CHAPTER XI.
MONOGRAMS--ANTIQUITY OF THE MONOGRAM--HOW TO DESIGN AND PAINT THE MONOGRAM--TOOLS NEEDED--LEADING COLORS EMPLOYED--SOME ENGAGING COMBINATIONS--ILLUSTRATIONS, ETC.
The designing and painting of monograms is an accomplishment which the carriage painter should zealously strive to acquire. Years ago the crest, coat-of-arms, and other elaborate forms of ornamentation accompanied the monogram in its mission as a panel decoration. Gradually, in response to the dictates of the vehicle-using public, and encouraged, no doubt, by the stern mandates of competition, the use of the lavishly wrought style of panel ornament has given way largely to the monogram. Despite the apparent tendency toward plain effects in the matter of pleasure vehicle ornamentation the fact remains unassailed that a well executed monogram cast upon the panels of a vehicle imparts a color effect, and breaks the monotony of a finish, to a very satisfying extent. As my lamented friend Manchester was wont to say: "That little patch of color warms up the entire job, relieving that sense of sameness that one feels when contemplating a carriage. No matter how nicely it is finished, there seems to be something lacking if the ornament is omitted. That little color spot is like an oasis in a desert--a resting place, as it were, for the eye." Most certain it is that the dull uniformity, the eye offending lack of variety, in the painting of a carriage panel is often relieved by the simple addition of a monogram. The monogram is not of recent origin. Away back in those alluring days of Greek heroes and Egyptian divinities the monogram existed. Indeed, early in the fourth century, as ancient history informs us, monograms were used to identify the pomp of power. In France the monogram was early employed in the capacity of a signature and inscribed upon seals and coins. In point of fact, the use and purpose of the monogram was clearly established when the world was yet young.
The word monogram is said to be derived from two modest little Greek words, _monos_, alone, only, and _gramma_, letter. Authorities differ considerably in defining the word monogram. A modern authority refers to it in this wise: "In the true monogram two of its letters, or all, for that matter, should have some portion in common." Again it is said to consist of "characters or ciphers composed of two or more letters interwoven, being an abbreviation of a name." Still another authority contends that the monogram is "a device formed by the assemblage of two or more letters so as to form a single character." Probably the three definitions here quoted determine the limits and significance of the monogram as we wish to know it today. If the monogram is formed of but two letters it is denominated a simple monogram. Composed of all the letters of a name it is classified as a complete monogram. It is not the writer's purpose to inveigh against the elaborate and complicated monogram, which, in some respects, at least, partakes freely of the mystifying characteristics of an oriental newspaper advertisement, but he does wish to emphasize the value of a monogram devoted to the use of vehicular adornment made sufficiently plain and simple to be easily read by one not used to deciphering hieroglyphics. "Handsome is that handsome does," runs the quaint old axiom, and, generally speaking, the clean cut, unencumbered, legible monogram, serves its office as a handsome ornament when it offers to the observer a tale soon told.
The designing and painting of monograms constitutes an art mastered, save in exceptional instances, only after long continued study and practice. Some of our best monogram makers do not ascribe their success to talent, but, rather, to hard work and practice. Works on monograms furnish plenty of examples of the different styles (which consist, principally, of the Florentine, script, and block,) for the guidance of the beginner. With such examples before him the work of making monograms may be begun. Mr. W. A. Thompson, probably one of the most skillful monogram designers in the country, advises the student to "begin practice with a slate and pencil for a time at least, as the lines can be more readily erased than from paper." As some proficiency is gained the slate may be discarded in favor of the writing pad, pencil and eraser. The compass and dividers are not advised as aids to be constantly relied upon. The general practice should be to let these aids severely alone. Free-hand drawing produces, as a rule, the most symmetrical and graceful monogram. Study of proportion and balance should early engage the thought of the learner. Curves on one side of a monogram, for instance, should be followed when possible by similar ones on the opposite side. Also, as a rule, the base should be a little sturdier than the apex. It would prove futile to attempt to append any set of rules to govern the designing of a monogram. The principle that would obtain in the laying out of one design would probably fail of being a principle at all in the drawing of the second one. This by virtue of the law of variation which rules in this as in all other arts. The letter delected from its true course, (its standing alone not being here considered,) either one way or the other, should, as a matter of balance, be matched by a letter swung in an opposite direction. If it were possible at all times to use only those letters which admit of an exquisite arrangement, the problem of balance and proportion would invite an easy solution. But such, unfortunately, is not the case. Hence, the charm and beauty of the monogram must necessarily be governed at times by the individual letters of which it is composed instead of by their arrangement _en masse_. The perfectly symmetrical monogram is not always possible under the masterful touch of the most dashing originator of monogram architecture.
In designing a monogram for a carriage the size and formation of the panel upon which the ornament is intended to be used must be reckoned with. Any other details of general construction, as applied to the vehicle, require consideration in order that the design may have an especial adaptation to its surroundings. The style of the design ought, properly, to be in strict harmony with the style of the vehicle, just as in color the design should harmonize with the colors employed in painting the carriage.
In preparing the design for a surface two methods are given for the transference of the design from the paper to the surface. The design being drawn on the paper, and all interlacings clearly denoted by extra emphasized black lines, chalk or whiting is rubbed on the back of the paper, after which it is placed upon the panel and held carefully in position while the lines of the design are gone over with a hard pencil. By the second method the design, after being drawn, is perforated along its lines with a needle. It is then laid upon the panel and with a pounce of whiting, in case of a dark ground, and charcoal, in case of a light one, the small dots outlining the design are left upon the surface.
Occasionally the workman will wish to paint the monogram upon paper in such a way that it can be used as a transfer ornament. This plan is recommended when monograms are called for upon vehicles so constantly used that they cannot be taken from service long enough to admit of painting the monograms in the usual way. Take first grade lithograph paper and upon one side apply successive coatings of mucilage until a firm gloss is established. Then outline and paint the monogram upon the gloss side of the paper, using colors and effects that would be appropriate if the painting were being executed upon the panel direct. The unused portion of the paper is now cut off and moistened and the monogram, face down, is pressed solidly upon it and maintained in that position until dry. The monogram is now, both back and face, perfectly sealed between the mucilage clad paper. The paper at the back of the ornament is next dampened little by little until it is sufficiently saturated to permit being lifted easily. This process completes and finishes the shop prepared transfer monogram, and if deftly prepared it should render satisfactory results.
To perform good work in painting monograms due attention must be given the tools. These should consist of mahl stick, palette, palette cups, a small palette knife, pounce bags, small bottles containing japan, turpentine, etc., and a complete assortment of pencils. The pencils should be red sable hair, set in metal, and outfitted with cedar handles. The hair had best not exceed 1/4 inch in length, and in size the pencils may run from knitting-needle bulk to what pencil makers call No. 2. As a rule, a pencil somewhat smaller than the No. 1 pencil of commerce will be needed. In the way of pigments the workman should provide himself with an array of the best tube colors. A finely prepared color is a great aid to the workman--an aid, let me say, too rarely appreciated. The most popular monogram colors are various shades of greens, and reds having close relationship to vermilion and carmine. In addition, such pigments as silver or flake white, drop black, ultramarine blue, verdigris, burnt umber, burnt sienna, orange chrome, Indian red, chrome yellow and Tuscan red are used.
The initial of the surname, invariably to be made more prominent than the letters of the Christian name, will submit to strong color effects without offending the visual sense. Perhaps it may be timely here to say that, after recognizing the fact that the striping of the running parts rigidly govern the color or colors of the monogram, there are no arbitrary laws to restrict the color schemes employed. In this as in other branches of ornamental painting the harmony by analogy and the harmony by contrast are recognized and adhered to. The monogram painted in relief is an illustration of harmony by analogy. Such a monogram represents the employment of a single color and its blended tints and shades. Harmony by contrast consists of painting each letter of the monogram a different, but complementary, color. The relief monogram is best done by first laying the design in a medium shade of the selected color. Then the shades proper of the monogram are cast in with the dark shades of the color, and the light ones with tints of the color. The vital principle involved in shading is, in the words of an authority, "to shade the under parts of the letter or object lapping it and the opposite side on which the light falls--the shade of the overlapped letter would naturally fall on the underlapped letter, giving the former a raised appearance."
It has been said that the striping should govern the color or colors of the monogram, as for example: If the gear be striped with carmine the predominating color of the monogram should be carmine; if with orange, then orange; if with green, then green, etc. Granting this, it may also be conceded that the style and general conformation of the monogram should in no small degree compel color effects especially adapted to it. The symmetrical monogram calls for a precisely balanced color scheme, while the clumsy and uncouth one, made so from necessity--and what an inexorable task-master necessity is!--needs a color adjustment that seeks to balance the light parts with the heavy ones, and the heavy with the light.
Gold and aluminum have of late been largely used in connection with colors and no departure from the correct color principles has thus far been remarked, vehicle users being especially delighted, as well they may be, with the innovation. A practice that has seemed to please the public immensely permits laying the entire monogram with gold or aluminum, as the painter may elect, and then glazing the first letter, say, with ultramarine blue, the next with verdigris, and still the next with carmine.
If done in gold or aluminum apply a coat of rubbing varnish over the leaf before shading and washing with the transparent colors. Thus will the varnish check the subsequent coatings from striking in and tarnishing the brilliancy of the leaf. In the case of gold being used, follow the varnish with shadings of asphaltum diluted with varnish. The dark shades may be produced by recoating with the asphaltum until the desired shade is reached. Once the asphaltum is quite dry, proceed to coat those parts of the monogram desired to be in colors with such glazing colors as carmine, ultramarine, or cobalt blue, verdigris, etc. The shades of asphaltum are reflected through these transparent colors to the measure of a beautiful appearance, and the sum total of effects thus produced are particularly rich and brilliant. The letters of a monogram painted vermilion glazed with carmine, and the carmine then being shaded with asphaltum and high lighted with pale canary color afford a splendid effect.
In executing the script monogram the workman will agree with us that carmine and vermilion mixtures produce the finest color effects. In fact, all lean bodied letters show at their best when done in some of the gorgeous reds now popular. A very fetching monogram, as to color, is made by laying the design in vermilion and then glazing part of it with carmine. Or, if the striping suggests green for the color, lay the design in a shade of green to harmonize nicely with the striping, and glaze a portion of it with verdigris. Heavy bodied letters such as are combined in some of the monograms accompanying this chapter show admirably with the upper halves done in vermilion and the nether parts put in Indian red, or, preferably, flamingo red. The vermilion should be given a light wash of carmine, and the letters then outlined with deep orange. In some of the large cities where the trappings and the suits of fashion are ever in the foreground one may see the monogram having one of its letters tricked out in all the finery of a graded shade. The manner of shading consists of beginning at the top of the letter with the palest shade of a certain color, and then gradually deepening the shade as the painting descends until, when the base of the letter is reached, the very deepest and darkest shade of the color is developed. As for example, the striping indicates the employment of green as one of the prominent colors in the monogram. Begin at the top of the letter with the very palest shade of green then continuing with the various gradations down to the deepest shade. A graded shade is most successfully accomplished with color containing a binder of raw linseed oil to give the pigment a free working property. A short stiff pencil, lightly, very lightly, tipped with color works most effectively in blending each shade into the next. Reds and blues respond splendidly to the attractions of the graded shade.
The high lights are justly important features of a monogram. Many monogramists contend that a high light is almost invariably improved by the addition of a bit of the color of the letter being executed. As, for instance, the letter is painted medium shade of green, and the high light goes white. To the white add a dash of the green, and note the restful, pleasing effect secured thereby.
High lighting, however, as it applies to nearly all styles of monograms is not suited to the delicate features of the script monogram. The high lighting of the script ornament should consist in merely flicking those parts needing a relief touch with a color that will denote a slant of light from above.
The provision that permits the striping colors used upon a vehicle to govern, with but few exceptions, the predominating color or colors of the monogram renders a presentation of the color scheme adapted to the accompanying designs superfluous. Therefore, it only remains for the writer to advise his readers to learn how to design and paint monograms. It is a buoyant and fascinating art.