Part 14
Then take the size of the print or drawing which is to be framed, and laying it on the gilt part of the glass, mark where the edges come to, with a hair pencil and some dark color, after which, being provided with a long ruler, and a pointed piece of ivory, draw two parallel lines out of your gold, and with a mahogany or deal stick, carefully pointed, work away the superfluous part, leaving the gold fillet which is to encompass the picture sharp and neat. If you wish to ornament it by any other lines, to appear black in the center, lay on your ruler, and with the ivory point scribe them, and then varnish, having some black Japan, to which a little lampblack has been added, to deepen the color. Paint it all over the gilt part of the glass, and the space between it and the edge, then set it to dry, which takes a few hours. When you are to lay out the breadth of the black line that is to be inside your gilding, scribe it with a sharp point, and cut away the waste black with a graver, or some sharp instrument.
To cut figures, or any kind of ornament out of your gold, after the glass is gilt, have a drawing of the design on paper, at the back of which rub some powdered red chalk, and the smallest quantity of fresh butter; lay the paper on the gold, and with a bluntish ivory point go over the lines of the drawing, and they will be nicely transferred on the gold, when you can with an ivory point trace them out of the gold, and shade them agreeable to your fancy, or from the drawing you have by you. You may, by mixing any other color you choose with white copal varnish, vary your ground as you think proper.
The most important secret in glass gilding is the following method: In an instant after your glass is blacked, taking away the parts where the gold is to appear, and the remainder of the black to stand fast, by which means the black gilding work is done in one-half the time, and with half the gold leaf. The process is simple, and is performed as follows: Obtain the very best black Japan carriage varnish, to which add a very small portion of burned lampblack, very finely ground in spirits of turpentine; then with a large flat varnish brush give the glass one even thin coat, holding it between you and the light, and observing that it does not appear a thick dead black, but exhibits a degree of transparency not so much so as to prevent its appearing a good black at the right side of the glass. After this, have the letters and ornaments drawn on paper, as before mentioned, and trace it in the same manner on the black varnish when it is perfectly dry. The drawing will be thus very finely transferred to the black. Then take a needle pointed bodkin and finely mark the outlines of what black is to come out through the varnish; take some thick brown paper, dip it in water, and squeeze it gently, spread it over the parts of the varnish you want to detach from the glass, and in a few minutes, by raising one edge of the black, it will instantly peel away clean from the glass. When all the black you want is taken out, lay the glass to the fire, and the remaining part of the varnish will instantly become as hard as ever, and ready to have the gold put on.
ETCHING ON COPPER.
Doing this kind of work upon copper, in imitation of engraving, at a much less expense, is something worthy the attention of sketch-artists and draughtsmen, who will find it very useful in getting duplicates of their work. You first make a correct tracing with a black lead pencil of the drawing which is to be etched, then screw the copper plate into a small hand vice. It must be understood that the copper is perfectly free from scratches, or other blemishes.
Warm the plate from the back with a torch, which must be kept moving over it in all directions, until it becomes gradually heated. It should be just hot enough to allow your hand upon it for a second or two. Take the etching ground—which is inclosed in a silk wrapper—and rub it as evenly over the surface of the copper as you can. Before the plate cools, take the dabber and dab over the etching ground until it becomes perfectly flat, and indeed assumes the appearance of a thin transparent wash, through which the bright copper appears. The etching ground must be equally spread over the copper, not thick in one part and thin in another. Should the copper become too cold ere the dabbing has been finished, you may warm it again; be careful, however, not to make it so as it will burn the etching ground—this would be a great blunder, because it would not then resist the action of the biting-in liquid, which is aqua fortis of different degrees of strength.
Now take a wax torch and smoke the whole surface of the copper thus prepared; keep the torch at a fair distance from the copper, and move in all directions, until the whole plate becomes black with the smoke. Let the plate cool, then slightly dampen the tracing, and lay the penciled side upon the smoked plate, and run both through a printing press. Upon removing the tracing paper, you will find a perfect _fac simile_—reversed—of the drawing, transferred to the copper by means of the smoke.
Now place the copper on the table, which must face the light, and put up between the light and your plate a shade of tissue paper, which will cause every scratch you make on the copper apparent. The shade is simply a sheet of tissue paper stretched upon a common wooden strainer. Keep it constantly up during your work. The plate may be laid flat upon the table, or inclined a little, just as you please.
Now get a piece of thin mahogany, or common deal, longer than the copper, and sufficiently broad for your hand to rest upon while working, for the hand must not come in contact with the plate, otherwise the tracing would be obliterated. The rest for the hand must have two pieces of wood glued on each end, so as to raise it off the plate an inch or so; or you may place a book on each side of the copper—not on it—and lay a flat piece of wood across it, and resting on the books; all that is required being to keep the hand off the plate while etching in the outline.
Have a looking-glass near, and place the original drawing or tracing before it, which will thus be rendered just as the reversed outline on the copper. Now take an etching point and slightly go over all the outline, simply _scratching_ the copper, not digging deeply in it.
When all the etching is done, put a border or wall, about an inch high, all around the plate, to contain the biting-in fluid. The composition for bordering must be warmed, and laid down on the plate, taking care that it adheres sufficiently, or else the fluid will escape and burn whatever it touches. The aqua fortis is now to be laid over all the etching, and according to its strength so must its continuance be. It may be kept in motion with the feathered end of a quill, and when it bubbles up, you may be sure it is in active operation.
When the distances and delicate lines have been etched in sufficiently, pour off the liquid, wash the plate with cold water, and when dry, cover up with the preparation—made for the purpose of resisting the action of the fluid—all the parts which, according to your judgment, are sufficiently bit in. Lay on the fluid again, and rebite the next delicate parts, then pour off as before, and wash the plate with cold water. Stop out and rebite again, and so continue to do until the whole work is accomplished.
The darkest parts of the etching always require more biting-in than the light parts. Clear off all the etching ground from the plate, and the work is done.
Many ladies do this work for amusement, but they give the plate out to be bitten-in, as the fumes from the aqua fortis are unhealthy.
The materials for the art of etching can be obtained in any village. There are also professed biters-in, who are employed by engravers.
Etching on steel is done in precisely the same manner, only the biting-in fluid is much weaker.
=Etching Fluid for Copper.= Mix two ounces aqua fortis with five ounces water. Another is verdigris, common salt, and sal ammoniac, each four ounces, alum one ounce, (all in powder), strong vinegar, eight ounces, water, one pound; dissolve by boiling for a moment; cool and decant.
KENSINGTON PAINTING.
Kensington art work probably, at the present time, is attracting more attention than the other methods of painting on silk and velvet. Kensington embroidery had its day, and while it has not altogether passed out of use, it is nevertheless, like many other methods of art needle-work, being improved upon, and for the old method of doing the work with the thread, paint is being substituted, which far exceeds the more ancient work in splendor and simplicity. The great progress lately made in this accomplishment, the amount of mechanical and artistical power, far excels whatever else has formerly been called into use. Notwithstanding all this, however, the art has not reached that wide state of perfection which, from the exquisite effects, it is capable of producing.
Kensington painting, in general appearance, resembles Kensington embroidery, and as the latter seemed to pass away, the former caught up the name, the idea being to produce with paint and brush upon cloth, a _fac simile_ of the raised work of embroidery, to answer a demand of artists in oil for something new.
=Materials Used.= For doing the work procure the following materials: The best probably for the purpose would be a brass pen, one that is very elastic; a goose quill would answer the purpose. Next is a round piece of steel, or needle, such as is used by milliners, and set in a handle if you wish. Three sable brushes, Nos. 3, 5, and 7. Cut from brush No. 3 _all_ the bristles, leaving nothing but the abrupt square end of the metal holder; from No. 7 cut away nearly two-thirds of the hair, leaving it with a round end, and you have the required tools.
Now arrange the velvet upon which the painting is to be laid, by stretching it upon pasteboard, and fasten with thumb tacks, so as it may be kept in place for working upon: after this is done, stamp upon it the pattern you wish to have painted. This can better be executed at a place where stamping for embroidery and other work is generally done, and where designs can be found from which you can select just the pattern you wish.
If you have a picture you would like to paint, that is not perforated, you may make a transfer of it to velvet by pricking through with a fine needle, following carefully and completely the full outlines of the copy before you, after this is done, and before the picture is moved, press through the now perforated pattern white powder, with a soft pad, which will show up the outlines of what you seek, on the velvet beneath, or you can use the transfer process given on page 28. It is now ready to receive the painting.
=The Colors used= are Winsor & Newton’s oil colors in tubes, and the opaque mixture for thinning. Flake white, rose madder, cerulean blue, vermilion, chrome green Nos. 1 and 2, burnt sienna, orange chrome, emerald green, mauve lake. For Poppies use Chinese vermilion, a little chrome yellow and green for the centers; for Pansies use mauve lake, with green and yellow for the center; for Daisies (white) with yellow centers, use flake white, with chrome yellow for the center; Forget-me-nots, use light blue, by mixing white with permanent blue, dot the centers with yellow; for leaves, use green, with a little Naples yellow and Chinese vermilion for autumn leaves; for stems of flowers, use green, and green heightened with white for grasses, and where the leaves require it; for Wild Rose, use rose madder and white, apply same as in poppy.
=Applying the Colors.= After the piece has been fastened to the board, and the flower is stamped thereon, you may begin the painting. Take first a Forget-me-not. Commence with pencil No. 3. Take upon the brush all it will hold of cerulean blue, mixed with white lake, lay this upon the point which you are to place the flower, and with the brush press it out by rolling the brush from the center to the outline of the petal of the flower, in such quantities as to show a rolled edge, (resembling the embroidery), leaving the center with but little of the paint. With the same brush, or point of the pen, (after cleaning with naphtha), touch the center with a small particle of chrome yellow, (about the size of a pin head). Now, with the needle, lay on the stems, using green. In doing this, cover the whole of the needle with the color, and lay on the velvet full length, drawing it over the outline, and rolling in the fingers as you move it. This is also used in making flat grasses and leaves. In painting the daisy a pen is used. Place the paint first upon a palette knife, and then take it off from the knife with the pen, which will be found much more convenient, being particular to get the point full of the color by laying the pen sideways when taking it up, (using flake white), press to the outside of the flower, and by bearing heavy enough you will find it carries the color to the outline of the petal in rolls, leaving the center almost void of color. The instrument used for this should be very elastic, and one not easily broken by bending. After you have gone over each petal, dot the center, by using No. 3 brush, with chrome yellow and burnt sienna, mixed, using enough of the color to fit the space of pistil.
In painting the Poppy, use No. 7 brush for outside petals, and No. 5 for inside, or smaller ones. Press as before directed upon the brush, and turning it at the same time toward the outline, pressing the paint to the margin of the petal, and leaving it there in a roll, with the center of the petal as before mentioned. This being done, take brush No. 3, and with chrome yellow place in the pistil and stamens (commonly called the “heart”). For other flowers, follow instructions as previously laid down.
The outlines of flowers are made with brush No. 3, and the pen. The needle is again employed for drawing in the veins, using for this light green, and apply as heretofore directed, by covering with the color, and draw full length over the outlines endwise.
In making autumn leaves, take No. 5 brush, using for this vermilion, chrome yellow and burnt sienna, and sometimes a little green. For durability, this painting will compare favorably with any other method.
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N. B.—When the opaque mixture is used no previous preparation or coating of any kind is necessary. The colors will not spread, run or stain silk or velvet of the most delicate shade or tint, beyond the outline.
Use the opaque mixer, to thin the paint to its proper consistency before applying, using no oils, turpentine, or dryer of any kind with the mixer, as it is of itself a sufficient dryer.
If your silk or material painted shows a dampness beyond the line of color, let it remain until the color dries, and it will all evaporate dry, leaving no stain whatever on the material, placing the paint beautifully in rolls, to imitate what it is intended to, Kensington embroidery.
ARRASENE AND RIBBON EMBROIDERY.
Ladies are turning away from the more laborious kinds of work, and seeking that which is artistic, useful, and beautiful. Many who have heretofore sat idle, are making their leisure hours pleasant, and their homes resplendent by aid of decorative art. Housekeeping may be classed among those necessities which, to many, is a “life-long torment,” for which there is hardly a remedy, although there are those who find charms therein; they at the same time are almost lost amid the vast multitude of ordinary indifferent ones. However, nearly all are kept mindful of the purity of the art of home decoration, and are showing sufficient interest to do something for its elevation.
Arrasene embroidery is comparatively new, yet its beauty has so fascinated the women of taste that teachers of the art are sought after everywhere, and their scarcity has caused the publication of the following instructions.
There is a wool called wool arrasene, and a silk called silk arrasene; the arrasene embroidery is simply the working of these in tufts, to form flowers and other ornaments, such as mottoes, cushions, etc. An owl worked in grey arrasene is beautiful. Inasmuch as the working of flowers seem to better satisfy the taste of arrasene art workers, I will give the instruction.
=How to Make a Wild Rose.= For this you will need two shades of satin or velvet—either are very pretty. Have the pattern stamped or drawn on whatever you wish to embroider, plush, felt, satin, or other goods; cut the satin in shape of the petal of the flower, and be sure to have them long enough to turn in the edges. Now blindstitch it on the pattern, being careful to leave fullness enough to form folds in the petals, gathering them at the center, using the French knot, or seed stitch, and embroidery silk, yellow and brown for roses. For double rose, cut more pieces for petals, and lay one over the other. For daisies, use narrow white ribbon, plaiting the ribbon in the center, filling in with the French knot stitch, using two shades of yellow and brown.
In making a forget-me-not, use very narrow blue ribbon, for the centers one knot stitch of yellow and one of red. For green leaves and stems, and the green around the rose, (calyx), use arrasene wool or silk, or a part of each. It is much handsomer to use the silk for high lights; for stems of roses use reddish brown.
Many flowers can be very effectively represented by the ribbon embroidery, such as dogwoods, sunflowers, pansies, and other varieties.
PORTRAITURE IN BLACK CRAYON.
Crayon portraiture, to one who knows nothing of the method, seems not only very difficult, but almost unattainable, except after long years of study and practice. Even then many suppose artists are born, not made. The writer of this article has been employed in teaching the art for several years, and could refer to many pupils who, after comparatively few lessons, were able to execute finished portraits of real merit. Any one who can learn to write can learn to draw, but a special method is necessary to enable pupils to work intelligently. Most other branches of art have been elaborately treated by able pens, but crayon drawing as a study, has been hitherto neglected. A careful preparation of written instructions cannot fail to enable one with ordinary ability and taste to master this most beautiful art. One of the first requisites for successful work, is to have proper material, and of the best quality.
PAPER. The best and only paper that should be used is Whatman’s imperial, or double elephant. It should never be used by tacking to a drawing board, but must be mounted on a stretcher. All Art Stores have a ready supply of these, but for the sake of economy they can be made in the following manner. Take a pine frame 20 × 24, or any desired size, lay a sheet of Whatman’s paper upon a table, face side down, dampen it with a sponge over the entire surface: lay the frame upon it, and trim the edges of the paper with a knife, about one inch larger than the frame. Cut out the corners, then with a small brush put a little flour paste upon the paper beyond the frame, and also upon the edges of the frame; turn this paper up on to the edges of the frame, drawing it a little with the fingers to take out the larger wrinkles, and make it adhere firmly. Put away in a cool room, to allow the paper to dry, and a stretcher is ready for use. Do not moisten the paper on the side upon which the drawing is to be made, as this would occasion spots, which would spoil the work.
In selecting materials, buy the small paper stomps, which come in packages of a dozen or more; one soft rolled chamois stomp; (avoid the hard stiff ones); a stick of square Conte crayon No. 3, a piece of Conte rubber, which can be sharpened with a knife when it becomes too blunt, a few sticks of the round glossy Conte crayons, a crayon holder, and a few sticks of soft charcoal. Take a small block of wood, about 3×5 inches, paste a piece of fine sand paper carefully over one or both sides, and let it dry. This block is useful to sharpen and clean the rubber and paper stomps. Upon another block of the same size, or a little larger, paste a piece of Whatman’s paper, smoothing it down carefully, allowing this to dry thoroughly. Take the stick of No. 3 square crayon, rub it over this block hard, to make the pulverized crayon to be used with stomps, or use a fine file, and allow the crayon thus pulverized to fall upon the block. Keep this free from dust when not in use. These are all the materials necessary to execute a crayon portrait.
The next step will be to make the enlargement of the photograph from which a copy is to be made, providing a solar print is not used. There are several ways of doing this. The best method is to have a good pentagraph, unless one is able to draw the outline enlargement free hand. In either or all cases make the outline upon a piece of manilla wrapping paper, cut the size of the stretcher intended. When this enlargement is made, thoroughly blacken the back with a piece of charcoal by laying the paper upon a smooth drawing board or table; turn it over and lay it upon the stretcher, being careful to place it so the drawing will be in the center of the stretcher, securing it with tacks or pins at the corners, in order that it may not slip. With a stylus, or hard lead pencil, trace over all these outlines again, being careful to follow them accurately, omitting none. Remove the paper with care, and a definite outline of the picture will be seen upon the stretcher. This will rub off with the slightest touch, therefore take one of the paper stomps, rub it on the block of pulverized crayon, holding it in the hand as a pencil, trace lightly over these outlines in order to prevent losing them while at work upon the picture. Be careful, however, to do this very lightly, if not, the lines will show when the picture is finished, and spoil the effect of the work.
The first step to be taken is to put the crayon on the darkest part of the features. Rub the paper stomp on the block of pulverized crayon very hard, turning it around between the fingers in order to get the crayon on the whole surface of the point and tapering end. Apply this lightly but firmly, and with a broad stroke to the lines or lids above the eyes, the nostrils, the line through the center of the mouth, the dark shades in the ears and the eyebrows, following the outlines already upon the stretcher. Put in the pupils of the eyes very black and heavy. The stomp has now cleaned itself somewhat. Next darken the iris of the eye, put on the shadows under the eye, the curves of the nose from the eyebrows to the end, and the curves around the nostrils. Next the upper lip, tinting it lightly. Now define the outlines of the cheeks, working in light strokes inward, and hatching them, or crossing the strokes at an acute angle (never at right angles). Work for the expression, and hold it.
Having gone thus far the stomp will be quite free of color. The blending process comes next in order. Work slightly upward from the lines around the eyes, borrowing from the color already there for the shadows desired. The same from all the features above mentioned, watching the photograph closely and leaving off such shadows gradually.