Part 3
=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.