevation, the distant part of the view seems higher than the foreground. This occurs when the point from where the view is taken is too much elevated. A better, and much more natural perspective, can be obtained by lowering the point of view, which also changes the horizontal line.

After knowing the position of the horizon of your subject, point of sight for the point of distance, you have to extend the line of horizon from the point of sight to the limits of such distance.

For illustration, fasten a thread with a pin to the table, at a point corresponding to the line of the horizon of your picture; a thread thus adjusted will, when drawn out over the picture, fall exactly over all the lines seeking

The Vanishing Point. In this way you get the lines for the cornice in a building, or row of buildings, upper and lower lines of the windows and doors, base and sidewalk.

Fig. 5.

In making a sketch of a building, it is only necessary to get the general outlines, and instead of working in all the doors and windows, finishing up the cornice, etc., all that is necessary will be to get the outline of one door or window, and the style of cornice, and indicate the remainder by merely a mark showing the position, and make a memorandum of the essential points which is needed in completing the work. In figure 5, street view, make a dot on the sketch board at a point where you wish the first upper corner of the building to commence, draw a perpendicular line for the corner, do likewise at such a distance to the left as you wish the building to extend on the sketch, and you have the other corner. Holding the drawing book perpendicular between you and the building, and on a level with the eye, place the ruler on the sketch-book corresponding to the upper horizontal line of the building, and make a line for the cornice, the base line is produced in the same manner. The point C, where the two lines would meet, were they continued toward the left, will be the vanishing point, from which run all the other horizontal lines when you come to finish up the drawing.

THE EFFECTS OF THE DRAWING IN DIFFERENT POSITIONS OF THE HORIZONTAL LINE.

Fig. 6.

A horizontal right line has, with respect to the plane of the picture, one of three positions. It is either parallel to it, oblique to it, or perpendicular to it. We will sit with the back against one of the walls of a rectangular room. The wall opposite is parallel to that behind us, and consequently to the plane of our picture in that position. The two remaining walls being at right angles with that opposite, are evidently perpendicular to the plane of the drawing, and all horizontal right lines on those two walls, are also perpendicular to that plane, and will appear to tend towards a point immediately opposite to the eye. H. H. is the horizontal line or level of sight; C the point opposite the eye, and that point toward which all horizontal right lines on the walls, A & B, appear to slant, though in reality they are perpendicular to the wall C. The lines 1 & 2, where the ceiling and sidewalls meet, and 3 & 4, the lower limit of the walls, as well as the horizontal lines of the door, and its panels, are in that position, all perpendicular to the plane of the opposite wall, and therefore to the plane of the drawing. The effects of the drawing in different positions of the horizontal line, should be carefully studied; if it be placed above the level of the eye, and removed to the right or left, it will appear like this:

If below the level of the eye, it will assume a direction like this:

But placed to the right or left of the eye, on a perfect level, and horizontal, it will appear thus:

If drawn from, and directly opposite to the eye, the end may appear thus:

•

A point has position, but not magnitude.

Fig. 7.

If a book, or block of wood, having a square base, be represented at different distances, seen from a point in which its sides are oblique to the plane of the picture, and seen from both points, under the same circumstances in all respects, as regards surrounding objects, except that the distance of the artist from the base line is much less in one than the other, then it will appear as do figures 7 and 8.

Fig. 8.
A surface has length and breadth only. A solid has length, breadth, and
thickness.

In figure 7 the distance from us is much greater than in figure 8, and the vanishing point farther away. We will find the first the most pleasing to the eye, although both are accurate. In these figures we make the two oblique lines of the base equal in length, and our position directly opposite the center perpendicular line. If we should change our position further to the right, the left oblique line at the base would apparently shorten, and vice versa.

In making a sketch from nature, the artist must choose a position that will command the best view of the scene about to be placed on paper, and from a standpoint that will secure the leading objects in the landscape before you. Begin by sketching those objects nearest you first. The reasons will be shown hereafter.

In attempting to make a “bird’s eye” view of buildings, where an elevation cannot be obtained, it will be found somewhat difficult. We can only mark down on the sketch-book what can be seen from the position we occupy on the level with the objects before us, and imagine the remainder. At the same time three things should be kept in view, the perspective, the perpendicular lines, and proper elevation, in order to give to our picture the appearance it would have if others viewed it from the supposed point of observation as the sketcher.

The intention of the writer has been to touch upon all the points and rules in drawing, and dwell upon each separately, and sufficient for a person of ordinary ability, and a good many grains of continuity, to make a sketch artist.

“It matters not what a man’s vocation may be, if he has the taste to discern, and mind to esteem, the good and beautiful in nature and art, an expression of refinement will be manifest in all that he undertakes.”

In this work I did not expect more than to take the first step toward teaching to sketch from nature. An easy, rapid, and decided manner of sketching is to be acquired only by practice. It is an acquisition essential to excellence in all the other artistic qualities, to which it serves as a basis. Having given you the necessary instruction, I will now assist you in

Selecting a Position. Choose a point that will command a good view of the scene, and prevent closer and more immediate objects from concealing any portion of the remote distance; and though the height of the horizontal line in this case may sometimes be more than half the height of the paper, according to the elevation attained by the artist to command the view. In this case the horizontal line is at about one-half the height of the paper. It frequently occurs in making a sketch, that the artist cannot place himself at the desired point for the best view. In such case we will imagine a point above the highest object in the foreground of the proposed sketch. That point may be on the land, or on the water. The artist, with a knowledge of perspective and elevation in view, may make a memorandum of the whole; but should he attempt to draw it from the point he is compelled to see it, no one would recognize it as a truthful representation. We regulate the whole by our knowledge of perspective, as accurately as if we stood upon the very spot from which we desired to be understood that the view was taken.

In Making a Bird’s Eye View of a village or city, the first thing to be done is to get a plat, or outline, of the streets and blocks, and mark them on the sketch-book in squares, (or rather diamond shape), each line and cross line representing a street. Commence sketching in the buildings from the point chosen, which should be the one nearest the business center, and where the best houses stand, or from a point where you can secure the best material for a foreground, such as a stream of water and bridge, or a forest, etc. Transfer each block to paper, showing the fronts of one side and the rear of the buildings of the other side, and so on through the entire row of blocks, when you return to the place of starting, and go down the second row, always working toward the vanishing point.

After you have gone over the entire city, and taken every building, tree, and other objects of interest, and completed the sketch, you are ready for working it up. Lay out the blocks and streets on drawing paper, with pencil, in perspective, ruling from the vanishing point, the center of the picture, toward the point of view, which enlarges the objects of the foreground, and diminishes those in the distance.

In drawing in the buildings, begin with the first house in the foreground, drawing the roof lines, which should be parallel with the lines of the street; next the gables, after which the corner lines, which should be perpendicular to the drawing paper.

The drawing should be made first with pencil, and then in ink, with fine pointed steel pen; for shading, use small camel hair brush and India ink.

Lights and Shades. In a sketch it is found that mere outline is insufficient to the representation of an object in relief; it cannot give substance, nor define relative distances so as to maintain the objects in their proper places. The matter of fact representation of the breadth of a meridian light, and the same passage of landscape viewed under the shades of evening, affects the feeling very differently. In the latter, there is a charm which operates even upon minds least susceptible of impressions from the beauties of nature. The general principle acted upon by artists, is to dispose the lights and shades in the manner best suited to the treatment they propose for their work.

There are two extremes of light and shade, and between these lie all those half tints and reflected lights, and exquisite gradations of shade, which must be so carefully placed in the drawing as to clearly indicate the graceful curve of each individual petal, without in any way destroying the roundness and breadth of a flower. The gradations of shade are sometimes perplexing to the learner; but in this respect the eye is a very safe guide. It requires no cultivated taste—not even any great amount of critical observation—to see when an object which should look perfectly round, appears flattened on the one side, or swell too much on the other. The theory of foreground and middle distances and background, has much to do with the principles of light and shade. It is not the line of perspective alone which makes one portion of a picture retreat, and another come forward.

In the drawing of a round object, apple or ball, the shades fall on the concave part, and incline toward the side opposite to light. All shades of objects in the same picture must fall the same way, or farthest from the light. That part lying nearest to the light must receive the least shade. This rule will be noticed in the face, folds of the drapery, etc. Landscapes show the heaviest shades nearest us, the greater the distance the lighter grows the picture. In clouds, the shades are the lightest that are nearest the horizon, it being the greatest distance from us, and those nearest the center of the picture the strongest.

Colors in NATURE.

Colors are merely sensations produced by the action of light on the nervous tissue of the retina, which covers the back of the eye.

There are Three Primary Colors in Nature, Blue, Red, and Yellow. From these are formed, all the other beautiful tints which well up from the bosom of the deep, glows in every flower, blossoms in the trees, and sparkles in the dew drop; softly stealing from the moon and stars, and written upon the blue arc of night. Red indicates anger, and sometimes guilt. Blue is said to be true, but denotes melancholy and gloom. Yellow indicates cautiousness and prudence, and reflects the most light of any, after white.

Yellow-green is the color nature assumes at the falling of the leaf, and this was worn in the days of chivalry, the emblem of despair. Green denotes tranquility. In heraldry it is used to express liberty, love, youth and beauty, and at one time all letters of grace were signed with green.

The color of all objects depend on the action of those bodies on the light which fall upon them, the different rays of which they reflect, either entirely, or only partially. The light of the sun, and the lights used for illumination, gas, etc., seem to consist of an infinite number of rays, of different color, and however widely they may be spread out by the prism in the spectrum, can never be entirely separated, but always form an even gradation of color, from red at one end of the spectrum, through orange, yellow, green, etc., to purple at the other end. Sir Isaac Newton divided the spectrum into seven parts, thinking he could distinguish seven different colors, red, yellow, blue, orange, green, indigo, and violet, which he called primary colors. Sir D. Brewster showed that those colors which Newton considered simple were, in reality, compound, and mixed up with a considerable proportion of white light. He concludes from his experiments that there were but three simple colors, red, yellow, and blue—by the mixing of which the other colors were produced.

The principal advantages attending the choice of red, blue, and yellow, as primary colors, are: That the choice seems to agree with the fact that whenever a ray of white light has one of these three colors removed by absorption, the remaining colors of the ray is that which would be found by an equal mixture of the other two colors. And when a ray has two of its primary colors removed, the remaining color of the ray is that of the third primary color. The color which opposes the strongest contrast to any primary color, is that secondary color, which is formed of a mixture of the remaining two primaries, in such proportion as would form with the first white light. This color is called its complimentary color—colors being called complimentary to each other when they together form white light. For instance, blue has for its complimentary color the neutral secondary orange, formed of a mixture of red and yellow, and this color gives the most vivid contrast that can be opposed to blue. Green is the complimentary, and strongest contrasting color to red, and red to green; and yellow the strongest contrast, and complimentary to purple, and purple to yellow.

When the colors of the spectrum in a circle, in a perfect gradation all around the circumference, and so that the three primaries, red, yellow and blue, are at points in the circumference equal distance from each other, the strongest contrast to any color will be found at a point on the other side of the circle diametrically opposite to it. Thus, blue will be found exactly opposite to orange, which will be intermediate between red and yellow; and, in the same way, yellow-green will be found exactly opposite purple-red, etc. Now, as red, blue and yellow are the three primaries, and that all other colors are composed of mixtures of these, let us decide which of the many different colors called reds, yellows, and blues we are to consider as pure, and true primaries. A pure yellow has been decided upon; chrome-yellow (No. 1), chromate of zinc (citron yellow), or light cadmium. A mixture of any two bright primaries will produce a bright secondary, and any admixture of the third primary will make the secondary color produced much duller or blacker. We consider that would be the purest blue which gave the brightest green with yellow, at the same time that it gave the brightest purple with a red, and it was decided that cobalt blue was the pure primary, which was blue with regard to the yellow chosen. It is obvious that if the blue were a greenish blue, although it might give a very bright green with yellow, it would give but a dull purple with the red. The yellow contained in the blue, and which made it greenish, would blacken or dirty the purple produced, but would not interfere with the brightness of the green. We choose carmine for the primary red as the color which gives the brightest purple with cobalt blue, at the same time that it gave the brightest orange with chrome yellow. Thus we have chrome (No. 1), for yellow, cobalt for blue, and madder carmine for red. These are the primaries.

Colored objects appear colored owing to their action on light. This action consists in absorbing one or more of the different colored rays which fall upon it, and reflecting the rest; and it is these reflected rays that give the color to the object. Bodies which emit light are called luminous, as the sun. Bodies which transmit light, and through which objects can be distinguished, are called transparent, as water, glass, etc. Bodies which transmit light, and not so as to permit objects to be seen through them, are called translucent, as ground glass, etc. Bodies which absorb or reflect all the rays of light, or transmit so few rays that the eye does not perceive them, are called opaque, as wood, metal, etc.

What we call a pure white object, such as chalk or white paper, appears white by reflecting all the light which falls upon it, and is therefore precisely the same color as the light which falls upon it. A pure black object is one which absorbs all the light which falls upon it, and reflects none. Such an object will always appear black, whatever may be the color of the light which falls upon it. Gray objects, (pale black), absorb the three primary rays equally, or in equivalent proportions, but not entirely, so that there is a certain portion of the white light reflected unchanged. A pure green absorbs all the red, and reflects all the yellow and blue. A pale but pure green absorbs only part of the red, and reflects the remainder of the red, together with all the yellow and blue. A dull and blackish green is formed by the absorption of all the red, and also part of the blue and yellow, and the reflection of the remainder of the blue and yellow. The same rule will apply in all cases of all other colored objects, except transparent ones. Silks and satins of either color reflect light.

When three colored rays are mixed together in neutralizing proportions, white light is produced. The easiest way of finding what are the equivalent proportions of the primary colors is this: divide a circle of paper into three equal parts, by lines drawn from the center to the circumference. Paint one of these spaces with pure yellow, such as lemon yellow, or the palest chrome yellow, and paint one of the remaining spaces pure but weak blue, with cobalt, and the other space pure but weak red, with madder carmine. Then try, by spinning the card rapidly on a pivot, whether these colors neutralize each other, and if not, darken that color that is deficient until the gray produced is neutral—that is, of the color of lampblack mixed with white; and when this is the case, the colors on the three spaces will be of the proper neutralizing strength for equal spaces.

PEN AND PENCIL DRAWING,

BY AID OF THE TRANSFER PROCESS.

The art of transferring pictures from one paper to another is what few understand. Many have drawings or engravings which they hold as valuable keepsakes, and wish to preserve copies. The plan of duplicating almost exactly a picture by the method given here, is original with the author of this book, who has many a time found it valuable in getting perfect the outlines of engravings, prints, and pictures of various kinds for pen or crayon drawings. Penmen produce very fine specimens of pen drawing, aided by the above process of copying; and although many a novice in the art of pen drawing exhibits equally as good designs as older professionals, they are, nevertheless, borrowed.

The paper used for transferring purposes is light tea paper, generally found in a tea store, or on sale at paper stores.

We Prepare it as follows: Procure a piece of soft pine or cedar, and burn to a coal, paste one side of the tea paper with it until quite black, and you have a neat transfer sheet. (In choosing the wood be sure and get soft white pine). Lay this black paper upon the white, where you wish the drawing to be made, the dark side down; upon this lay the copy, face up, and fasten the whole to the table with thumb tacks, to prevent its moving around and changing the outlines. This done, go over the whole with a tracer made of wood or ivory, with sufficient pressure to carry the lines through to the paper underneath, following every outline of the picture until the whole has been gone over. Lift the tracing paper, and you have upon the sheet below the desired drawing, which you now go over with pen or pencil. After this is done, rub the crayon from off the picture with your handkerchief, and complete the shading with a fine pointed steel pen or pencil, keeping the copy before you. Use Spencerian Artistic Pen, Crow-quill, or Gillott’s No. 170.

THE USE OF THE PENTAGRAPH.

This is an instrument in four sections, so arranged that you can enlarge or diminish in size, and copy a photograph, engraving, or any kind of picture. It contains a screw to fasten it to the table, a small steel needle to guide in the outlining, and a lead pencil to do the drawing.

How to Use it. Screw the Pentagraph to the table, with the needle point to your left, upon the photograph, (which is fastened to the table also), holding the end containing the pencil with the fingers, to the right. With your eye on the photo, move the hand so that the needle follows the outlines of the copy, and the pencil is producing the same on your drawing paper at the right. In this way go over the entire picture until you have a complete copy of the same. You may now shade with pen or crayon to suit the wants of the copy.

The small screws on the bars near the figures, are used in adjusting it to suit the size of picture required.

COPYING WITH TRANSPARENT PAPER.

Another method of transferring pictures to paper is by the use of a transparent paper, which is made by dissolving castor oil in absolute alcohol, and applying the liquid to the paper with a brush or sponge. The paper becomes dry as soon as the alcohol evaporates, which is almost instantly. After which lay the paper on the picture you are about to copy, and with a pencil follow the outlines of the picture until you have gone over the whole. As soon as done immerse the paper in alcohol, which will remove the oil, and restore the paper to its natural state.

PASTEL PAINTING,

WITH SUGGESTIONS FROM THE BEST ENGLISH AUTHORS.

“Exactly in proportion as an artist is certain of his end, will he be swift and simple in his means; and as he is accurate and deep in his knowledge, will he be precise and refined in his touch.”—Ruskin.

PORTRAITS.

For the past few years a great improvement has been made in the execution of portraits in black and colored crayons. Crayon painting is much easier in its execution than oil painting, and pictures may be completed at one sitting, owing to the fact that dry colors are used instead of oil, which may easily be removed or changed at will, left and resumed again at any time desired. In this department of art crayon takes the place of brush and paint, in all the different places where colors are used.

Crayon painting is said to have been practiced for a century or more after it came into use, and during the past few years it has had a “big run” in this country.

Crayons, or Pastels, can now be purchased by the box, in all varieties of tint, each box containing a graduated series.

The Paper upon which the drawing or painting is made, is manufactured for this purpose in such a manner that the texture becomes loosened and forms a woolly surface, which assists the blending of the tints, and receives the crayon.

As soon as a crayon picture is completed it will necessarily have to go under glass, for so slightly tenacious is the crayon, in some places where it may have been repeatedly applied with a view to brilliancy, that it may be blown from the surface of the paper.

Exposure to the Sun, which may brighten pictures painted in oil, will in a short time destroy the delicacy of crayon colors. They must also be kept free from moisture or dampness, as it is sure to change the color and produce spots on the face of a portrait, or the sky in a landscape.

Colors. The colors employed in pastel painting are about the same as used in oil painting, with some exceptions. The best for crayon work are the following:

Oxide of Zinc, White Chalk, Spanish White, Naples Yellow, Mineral Yellow, Chromes, Cadmium Yellow, Gallstone, Soft Red Chalk, Chinese Vermilion, Venetian Red, Chrome Red, Carmine, Lakes, Indigo, Prussian Blue, Smalt, Cobalt, Terre Verte, Cobalt Green, Brunswick Green, all the Greens from Copper, Green Oxide of Chromium, Lampblack, Umber, Ivory Black, Blue Black, Black Chalk.

Color of Paper. In regard to the use of paper, any color may be used, it being wholly a matter of taste with the artist.

The prevailing colors are Blue, Drab, Grey, Straw, Buff, Olive and Stone Colors.

A yellowish tint, you will find, produces the best results.

Mounting the Picture. Before commencing upon the drawing it must be mounted upon a stretcher, after which, with a firm crayon, trace the outlines, with either red, brown, or grey color. The beginner will find the Pentagraph of excellent service for outlining where you are working from a copy.

Sketching in the Outlines. This must be done lightly, in order that the crayon does not enter into the texture of the paper, so as to render the marks difficult to be superseded subsequently by the necessary colors. When the outline is completed, the breadths are made out by means of a brown crayon, and a stump, working for the degrees of shade.

Applying the Crayon. When the likeness is satisfactory in the sketch, the complexion may be commenced on, beginning with the lights. The whites, yellows, reds and greys must be worked in, and blended to an imitation of the reality of nature. From the highest lights, proceed in regular order to the deepest shades, and, in order to secure substance, these must be put in equal in strength to nature; after which the middle tones must be carefully blended, so as to unite the lights and shades by imperceptible gradations. The markings must be definitely made out, and the reflexes also, if there be any. As the fresher tints occur principally in the lights, it would be well to keep the color rather high, and of a warm tone, in order to reserve the brightest and most effective tints till the last.

When all the tints have been laid in, and the head is in a satisfactory state as to form, color and expression, then, with the finger, pass over the whole, working and blending the colors in harmony. In this operation the finger is used instead of a stump, and nothing else will answer better. When this operation is concluded, the crayons will be again used to bring up the colors, and tone to those of the life—to modify and correct those which may require retouching.

Those parts which are heavy must be relieved, and those which may be too cold or too warm, must be reduced to harmony. Working with the finger will be found the most available method of managing the crayons.

Having laid in the tints, according to the natural complexion, it will be necessary, before touching the work with the finger or blender, to be certain that all are laid in the proper places; a little experience will enable you to judge; there remains but little work for the fingers to perform, and the less the colors are worked upon the more fresh and transparent they will remain.

Colors and the Composition of Tints. The shades of flesh tints are warm or cold, according to the warmth or coldness of the breadths of the light. If the lights be of a healthy hue, the shades may be warm, inclining to brown, mixed of various colors, broken with light red, carmine, yellow, blue or grey. Some artists represent nature as violet or green, in shade; but this is untrue and must be guarded against. It is advisable generally to follow the Italian feeling of leaving the dark passages warm. When the complexion is strong in color, the effect is most agreeable; if worked without hardness, opacity or blackness. In feminine portraits the work must be brought up to the utmost brilliancy of color, by the brightest and freshest hues, composed of White, Naples Yellow, Vermilion and Madder, mellowed with Yellows, or slightly purpled with Lake or Carmine, according to the prevalent tint of the subject. In the masculine subject the colors will be stronger, and the half-tints more positive. Great care must be observed, lest the high and delicate passages be soiled or stained. They must only be approached by, and blended with, other shades at their extremities; and these shades are, in most cases, half tints.

It will be clearly seen by the artist, that if the intermediate tint be too cold, it must be treated with the reds or yellow; if too warm, reduce by grey or blue. The lights and shades should be carefully graduated, and harmony prevail throughout the work.

Backgrounds.—For backgrounds there is no established rule; a head may be relieved by a light, or dark background, either producing good effect. A dark background is not always suitable for female loveliness.

Backgrounds are not to be rubbed in mechanically, with the idea that any dark shade will relieve any light, or that any middle tint will suffice. As a general rule, the background around the head should be lower in tone than the half tints of the face, and lighter than the shades—to disengage the head.

Where the paper becomes greasy or glazed by the too frequent application of the pastel, or the finger, it may be necessary to rub it with pumice pounce, or with cuttle-fish, lightly.

If the paper stretches by constant pressure on it, you can remedy it by wetting the back with a light solution of alum water.

Landscape Painting
WITH
CRAYON COLORS.

The crayons used are much harder than the soft kind required in portraits; they are manufactured expressly for landscapes, and resemble firm chalk. The following is a list of the most useful crayons: White, Italian chalk; straw colors and light yellow, blue, grey, vermilion and Indian reds; blacks, conte crayons Nos. 1, 2 and 3. The white Italian chalk is used both for light touches and blending all the other crayons into which it may be worked.

The black conte chalks are also of the utmost importance; Nos. 1 and 2, the harder degrees, are used for outlining, and the softest degree, No. 3, may be blended with many colors to reduce their tones.

The Paper. The paper must be a good quality of drawing paper, such as will take the crayon, and it must supply a good middle tint, as the color of the paper appears through almost every passage of the finished work. A soft paper of a low-toned olive tint, which has been found by long experience to be better adapted than any other for landscape drawing, as affording an agreeable neutral, upon which warm or cold tones, lights or shadows, may be placed with the best effect.

Arranging the Paper. Attach the paper to a drawing-board with thumb tacks, in order that it may be kept smooth and level while the flat tints are rubbed in. It is well to select paper some larger than your design, so as to give the picture a margin.

The Drawing. With conte crayon No. 1 the design must be outlined, showing enough of the objects to guide you in the flat tints of the sky and distances.

The difference in the crayons used in portrait and those in landscape painting is, that the latter is much harder, which is essential, as will be seen when applied to the paper. The breadths of the composition are not laid by working with the point of the crayon, but a part of the crayon, sufficient for the purpose required, is broken off and applied flat to the paper. Work it lightly over those parts of the drawing that it is desired to tint, and the lightness of the tint is derived from the hardness of the crayon, which is “bitten” by the surface of the paper, and leaves on it a quantity of the color. This tint is rubbed vigorously with the fingers, so as to work the colors well with the texture of the paper; as the operation leaves but little color these tintings are repeated until the necessary strength of tone is obtained, varying and blending the colors by working them into each other from different directions with the fingers, as the subject may require; draw the remote forms with pieces of crayon, held flat or lengthwise. Blend the tints in and repeat where necessary. The distant ridges of the mountains being made out, the middle distance and the nearer objects are approached by the nearer tints; still drawing with broken pieces of crayon, working obliquely or otherwise. The black conte Nos. 1 and 2, are used in the near parts of the picture; all the striking features of the foreground, such as trees, rocks and buildings, are drawn, and the material used in the manner described. When any fine lines are necessary, they are not made with the crayon cut to a point, but by the sharp edges of the fracture of the crayon.

Using the Colors. Each object having been drawn in with the conte, it is now tinted or colored by working over the black markings with the necessary colors. It is like the operation of glazing in oil painting, as under the light lines of the tracing of the colored crayon the conte drawing is still visible. By blending and again drawing with conte, and again glazing as often as may be necessary, we approach the finish of the picture, which is completed by sharp touches of light put in with sharp points of the broken ends of colored crayon. The color should be used sparingly, and the black chalk should appear prominent in the drawing. Do not rub in the colors in finishing or you destroy the effect. The beauty of the work depends upon the paper being perceptible through the final finish. Any markings too sharp, may be worked down by the finger or blender. These retouchings are repeated until the desired effect be obtained.

As crayon painting is liable to become changed or removed, even by blowing upon it, we must present some method whereby it can be fixed permanent.

Fixing the Drawing. Infuse an ounce and a half of isin-glass in five ounces distilled vinegar twenty-four hours; add to this one quart of hot water, keep at a light heat, stir often until the isin-glass is dissolved, when you filter it through paper; pour it into a bottle with the same quantity spirits of wine, shake a few minutes and you have the fixatif ready.

Place the picture face down (avoid having the colors touch anything), and apply the liquid to the back with a brush until it has penetrated through to the crayon and all the colors become moistened and bright. The first application will penetrate very quick. After this apply another with great care and evenness, and not so plentiful as at first. When done lay it with face up until dry. The picture is now completed. After this process of fixing the colors, they can be cleaned any time without injury to the painting.

MATERIALS FOR PASTEL DRAWING.

Crayons, square black conte, Nos. 1, 2, and 3. Square white, red, and grey, Nos. 1, 2, and 3.

Round black conte. Nos. 1, 2, and 3.

Round white and red crayons.

Conte crayon pencils in wood, Nos. 1, 2, and 3.

Charcoal in sticks.

Hard and soft pastel, containing 130 shades.

Crayon holders. (Brass and German silver.)

PREPARED PASTEL PAPER.

Royal, super-royal, double elephant, colombier.

STUMPS USED.

Chamois skin, cork, paper, (grey).

DIRECTIONS
FOR DOING THE
MONOCHROMATIC DRAWING.

Take pasteboard or drawing paper, size with isin-glass, or paint with pure white lead. When thoroughly dried, smooth it down with sand-paper, and paint again. Before this coat is perfectly dry, sift upon it pulverized white marble, through muslin. When dry, shake off the loose marble that remains. Monochromatic board can be found already prepared at the book stores, where artist materials are kept. The materials needed for this work are a thin-blade knife, crayons, fine sponge, pencil, cork, rubber, blender, &c. Commence painting with the dark shades first, and blend gradually into the light. For very dark shades, rub the crayon directly upon the surface with a light hand, and blend off carefully. Paint the sky first, as in water colors. It is well to shade distant mountains very light at first, and be sure to have the edges soft and faint. For water, scrape some black crayon into a powder, and lay it on your board with the blender, working it horizontally, making the lights and shades stronger as it comes nearer. Use the pen-knife for making sharp lights. Dark subjects work to the best advantage, such as moonlight scenes on the water, old ruins, etc. The foliage requires a great deal of attention in showing it up. Draw in the figures last. One familiar with crayon or pencil drawing can acquire this branch of art very easily.

WATER COLORS.

In this branch of fine art we will avoid all preliminary remarks in regard to its advantages, and direct you at once to the method of treating it, in as clear and comprehensible a manner as possible, and at the same time omit nothing that will in any way facilitate the progress of the learner.

INSTRUCTIONS.

Arrange the paper for the painting, after sponging it, by stretching upon a drawing board, and then turn to the mixing of the colors.

Colors Used for Skies and Distances.

For blue of sky.—Cobalt Blue, lowered with Pink Madder and Gamboge, to the hue required. Ochre may be substituted for Gamboge.

Clouds.—The same mixed so as to form a variety of warm and cool pearly greys.

For Extreme Distance.—Cobalt and Venetian Red.

For Local Tints.—Blend the colors so that the tints produced may incline toward yellow, red, or any tint required.

For Middle Tints, use Indigo, Pink Madder and Ochre on the same principle for the light parts, and Indigo, Pink Madder and Gamboge for shady portions.

Setting Sun.—Use Yellow Ochre and Pink Madder, or Venetian Red and Yellow Ochre; sometimes Vermilion and Gamboge or Indian Yellow in small proportions, when a strong effect is to be given.

Trees.—In painting trees use Indigo, Burnt Sienna and Gamboge. These colors will make tints for the light; Indigo mixed with Vandyke Brown becomes a fine deep grey, of a green hue. Purple Lake may be added when you want the tint more neutral.

Foreground.—Green in foreground is made by mixing Sepia with Olive Green in the shade, and Olive Green and Burnt Sienna in the lighter parts. A light transparent yellow, raw Sienna or Italian Pink may be carried over the foreground where herbage is to be represented, when a bright sunny effect is desirable to give fullness and richness to the colors that come afterward; it also answers for high lights upon leaves, and the brilliant specks which are left sharp. Indigo, Indian Red and Ochre for the ashy grey of loam; Burnt Umber alone, or mixed with Burnt Sienna, pure Ochre, and Ochre mixed with Sepia alone, and mixed with Purple Lake for dark parts; also, Vandyke Brown and Purple Lake, or pure Brown Madder for very dark touches.

Indigo, mixed with Gamboge, makes a cold green well suited to dark leaves; Purple Lake may be added for cool reflected lights; Indian Red mixed with Indigo to a pale tint for willow leaves or foliage stained with dirt, or for the grey back of a leaf.

These cold greys and greens are of great value in foregrounds to repeat the cool greys and cold lights of the sky in pictures composed of much warm color in the middle distance, as midday effects, sunsets, etc. The foreground should show a great deal of relief, distinctness and accuracy in the drawing of these small objects which are particularly marked, but are merged into masses when further removed. With regard to roads in your painting, Yellow Ochre, mixed with Burnt Sienna, and lowered with Indian Red and Indigo. Indigo and Brown Madder being transparent colors, will allow a wash of Cobalt Blue and Pink Madder to alter the hue without danger of opacity.

Water.—The same as for clouds, blended with the local color of the water (greenish) and with the reflected objects.

Dark Sea is indicated by combining Indigo, Vandyke Brown and Lake.

Dark Sky.—Indigo, mixed with Pink Madder and Gamboge.

In Brick Work.—Mix Ochre with French Blue and Indian Red, Indigo and Venetian Red, Ochre and Pink Madder for bright part of brick work. When the color is more of red, Vermilion may be used, with caution, and in small quantities for lights. For shades, mix Sepia and Purple Lake, or Sepia and Indian Red; Sepia alone is used for light shadows from trees.

We will now paint a landscape, the foreground composed of rocks lying near and dividing a stream of water from a road; the margin of the river skirted by trees; beyond a range of hills, and still beyond another range of mountains with high points extending above all else; cattle standing at the foot; flock of sheep coming along the road, cottage, etc.

Direction. Cover the entire surface of your board with a tint of Yellow Ochre of moderate strength; when this is dry a tint is formed from the mixture of Cobalt Blue and Pink Madder, the blue predominating; use it in a very diluted state, on the side whence the sun is supposed to shine, graduating the tint as the opposite part of the sky is approached, so that the ether may appear of a clear and rather strong color; the lights of the cloud to be left, and care to be taken to diminish the strength of the tint in the lower part of the sky. The same tint may be carried over the mountains, leaving small, brilliant lights if there be any.

A wash of Pink Madder and Ochre, or Venetian Red and Ochre may be given to the lights on the clouds, afterwards they may receive their middle tint, composed of Pink Madder, Yellow Ochre and Cobalt Blue.

The Clouds may be finished by shading with Cobalt Blue and Venetian Red; the water should receive its tints at this time; any very bright lights should be left. Clouds that are darker than the ether, lay on with Venetian Red and Ochre. If the clouds are meant to show lighter than the blue of the sky, they should be left. Mix in one dish Ochre and Pink Madder with more strength than the sky tints; and in another Cobalt, Pink Madder and Gamboge, with as much strength as possible, so that it will work freely. Having the brush charged with the first paint, proceed to lay in the light parts of the mountains, varying the color by the addition of Cobalt Blue where a greenish line is wanted, Pink Madder where the granite prevails. Now, with a brush filled from the other saucer, lay in the shady parts, varying the colors. These opposite tints of light and shade should be made to blend imperceptibly where they meet. Indigo, Pink Madder and Gamboge, mixed, will be found useful for dark touches in shadows, and Cobalt mixed with Indian Red may be used for the same purpose in the lights.

For the Hills, mix Indigo and Yellow Ochre, so as to make a light green; lay in the light parts with this, adding Ochre when a brighter and warmer light is to be expressed, and Pink Madder when the surface is broken by rock. Any bright projecting rocks may receive a touch of Yellow Ochre and Indian Red, mixed. A few broad touches will bring this sufficiently forward; they may be given with a brown, produced by the mixture of Indigo, Purple Lake and Gamboge, inclining to Orange or Purple.

The Trees, skirting the stream, should be covered at the same time with the first and lightest tint, varied in the same way and brought into the water, leaving a sharp strip of light at the edge for a bank or path. Any very light stems of trees should be left. When this has become quite dry lay in the trees with Gamboge, Burnt Sienna and Indigo, mixed, for the light; Purple Lake, mixed with Indigo and Gamboge, for stems; stronger and browner for dark touches. The rocky masses lying in the water near the promontory may be covered by a tint of Indigo and Brown Madder, mixed; a little Olive Green will vary the tint, if a greenish hue is wanted. Gamboge, mixed with Indigo to a light green, and varied with Purple Lake and Indigo, will serve for the parts of the rising ground seen through the branches of the trees, which may receive a tint of Indigo mixed with Burnt Sienna and Olive Green.

The Foreground may be laid in with Indian Red, mixed with Yellow Ochre, and broken by Sepia or Indigo; shadows across the road may be rendered by washes of Indigo mixed with Brown Madder, and Lampblack mixed with Purple Lake for cool slate colored rocks in shade.

Birch trees should be covered with a tint of Indian Yellow and Burnt Sienna, and shaded with Brown Madder and Indigo mixed, or Sepia and Purple Lake. Bring out the stems by dark touches of Vandyke Brown mixed with Purple Lake, in shade. The dark greens about the foreground should be composed of Sepia and Indian Yellow. The figures in the landscape may have some red in the drapery; the sheep, a little Yellow Ochre. In mixing the colors always incline towards warmth, because a little more coolness and atmosphere may be given by a wash of Cobalt Blue mixed with Pink Madder or Indian Red. Reflections in water should be painted similar in hue to the objects, but lower in tone and more transparent. Large stems of trees may be colored effectively by applying varied greys, browns (made by a mixture of Indian Red, French Blue and Ochre), for light sides, leaving any very bright features shown in the bark. Brown Madder and Brown Pink, and sometimes Vandyke Brown mixed with Indian Lake, will be found of service for markings. When laying on the blue in the sky, be careful to leave the shape of the light parts of the clouds, then with another brush wash in the middle tint and suffer it to blend with the blue on the shady side of the cloud. Add a little Venetian Red, as the tint is carried down to the horizon; mix more Cobalt for distance. Give a first color to the road and cottage; pure Yellow Ochre for the light of the plaster, with white paper left, and with very small portions; the shade, Sepia or Brown Madder, mixed with Indigo; the hedge by the cottage, brown-pink, olive-green, mixed with Burnt Sienna.

When the Drawing is Dry, begin with the sky, and heighten or subdue as seems best; give the shade to the clouds, taking care that the indications of shadow, and feature generally, grow lighter the nearer they come to the horizon; the country is distinguished from the sky by outline—a dark touch of blue in the shadows, from the clouds. Dark touches on the roof, chimneys and windows of the cottage, will give it relief from the sky, and give distance to the small objects; they may be made with Vandyke Brown, mixed with Purple Lake. Brown-pink, mixed with Purple Lake, gives a very dark transparency to water.

For Moonlight Scenes, wash in the general effect of sky with Burnt Umber, mixed with Cobalt Blue and Pink Madder, and Cobalt Blue for dark clouds and distances; Indigo, mixed with Vandyke Brown and Pink Madder, for the general landscape. The learner, before commencing at once upon a landscape, will do well to practice upon blending colors; commencing with Cobalt Blue and Pink Madder you will produce a purple; add Gamboge, the purple will be grey, etc. In the combination of the following colors, a great variety of tones adapted to skies and distance may be found: Sepia and Gamboge, Sepia and Indian Yellow, Sepia and Italian Pink, Lampblack and Indian Yellow. Chinese White is of service when tinted paper is used for sketches.

In selecting the paper it should be as natural as possible, either cool or warm in hue, according to the effect intended. The tint may serve as middle tint in light of buildings, stems of trees, banks, etc. Cold pressed imperial paper is the best for landscape. There are several other kinds of paper which are used, such as Whatman’s extra thick, of 140 lbs. to the ream; or Creswick paper, if white; or pale cream color, are good; but if much opaque color is used in the picture, any common paper will do, especially if of a warm grey or brownish color; and very good pictures are painted on the ordinary brown paper used for wrapping. The most convenient form of paper for sketching in the outlines of a scene is that made up in blocks or tablets.

Brushes should come to a fine point of their own accord, and not bulge out in the middle. Sables are the best for general use. The brushes necessary are two or three red Sable, or goose quill size, and a black Sable of large swan-quill size for flat washes; or where these are too high price for the beginner, a large swan-quill French camel’s hair with good points. Do not allow the color to dry on them, or they are spoiled; but wash as soon as used and allow them to dry with the hair in its natural position.

Other Materials, such as a drawing-board, a sponge, an HH pencil for outlining, India-rubber, a sharp penknife for mixing up opaque colors with Chinese White, a tin water-bottle to hold water when sketching, prepared ox-gall to use in small quantities where the paper is greasy or woolly, a quill pen, will also be found useful.

The Colors used are Indigo, French Blue, Cobalt Blue, Purple Lake, Indian Red, Indian Lake, Pink Madder, Indian Yellow, Gamboge, Yellow Ochre, Vandyke Brown, Brown Madder, Sepia, Burnt Sienna, Venetian Red, Olive Green, Brown Pink, Vermilion. One of the principal points in which water-color painting differs from oil, is the laying on of the flat tints by means of washes.

THE ART OF
LANDSCAPE PAINTING
IN
OIL COLORS.

Technical Names and Materials Used. Mixing of Tints, and how to Apply Them.

No doubt you are sufficiently acquainted with the general principles of Drawing and Perspective at the time you reach this branch of art work, as to be able to apply them with facility and certainty to the representation, in outline, of a given view or subject. The rules here laid down will place within your reach the power of securing to yourself one of the most delightful and agreeable of accomplishments.

In the production of a painting in Oil Colors, there are certain modes of operation, in introducing a beginner to the practice of the art, the operations are distinguished by the technical names of glazing, impasting, scrumbling, and handling.

A Glaze is a thin transparent film of color, laid upon another color to modify the tone, or to aid the effect of the latter, the work thereby appearing distinctly through the layer of glaze, from which it receives a characteristic hue. This process of glazing is effected by diluting proper transparent color with megilp, or other suitable vehicle. Thus diluted, these colors are laid upon portions of the work, either in broad flat tints, or in touches, partially and judiciously distributed. The object is to strengthen shadows, and give warmth or coldness to their hue, to subdue lights that are unduly obtrusive, or to give additional color and tone to those that are deficient in force and richness.

Impasting. In oil painting, the dark shadows, or dark portions of the picture, are painted thinly, while the lights are laid on, or “impasted,” with a full pencil and a stiff color. In the lights of the foreground, and of parts not intended to be remote or to “retire,” the impasting should be bold and free; while in the more brilliant lights it cannot well be too solid. The palette knife has always been a favorite instrument of this “impasting,” or laying on of color, capable as it is of producing an agreeable brightness on, and of giving an appropriate flatness to, the pigment. A clear and appropriate tint, skillfully swept across a sky by these means, often produce a brilliant and charming effect which is surprising.

Scrumbling, the opposite process to that of glazing, is done by going lightly over the work with an opaque tint, generally produced by an admixture of white. For this purpose a hog-hair brush is used, charged with color but sparingly, and with it the tints are drawn very thinly, and somewhat loosely, over the previous painting, which should, as in the case of glazing, be dry and firm.

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.

The third, or finished painting, is commenced by wiping and oiling the picture in the manner before described as necessary for the second painting. We then proceed to complete the details of form and color, which were brought forward in the former painting, employing for this purpose delicate touches of glazing and scrambling alternately, not to conceal, but improve and render as perfect as possible what has already been done. Sharp, vigorous touches where the markings of the details require them. These touches must be made with freedom and decision, or they fail in producing the desired effect. They should be of a warm tone, not cold—not grey. In this stage of the work do not attempt too much at one sitting. It is best to allow the colors to dry gently, and to repeat the operation when necessary.

Lastly, a mode of aiding the finish is by passing over a portion of the work with light, delicate tones, which are left only on the projecting touches of texture objects.

MATERIALS USED.

Many of the pigments which change color by the action of impure air, and are, therefore, useless in water-color painting, may, nevertheless, be safely used in oil painting; for this reason: In water color the powder colors are mixed with only just enough of some binding cement (called a vehicle), such as gum, size, sugar, etc., to prevent their being easily rubbed off the paper, and are, therefore, freely exposed to the action of the atmosphere, or of the colors with which they may be mixed; but in oil colors the powder colors are ground up in oil, so prepared as to oxidise rapidly in the air into a kind of impermeable leathery resin, which, completely enveloping each particle of color, effectually protects it, not only from the action of impure air, but also of neighboring particles of different colors. And it thus happens that pigments may be used in oils with tolerable safety which in water color might turn black in a few days. Indeed, the white which we invariably use in oils—flake white—is certainly one of the most unstable of colors in water colors; and nearly the same may be said of the chrome yellow, Naples yellow, emerald green, etc.

The colors named below will be found a useful set:

Flake White,

Ultramarine,

Prussian Blue,

Yellow Ochre,

Carmine (in Powder)*

Indian Red,

Lamp Black*

Cappagh Brown,

Raw Sienna,

Cadmium Yellow*

Rose Madder*

Emerald Green*

Cobalt Blue,

Madder Brown*

Burnt Sienna,

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.

Palettes are usually made of mahogany or satin wood. The latter are the best, the colors being better seen on the lighter colored wood. The rectangular shape is the most convenient, and packs best into the lid of a color-box. A wooden palette should have plenty of raw linseed oil rubbed into it before being used, and be allowed to dry. This will prevent the colors sinking into the wood and staining.

A Dipper is a small tin cup made to fix by sliding on to the palette, to contain oil, turpentine, varnish, or any other vehicle used.

The Rest Stick is used to rest the right hand upon, while painting those parts of the picture that require great steadiness and care. It should be as stiff and as light as possible, and is held in the same hand as the palette.

Palette-knives are necessary implements for mixing and manipulating the colors on the palette. It is convenient to have two of different stiffness.

Easels are inconvenient usually in proportion to their cheapness. They should be tolerably firm and heavy, and should allow the picture to be raised easily and quickly.

Vehicle is the diluent used to temper and thin the colors for the purpose of bringing them to a proper state. Linseed oil, rendered drying by boiling with certain metallic oxides, is the vehicle generally used. Drying oil should dry quite free from stickiness in two or three days, in ordinary weather. Copal varnish is also an excellent vehicle, but dries so rapidly that it will not do where the colors require considerable manipulation with the brush—as in skies and broad tints generally. Colors used with varnish will require frequent thinning with spirit of turpentine. Megilp is a most pleasant vehicle to use; so pleasant, indeed, that one is apt to use far too much of it. It is made by mixing strong mastic varnish with drying oil.

The beginner should bear in mind that all oils and varnishes have a strong tendency to turn dark brown with age, and should therefore learn to use as little as possible; indeed, the colors, as generally sold, are ground with sufficient oil for use with a hog’s-hair brush; and it is only where greater freedom is required, and when using sable brushes, that an addition of vehicle is of use. It is absolutely necessary, however, in the process called “glazing,” which is where a transparent color is rubbed thinly over parts of the picture, the general tone or color of which it is desirable to modify. And in this case, too, as little vehicle as possible should be employed.

MIXED TINTS.

The following are given as examples of some of the tints that may be obtained by mixture of the more important colors.

Rose Madder and Cobalt. With these colors a variety of delicate tints of great purity and permanence may be produced; of general use in distances, skies, water, etc.

Yellow Ochre, Rose Madder, and Cobalt. Being made up of the three primaries, are duller or greyer, but will produce a greater variety. Of use in distances, middle distance, etc.

Vandyke Brown and Cobalt, Brown Madder and Cobalt. Of use in the same cases as the last. Good for middle distance foliage.

Yellow Ochre and Orange Vermilion. Of great use in obtaining warm, sunny effects in distances, skies, clouds, and for brilliant tints in foregrounds. Will give beautiful flesh tints with Chinese white.

Yellow Ochre and Prussian Blue. Pleasant, cool, greyish-greens may be produced with these colors; especially useful in middle distance trees. May be saddened with black or Vandyke brown.

Rose Madder and Prussian Blue. A variety of useful and permanent sober greys and purples may be thus obtained. Of great use in cloudy skies and distances, etc.

Vandyke Brown and Prussian Blue. Useful in the same cases as yellow ochre and Prussian blue.

Vandyke Brown and Yellow Ochre. Gives good tints for earth, etc., in foregrounds.

Vandyke Brown and Gamboge, Vandyke Brown, Gamboge, and Prussian Blue. Give colors of the greatest use for foreground and middle distance foliage.

Burnt Sienna and Carmine, Gamboge and Burnt Sienna. Warm, rich, transparent colors. Of use in autumnal foliage, and for bright tints in foregrounds, such as the shading of draperies, etc., and cattle, birds, and flowers; in fact, in all cases where very rich transparent color is required.

Burnt Sienna, Gamboge, and Prussian Blue. Of the greatest use for foreground and middle distance foliage.