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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.=—How to Make a Drawing—Linear Perspective—Materials—Terms in a Picture—Lines in Nature—Line of Beauty—Landscapes—Selecting a Position—Lights and Shades 9

=Colors in Nature.=—Primary Colors—Advantages of Colors—Colors of a Spectrum—Mixtures of Colors—Transmission of Light—Pure White, Black, Gray, Green—Neutralization of Colors 23

=Pen and Pencil Drawing.=—Paper Used for Transferring—Preparation of Paper—Method of Transferring—Shading by Pen—Pentagraph—How to Use it—Copying with Transparent Paper 27

=Pastel Painting.=—Crayons and Pastels—Paper Used—Exposure to the Sun—Colors Employed—Colors of Paper—Mounting the Picture—Sketching In the Outlines—Applying the Crayon—Colors and Composition of Tints—Background 29

=Landscape Painting in Crayon.=—Paper—Arranging the Paper—Drawing—Using the Colors—Fixing the Drawing—Materials for Pastel Drawing 33

=Monochromatic Drawing.=—Directions—Materials Used—Shades—Blending—Sky—Mountains—Water—Moonlight—Old Ruins, etc. 37

=Water Colors.=—Instructions—Colors Used for Sky and Distances—Hills—Trees—Foreground—Sky—Moonlight, etc.—Selecting the Paper—Different Kinds—Brushes—Other Materials—Colors Used 38

=Landscape Painting in Oil Colors.=—Technical Names and Materials Used—Mixing of Tints—How to Apply Them—A Glaze—Impasting—Scrumbling—Handling—Light—Brushes—Materials Used—Canvas—Prepared Paper—Millboards—Panels—Palettes—A Dipper—Rest Stick—Knives—Easels—Vehicles—Mixed Tints 45

=Oil Photo.=—Miniature or Cameo Oil—Improved Method—Treating the Photograph—Paste Preparation—The Glass Cleaning—Colors Applied—Wedges—Caution—Directions for Coloring—Second Method—Ivory Type or Mezzotint—Mounting the Photograph—Materials Used—Another Plan 55

=Photo Painting in Water Colors.=—Selecting Photograph—Preparing the Photo—Colors Used—Coloring Background, Face, Eyes, Mouth, Hair, Clothing—Shadowing 60

=Russian or Egyptian Method.=—To Produce First Class Picture—Applying Colors—Palette—Liquid Colors Used—Brushes 63

=Making Photographs.=—Gelatine Dry-plate Process—The Outfit—Filling the Plate-Holder—Taking the Picture—Making Negatives—Chemical Outfit—Directions for Using Chemicals—Instructions Summarized—Making Prints from Negatives—Sensitized Paper Prints—Toning Process—Mounting Pictures 65

=Draughtsmen’s Sensitive Paper for Copying Drawings.=—Directions—How to Use—Printing by Exposure 70

=Wood Painting.=—From the German—General Preliminaries—Requisites—Colors—Transferring the Drawing on Wood—Enlarging and Reducing Designs—Divisions of Wood Surface—Tracing and Transferring Designs—Fixing Transferred Design—Coloring—Retouching—Wood Articles—Polishing Designs 71

=Transparencies.=—Instructions—General Directions 81

=Crystal, or Oriental Painting.=—Materials Used—Colors Used—Directions 83

=Antique Italian Landscape Painting.=—Style of the Painting—Transferring—Quality of the Glass Used—Materials—Directions—Paints Used 85

=Grecian Oil Painting.=—Selecting the Engraving—Applications—Method of Painting—Mixing the Paints—Eyes, Hair, Flesh—Suggestions—Colors—Brushes 87

=Ornamental Glass Sign Work.=—Lettering Door Plates—Ornamenting Glass Work, Boxes, etc.—Instructions—Lettering the Glass—Holding the Letters—Next Process—Remaining Directions—Articles Used—Note 89

=Vitremanie.=—Easy and Inexpensive Decoration of Windows, Churches, Public Buildings, Private Houses, etc.—Supersedes Diaphanie—Defects of Diaphanie—Materials Used in Vitremanie—Simple Instructions—Applying the Design—Removing the Paper—Arranging the Designs 91

=Diaphanie.=—Similarity to Decalcomanie—Materials Required—The Application—Designs Used 93

=Painting on Silk.=—Satin and Silk—Its Beauty and Popularity—Transferring—Painting Directions—Using Colors Lightly—Raised Work—Colors Used—Bringing out the Picture 94

=Staining Wood and Ivory.=—Yellow Mahogany—Black, Red, Blue, Purple—Acids and Materials Used 96

=Crystalline Surfaces.=—Paper, Wood, and Glass—Mixture Used—Application—Directions 97

=China Painting.=—On China, Porcelain, Earthenware, and Enamel—Colors Used—Process of Burning In—Tracing and Drawing—First Method—Second Method—Third Method—Cleaning Brushes—Composition, Use, and Mixing of Colors—Classification of Colors—Tests—Fusibility—Thickness—Mediums—Conduct of the Work—Special Information Concerning Painting Colors—Mode of Use—Mixtures—Concordance of Enamel with Moist and Oil Colors—Technical Names 99

=Monochrome.=—China Painting—Painting on Porcelain or Earthenware—Tints of Monochromes—Sketching In—Painting the Head—Hair—Flesh Tints—Drapery—Retouching—M. Lacroix’s Colors—Finishing the Monochrome—General Suggestions 111

=China Painting.=—Painting the Head in Colors on Porcelain—Drawing and Sketching In—Highly Colored Faces—Cast Shadows—Painting the Lips—Blue Eyes—Fair Hair—Colored Draperies—The Palette 115

=China Painting.=—Style of Boucher—Flowers, Fruits, Birds and Landscape on Porcelain—Retouching Leaves—Peaches—Instructions on Landscapes—The Sky—Trunks of Trees—Branches—Houses—Ground—Water—Strengthening Touches—Directions for Packing 118

=Terra Cotta Painting.=—Enamel, Oil and Water Color Painting on Terra Cotta—Special Instructions—Materials and Brushes Used 123

=Burning In.=—Mineral Decalcomanie—New and Beautiful Art—Transferring Pictures to China and Other Ware—Imitating Exactly Beautiful Painting—Directions, Materials Required, Designs, Numbers, Prices 126

=Natural Flowers.=—Preservation—Hot Water System—Sandwich Island Process—Sand Drying Method—Last Process 129

=Paper-Flower Making.=—Arrangement of Bouquets—Materials Used—Directions for Using Wire, Silk, etc.—Crimson Rhododendron—White Camelia, Rose, Pink Fuchsia—Grouping Flowers—Examples—List of Materials, Tools, etc. 134

=French Art=—Decorating Wood, Leather, Silk, etc.—To Decorate Delicate Fabrics—Another Method—Decorating Dark Colored Articles—Choice of Subjects—Covered Designs—List of Subjects that can be Decorated—General Suggestions 143

=The Wax Art=—Flowers and Fruit—Instructions for Making Wax and Molds—Materials Used, etc.—Molding—Preparing Wax—To Mold a Calla Lily—Painting Variegated Flowers—Directions for Sheeting Wax—Molding Wax Fruit—Oranges, Apples, Peaches, Grapes, etc.—Special Instructions—Leaf Molds, Wires, Steel Molding Pins, Moss, Miscellaneous Articles, Colored Wax 146

=Sprinkle Work.=—Decoration of Wood and China Ornaments—Its Ease and Beauty—Utensils—Process—Special Directions—Varnishing and Polishing—Sprinkle Work on China—Veins—Colors Generally and Satisfactorily Used—General Suggestions 154

=Pearl Embroidery.=—Fish Scales—To Prepare Them—Drawing the Pattern of Leaf—Directions 161

=Feather Flowers.=—Instructions to Begin—Color of Feathers—Dyeing—Renewing Ostrich Feathers 162

=Lustral Bronze Painting.=—Preparations—Instructions—Copy from Engravings—Stems of Trees—Second Shade—Figures—Parts of Mountains—Varnishing—Suggestions—Gilding 164

=Japanese Art.=—Gathering Leaves—Directions 168

=Staining Glass.=—Causes of Decay—Of Glass Painting—Colors Used—Classes—Process of Laying the Colors—Peinture et Apprêt—Ground or Foundation—The Vehicle—Most Suitable Oil—Palette—Pigments—Fused Colors—Illuminated Colors—New Tone of Color—Mosaic Glass Painting—Cartoons—Cutting—Over-laid Glass—Colored Pot Metal 169

=Gilding Glass.=—Preparations—Cutting Figures and Ornaments—most Important Secret—General Suggestions 179

=Etching on Copper.=—Heating—Dabbing—Smoking—Etching—Fluid for the Purpose—Directions 182

=Kensington Painting.=—Its Progress and Popularity—Materials Used—Colors Necessary—Applying Colors—Flowers, Leaves—Instructions 185

=Arrasene Embroidery.=—Novelty and Beauty—Wool and Silk Arrasene—A Wild Rose—Blind Stitch—Double Rose—Daisies—Forget-me-not—Leaves—Stems—Full Instructions 189

=Portraiture in Black Crayon.=—Careful Instructions—Paper—Cutting and Trimming—Dampening and Framing—Selecting Materials—Enlarging the Photograph—Tracing—Carefulness—Features—Pupils of the Eyes—Iris—Nose—Lips—Blending Process—The Hair—The Drapery—Collar and Shirt Front—The Background—Lace Work—Finishing—General Important Suggestions 191

=Analysis of Colors.=—Nature and Quality—Blues—Reds—Browns—Mixing Compound Tints for the Face—Tints and Colors—Producing them—Transparent Colors—Semi-Transparent—Contrast and Harmony of Colors 197

=Taxidermy.=—Profit, Usefulness and Beauty—Skinning—Mounting in General—Preserving—Spiders and Insects—Shell Fish—Polishing Shells—Collecting Animals—Recipes—General and Special Instructions 203

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.

=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.

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.

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

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.