Unless specially warned, a beginner usually uses to much color ; and if the subject be painted realistically, it will be apt to be crude and harsh.
This fault is not so perceptible if one color is employed, for these amateurish defects are then less in evidence.
But monochromes must not be regarded by the beginner with contempt, as indicating or betraying ignorance and inexperience.
It is the amount of skill rather than the amount of color bestowed on the work that emphasizes proficiency.
The expert can infuse individuality and originality, in addition to every degree of light and shade, and other values, with one color as well as with a dozen.
Moreover, monochromes are always desirable for both utility and ornament, they are restful and pleasing.
The Oriental nations understood this art of using one color to perfection; and, later, Europe recognized its value, and began to imitate them. The old Holland Delft-ware was a direct result of this, and today blue and white decorations are just as popular as they were centuries ago.
The recent revival of delft designs in the blue and white decorations affords abundant illustrations and innumerable hints and suggestions of what to do, and how to do it.
Wednesday, December 8, 2010
Sunday, September 26, 2010
INSTRUCTION page 97
due to lack of confidence as to capacity and ultimate success than to lack of funds ; and it is useless to purchase a full complement of colors, brushes, etc, unless there is a very definite determination to continue. therefore, if doubts are entertained as to the ultimate success of the venture, it may be made at a very small outlay for materials.
ONE COLOR will afford some slight insight into the manipulation of color and brushes ; and if the attempt prove an utter failure, or offers no inducement to continue, it would certainly be a satisfaction to know the experience was not a costly one.
If the experiment of one color is successful, and the beginner is sufficiently encouraged to continue, there need no longer be any hesitancy in regard to procuring anything and everything required.
After finishing one article, there is no mistaking the inclination to continue or to stop.
But aside from the economical point of view, first efforts should be defined too one color, on principle. There will probably arise, at this stage of the art, numerous difficulties to be overcome with even one color, without being handicapped by that of handling several colors.
Monochromes are much easier of accomplishment than polychromes, and trifling incongruities of both color and correctness as to light and shade are not nearly so pronounced as if the same design was in the natural colors.
ONE COLOR will afford some slight insight into the manipulation of color and brushes ; and if the attempt prove an utter failure, or offers no inducement to continue, it would certainly be a satisfaction to know the experience was not a costly one.
If the experiment of one color is successful, and the beginner is sufficiently encouraged to continue, there need no longer be any hesitancy in regard to procuring anything and everything required.
After finishing one article, there is no mistaking the inclination to continue or to stop.
But aside from the economical point of view, first efforts should be defined too one color, on principle. There will probably arise, at this stage of the art, numerous difficulties to be overcome with even one color, without being handicapped by that of handling several colors.
Monochromes are much easier of accomplishment than polychromes, and trifling incongruities of both color and correctness as to light and shade are not nearly so pronounced as if the same design was in the natural colors.
Saturday, August 7, 2010
INSTRUCTIION PAGE 96
A monochrome, or Camaieu, is a painting done with one color.
Some very beautiful effects may be produced in this manner, provided the subject is attractive, the technique all that is desirable, the chiaroscuro correct ; in fact, if treated both skilfully and intelligently.
While the beginner cannot hope to compass all the qualifications of the expert, his first efforts will probably be more acceptable, and give greater satisfaction, if bit one color is employed.
There are several reasons for this. One that perhaps appeals to a large majority is the slight cost of the experiment.
The expense of procuring a complete outfit has undoubtedly very often proved a deterrent factor against mineral painting.
The hesitation to incur the expense is more frequently
Some very beautiful effects may be produced in this manner, provided the subject is attractive, the technique all that is desirable, the chiaroscuro correct ; in fact, if treated both skilfully and intelligently.
While the beginner cannot hope to compass all the qualifications of the expert, his first efforts will probably be more acceptable, and give greater satisfaction, if bit one color is employed.
There are several reasons for this. One that perhaps appeals to a large majority is the slight cost of the experiment.
The expense of procuring a complete outfit has undoubtedly very often proved a deterrent factor against mineral painting.
The hesitation to incur the expense is more frequently
OTHER ACCESSORIES page 94 -95
Place the bottle in a tin box, to prevent it from falling over.
When using it wrap a little raw cotton around a pointed stick, moisten with water, and dip in the acid, and then rub the china tell the color is removed.
Hydrofluoric acid should only be resorted to, to remove a small inaccuracy or disfigurement after firing, and is not intended to be used to take of an entire decoration.
Sometimes a small pointed stick, like a tooth-pick, will serve the purpose without the cotton, Ample precaution for accidents should be taken, before using, to have plenty of water and rags with reach.
Sweet oil is an antidote. The acid is usually diluted with water before using, at the fumes arising from the pure acid are not only exceedingly unpleasant to inhale, but likely to attack the glaze of china near where it is applied.
Unless a person is exceedingly careful, and able to guard against every possible accident, it should be let severely alone. It is mentioned here as the only thing to remove color when once fired.
An abundance of old, soft rages, as devoid of lint as possible, will be found a great convenience, if not an absolutely essential requisite ; and last, but not least, among the needfuls, may be mentioned plenty of courage and perseverance, determination, and unlimited patience. Though not purchasable commodities, these are quite as necessary to the equipment for painting china as anything mentioned.
Boxes are made especially to contain this outfit. They are of japanned tin or polished wood, and are divided into compartments. The following is one of many styles and sizes, is very compact , and is recommended..not shown.
When using it wrap a little raw cotton around a pointed stick, moisten with water, and dip in the acid, and then rub the china tell the color is removed.
Hydrofluoric acid should only be resorted to, to remove a small inaccuracy or disfigurement after firing, and is not intended to be used to take of an entire decoration.
Sometimes a small pointed stick, like a tooth-pick, will serve the purpose without the cotton, Ample precaution for accidents should be taken, before using, to have plenty of water and rags with reach.
Sweet oil is an antidote. The acid is usually diluted with water before using, at the fumes arising from the pure acid are not only exceedingly unpleasant to inhale, but likely to attack the glaze of china near where it is applied.
Unless a person is exceedingly careful, and able to guard against every possible accident, it should be let severely alone. It is mentioned here as the only thing to remove color when once fired.
An abundance of old, soft rages, as devoid of lint as possible, will be found a great convenience, if not an absolutely essential requisite ; and last, but not least, among the needfuls, may be mentioned plenty of courage and perseverance, determination, and unlimited patience. Though not purchasable commodities, these are quite as necessary to the equipment for painting china as anything mentioned.
Boxes are made especially to contain this outfit. They are of japanned tin or polished wood, and are divided into compartments. The following is one of many styles and sizes, is very compact , and is recommended..not shown.
OTHER ACCESSORIES page 92-93
There is no other means convenient. Gold is more pliable when warmed.
A little steel-pointed erasing-pin is a useful instrument to pick up specks or dust, if they accumulate before the paint is dry. A home-made one will answer the same purpose. Select a fine cambric needle, a no. 9 and insert it by the eye end in a ceder brush-handle, having about half of it exposed. These trifles all help to make good work easy.
Another dust-scraper, a steel blade, Shap on both sides, terminating to a point, is of value to the china-painter. ( cut No. 22.)
Three color erasers, one curved to reach around handles and other crooked, inaccessible places, are used sometimes for what their names suggest. Note from me...these are what they use to use to get rid of ink on paper when handwriting was done with ink.
Hydroflouric acid is a valuable adjunct, but to great caution cannot be exercised in regard to it. It is a most powerful acid, and exceedingly dangerous, destroying everything with which it comes in contact. One puts his personal safety in jeopardy every time it is handled. If dropped upon the hand, it will produce the most excruciating torture until its power is exhausted, which some times requires several days. Amputation has sometimes been necessary. This acid come in rubber bottles, as it would eat through glass ; and, as a precautionary measure against accidents, rubber gloves should be worn when it is used.
A little steel-pointed erasing-pin is a useful instrument to pick up specks or dust, if they accumulate before the paint is dry. A home-made one will answer the same purpose. Select a fine cambric needle, a no. 9 and insert it by the eye end in a ceder brush-handle, having about half of it exposed. These trifles all help to make good work easy.
Another dust-scraper, a steel blade, Shap on both sides, terminating to a point, is of value to the china-painter. ( cut No. 22.)
Three color erasers, one curved to reach around handles and other crooked, inaccessible places, are used sometimes for what their names suggest. Note from me...these are what they use to use to get rid of ink on paper when handwriting was done with ink.
Hydroflouric acid is a valuable adjunct, but to great caution cannot be exercised in regard to it. It is a most powerful acid, and exceedingly dangerous, destroying everything with which it comes in contact. One puts his personal safety in jeopardy every time it is handled. If dropped upon the hand, it will produce the most excruciating torture until its power is exhausted, which some times requires several days. Amputation has sometimes been necessary. This acid come in rubber bottles, as it would eat through glass ; and, as a precautionary measure against accidents, rubber gloves should be worn when it is used.
Friday, August 6, 2010
OTHER ACCESSORIES page 91
held across the plaque steadily, which will give firm support to the painting hand.
A rest for brushes will be found a convenient adjunct. It is made of china, is fine inches long, and its object is to keep the brushes in use from being bent, or coming in contact with any foreign matter if thrown down promiscuously, When doing some pieces of work, it may be found necessary to dry the painting quickly and repeatedly, in order to proceed. A spirit or alcohol lamp is convenient for this purpose..
A small jeweller's lamp with a handle is suitable ; it is light in weight, and easily moved to and fro over the painting without fear of smoking or cracking the china, which is probably would do if kept in one place.
Where a kiln or oven is accessible, the lamp may be dispensed with. china may be set in an oven attached either to the kitchen rage or a gas stove, to dry, with perfect freedom. Should the oven be so hot as to scorch the color, there is no reason to be disturbed over it..It will eventually be all right when it is fired, as it will be subjected to much more intense heat than is obtainable in any ordinary oven.
An alcohol lamp is handy for warming gold, if
A rest for brushes will be found a convenient adjunct. It is made of china, is fine inches long, and its object is to keep the brushes in use from being bent, or coming in contact with any foreign matter if thrown down promiscuously, When doing some pieces of work, it may be found necessary to dry the painting quickly and repeatedly, in order to proceed. A spirit or alcohol lamp is convenient for this purpose..
A small jeweller's lamp with a handle is suitable ; it is light in weight, and easily moved to and fro over the painting without fear of smoking or cracking the china, which is probably would do if kept in one place.
Where a kiln or oven is accessible, the lamp may be dispensed with. china may be set in an oven attached either to the kitchen rage or a gas stove, to dry, with perfect freedom. Should the oven be so hot as to scorch the color, there is no reason to be disturbed over it..It will eventually be all right when it is fired, as it will be subjected to much more intense heat than is obtainable in any ordinary oven.
An alcohol lamp is handy for warming gold, if
Tuesday, August 3, 2010
OTHER ACCESSORIES page 90
the method herewith given for tracing is the easiest way of transferring the design. It requires time, considerable patience, and nice handling ; but, when accomplished, half the battle is won.
The subsequent work will be comparatively easy. No detail should be omitted, as it will be found to be the very foundation to future success ; and no amount of care and attention bestowed on the drawing is wasted.
A hand rest is very useful for certain kind of work, and especially for those who hand is not sufficiently steady without a support.
While there may be no use for on in decorating small articles that are easily held in one hand while painting with the other, they will be found convenient when painting large plaques and similar articles. One large enough to extend across the plaque, and rest on the table, will be helpful. and prevent accidents from contact with the hand. If one of these be not obtainable, a ruler may be
The subsequent work will be comparatively easy. No detail should be omitted, as it will be found to be the very foundation to future success ; and no amount of care and attention bestowed on the drawing is wasted.
A hand rest is very useful for certain kind of work, and especially for those who hand is not sufficiently steady without a support.
While there may be no use for on in decorating small articles that are easily held in one hand while painting with the other, they will be found convenient when painting large plaques and similar articles. One large enough to extend across the plaque, and rest on the table, will be helpful. and prevent accidents from contact with the hand. If one of these be not obtainable, a ruler may be
OTHER ACCESSORIES page 89
picture is there, and an exact reproduction in out line of the copy.
The next thing to do is to go over the entire tracing on the china with India ink, using water and a very fine and -pointed brush. This brush should be kept separate from the painting brushes, and use exclusively for this purpose ; and care should be taken to keep it straight and always to a point. This is done to secure the drawing, and provides beforehand against any unfortunate accident that necessitates wiping off the painting and commencing again.
The India-ink line should exactly follow the tracing in a delicate, uniformly even, thin line.
After this is accomplished, a good plan, before commencing to paint, is to cleanse the china and free it from every trace of graphite, and thus have a clean piece of china on which to work.
This is easily done by wiping it over with a rag slightly moistened with lavender . This evaporates immediately, and leaves the china in a beautiful condition to receive color.
This may seem a long, and perhaps even complicated, process ; but it is the only process possible for those who are without previous instruction in the elementary rules of drawing.
One of the essential features in all painting is first to obtain an accurate drawing ; and , uninteresting as it may appear
The next thing to do is to go over the entire tracing on the china with India ink, using water and a very fine and -pointed brush. This brush should be kept separate from the painting brushes, and use exclusively for this purpose ; and care should be taken to keep it straight and always to a point. This is done to secure the drawing, and provides beforehand against any unfortunate accident that necessitates wiping off the painting and commencing again.
The India-ink line should exactly follow the tracing in a delicate, uniformly even, thin line.
After this is accomplished, a good plan, before commencing to paint, is to cleanse the china and free it from every trace of graphite, and thus have a clean piece of china on which to work.
This is easily done by wiping it over with a rag slightly moistened with lavender . This evaporates immediately, and leaves the china in a beautiful condition to receive color.
This may seem a long, and perhaps even complicated, process ; but it is the only process possible for those who are without previous instruction in the elementary rules of drawing.
One of the essential features in all painting is first to obtain an accurate drawing ; and , uninteresting as it may appear
Sunday, August 1, 2010
OTHER ACCESSORIES page 88
Very little is sufficient to be distribute over a large surface, and a superfluous quantity will produce unsightly and annoying smears over the china. As little as possible is to be used ; just enough to give the paper a tinge of darkness, without being black.
If the paper be sufficiently moist with the lavender before the graphite be rubbed on, it is not necessary to use any turpentine on the china : but if this be neglected, the surface of the china must be wiped over with turpentine, and allowed to dry before attempting to transfer the design, to dry before attempting to transfer the design. This serves as a "tooth" and nicely takes every line ; otherwise the china will not receive the impression.
Place the tracing-paper in the exact position, and fasten firmly to prevent slipping. This may done with wax, or strips of gummed paper, - the outer edges of a sheet of postage-stamps, where the mucilage has spread, answers this purpose admirably.
Then either with a very sharp pointed, hard lead-pencil, or stick, - as the end of a brush handle whittled to a fine point, - go over each and every line before made, as indicated. An agate or ivory stylus is convenient for this purpose.
If these directions have been followed, it will be found, upon removing the paper, that a perfect
If the paper be sufficiently moist with the lavender before the graphite be rubbed on, it is not necessary to use any turpentine on the china : but if this be neglected, the surface of the china must be wiped over with turpentine, and allowed to dry before attempting to transfer the design, to dry before attempting to transfer the design. This serves as a "tooth" and nicely takes every line ; otherwise the china will not receive the impression.
Place the tracing-paper in the exact position, and fasten firmly to prevent slipping. This may done with wax, or strips of gummed paper, - the outer edges of a sheet of postage-stamps, where the mucilage has spread, answers this purpose admirably.
Then either with a very sharp pointed, hard lead-pencil, or stick, - as the end of a brush handle whittled to a fine point, - go over each and every line before made, as indicated. An agate or ivory stylus is convenient for this purpose.
If these directions have been followed, it will be found, upon removing the paper, that a perfect
Sunday, July 25, 2010
OTHER ACCESSORIES page 87
Select a thin quality of tracing-paper, and, when about to use it, wipe both sides with a soft rag, slightly moistened with oil of lavender. This will make it still more transparent, and enable the amateur to see the copy better, and to follow the outlines more closely and clearly in every detail and feature of the subject. Place the tracing paper over the design, and go over every outline with a sharp pointed lead-pencil, a soft one is preferred, because a light stroke is all that is then sufficient. There is no necessity to use pressure, and with a hard pencil this is involuntarily done. This process demands considerable nicety and precision, and only experience will tech the value of extreme accuracy. Perhaps a slight deviation in the outlines of a floral design may not be observed, indeed, may not be incorrect ; but to vary the lines of the human face would be fatal. A hair's breadth would destroy a likeness, whether it be added or taken from, either eyes, nose, or mouth.
Having obtained a clean, clear, and correct reproduction of the copy, brush the back of the tracing lightly with powdered graphite. This is the same substance from which lead-pencils are made, and is reduced to an almost impalpable powder.
Having obtained a clean, clear, and correct reproduction of the copy, brush the back of the tracing lightly with powdered graphite. This is the same substance from which lead-pencils are made, and is reduced to an almost impalpable powder.
OTHER ACCESSORIES page 86
This a japanned tin box, and is fitted with lid or cover, which prevents rapid evaporation. A smaller box fits inside, with a sieve in the middle. Brushes can receive a thorough cleansing in this box, without disturbing the sediment at the bottom. A wire fastened across the top is to press out the superfluous turpentine.
TRACING
If a design is to be copied exactly, tracing-paper with facilitate the process. In conjunction with the tracing paper, there is often used a colored carbon or transferring-paper. Red or black is preferable. Both of these, however, have a soft, smutty surface, and make with the slightest pressure a think, heavy mark, that is very undesirable. It is almost impossible to use it for fine work, like an intricate geometrical border, with thin, narrow lines, or for features of a small face, as in a Cupid.
There is a much better way of tracing and transferring the design to be painted, - a way in which this impression paper is dispensed with altogether. This methods is not only easier and cleaner, but gives better and more accurate results.
TRACING
If a design is to be copied exactly, tracing-paper with facilitate the process. In conjunction with the tracing paper, there is often used a colored carbon or transferring-paper. Red or black is preferable. Both of these, however, have a soft, smutty surface, and make with the slightest pressure a think, heavy mark, that is very undesirable. It is almost impossible to use it for fine work, like an intricate geometrical border, with thin, narrow lines, or for features of a small face, as in a Cupid.
There is a much better way of tracing and transferring the design to be painted, - a way in which this impression paper is dispensed with altogether. This methods is not only easier and cleaner, but gives better and more accurate results.
Saturday, July 24, 2010
OTHER ACCESSORIES page 85
or clove oil, or alcohol. A few drops of either is sufficient.
Right here, perhaps, it is as well as anywhere to state that " a few drops" has frequently proved a stumbling-block to beginners. They are often advised to add " a few drops " of this or that oil, or, to be very definite, " two drops" of one kind, or "five drops" of another. This may sound Very definite, but, as a matter of fact, is misleading.
A drop is very variable quantity. A drop poured from a bottle is rather more than it dropped from the point of a fine needle ; and this, in turn, is considerably less than if dropped from the blunt end of a brush handle, or even from the brush itself, if of large size.
Besides, the specific gravity of these different oils and the state of the weather must be considered. A drop of thick oil is larger in bulk and weight that a drop of lavender-oil is or spirits of turpentine, and both are larger when cold than warm. It is therefore a somewhat relative term among china-painters, to indicate a very small quantity, rather than to be taken literally, as in medicine, where it is so necessary to be accurate that it is regulated, and the dropper for correct measurement accompanies the bottle.
If one intend to do constant work, a brush washer will be very desirable,
Right here, perhaps, it is as well as anywhere to state that " a few drops" has frequently proved a stumbling-block to beginners. They are often advised to add " a few drops " of this or that oil, or, to be very definite, " two drops" of one kind, or "five drops" of another. This may sound Very definite, but, as a matter of fact, is misleading.
A drop is very variable quantity. A drop poured from a bottle is rather more than it dropped from the point of a fine needle ; and this, in turn, is considerably less than if dropped from the blunt end of a brush handle, or even from the brush itself, if of large size.
Besides, the specific gravity of these different oils and the state of the weather must be considered. A drop of thick oil is larger in bulk and weight that a drop of lavender-oil is or spirits of turpentine, and both are larger when cold than warm. It is therefore a somewhat relative term among china-painters, to indicate a very small quantity, rather than to be taken literally, as in medicine, where it is so necessary to be accurate that it is regulated, and the dropper for correct measurement accompanies the bottle.
If one intend to do constant work, a brush washer will be very desirable,
Friday, July 23, 2010
Other Accessories page 84
Moreover, if the painting is not satisfactory, it may be washed entirely off with a few drops of lavender-oil on a rag, and the drawing will not be disturbed. This not only saves time, but also the labor of redrawing the design, which is frequently an uninteresting process, and apt to be tiresome if one is compelled to repeat it many times.
The ordinary lead-pencil may be used to make a sketch ; but the hard, glossy surface of china does not readily lend itself to this medium. The china must be prepared by wiping it over with a rag moistened with turpentine, and it will be found to respond at once to every stroke of the pencil.
When this method is employed, however, there are two distinct disadvantages, - the pencil marks are easily obliterated while painting, and thus the drawing may be lost ; and the film of turpentine, distributed over the china, leaves an unpleasant surface to paint on, one that is from agreeable, and that interferes with good work.
If Sketching is more easily accomplished with a lead-pencil, the drawing maybe gone over with India ink, and then the turpentine cleaned off the china before applying the color. There is nothing so desirable to paint on as perfectly clean china, and nothing so exasperating as to try and lay a smooth wash over a sticky surface.
Turpentine is easily removed by either lavender
The ordinary lead-pencil may be used to make a sketch ; but the hard, glossy surface of china does not readily lend itself to this medium. The china must be prepared by wiping it over with a rag moistened with turpentine, and it will be found to respond at once to every stroke of the pencil.
When this method is employed, however, there are two distinct disadvantages, - the pencil marks are easily obliterated while painting, and thus the drawing may be lost ; and the film of turpentine, distributed over the china, leaves an unpleasant surface to paint on, one that is from agreeable, and that interferes with good work.
If Sketching is more easily accomplished with a lead-pencil, the drawing maybe gone over with India ink, and then the turpentine cleaned off the china before applying the color. There is nothing so desirable to paint on as perfectly clean china, and nothing so exasperating as to try and lay a smooth wash over a sticky surface.
Turpentine is easily removed by either lavender
Other Accessories page 83
The two best shapes are those as represented in cuts 16 and 17. not shown Either will answer the purpose. No. 16 is entirely new in size, being a 2 1/2 inch blade, while its shape is the old familiar regulation spatula.
OTHER ACCESSORIES
A lithographic pencil is most frequently use to draw the design in free hand on china. This is especially useful where it is done in a quick, light, sketchy manner, where the outline is simply indicated, without regard to finished detail. In painting over it, as soon as the brush comes in contact with the drawing every vestige will disappear.
The drawing with a lithographic pencil is obliterated so easily, that it is not to be recommended to those who would become confused by any loss of outlines, and unable to proceed without the drawing.
For this class it is advisable to make the drawing secure, by doing it with India ink. carmine, or any vegetable color, may be substituted, provided it is a water-color. These will all fire away, and possess the additional advantage of remaining intact during painting. The mineral-colors are mixed with oil, the sketching-colors with water ; therefore, it is obvious that, as oil and water don not readily mix, the drawing remains.
OTHER ACCESSORIES
A lithographic pencil is most frequently use to draw the design in free hand on china. This is especially useful where it is done in a quick, light, sketchy manner, where the outline is simply indicated, without regard to finished detail. In painting over it, as soon as the brush comes in contact with the drawing every vestige will disappear.
The drawing with a lithographic pencil is obliterated so easily, that it is not to be recommended to those who would become confused by any loss of outlines, and unable to proceed without the drawing.
For this class it is advisable to make the drawing secure, by doing it with India ink. carmine, or any vegetable color, may be substituted, provided it is a water-color. These will all fire away, and possess the additional advantage of remaining intact during painting. The mineral-colors are mixed with oil, the sketching-colors with water ; therefore, it is obvious that, as oil and water don not readily mix, the drawing remains.
Thursday, July 22, 2010
OTHER ACCESSORIES page 82
time, it would be fully developed in the kiln, and would prove fatal.
It is on this account that a horn or bone knife is to be recommended. These are inventions for the careless, thoughtless, disorderly and untidy student.
Accidents from these causes are entirely inexcusable. There are enough difficulties to encounter and overcome naturally, without adding the unpardonable on of slovenliness.
A good flexible steel knife is quite sufficient for every purpose, even for gold, not withstanding all that has been written and said to the contrary.
Keep it clean, and take care of it, and it will be serviceable many years. But for those who neglect these precautions, horn and bone knives are provided ; but it is a sad commentary on our habits, not to be able to use a steel knife, even for gold.
It is on this account that a horn or bone knife is to be recommended. These are inventions for the careless, thoughtless, disorderly and untidy student.
Accidents from these causes are entirely inexcusable. There are enough difficulties to encounter and overcome naturally, without adding the unpardonable on of slovenliness.
A good flexible steel knife is quite sufficient for every purpose, even for gold, not withstanding all that has been written and said to the contrary.
Keep it clean, and take care of it, and it will be serviceable many years. But for those who neglect these precautions, horn and bone knives are provided ; but it is a sad commentary on our habits, not to be able to use a steel knife, even for gold.
OTHER ACCESSORIES-PALLETTE KNIVES page 81
incline, the color naturally seeks its level in the deepest part.
This is an admirable arrangement, and keeps colors entirely under control, the divisions keeping them apart.
It can be kept in a box, or covered, when not in use.
One or two palette knives will needful, to mix and grind colors. These come in a variety of shapes, sizes, and materials. They are made from ivory, bone, horn, and steel. One of the latter is necessary, and, provided it is kept immaculately clean and free from any possibility of rust, will prove all-sufficient. Rust is the oxide of iron (from which certain reds are made) ; and it will effectually ruin some colors, - blues for instance, - if incorporated with them.
Although this would be imperceptible at the
This is an admirable arrangement, and keeps colors entirely under control, the divisions keeping them apart.
It can be kept in a box, or covered, when not in use.
One or two palette knives will needful, to mix and grind colors. These come in a variety of shapes, sizes, and materials. They are made from ivory, bone, horn, and steel. One of the latter is necessary, and, provided it is kept immaculately clean and free from any possibility of rust, will prove all-sufficient. Rust is the oxide of iron (from which certain reds are made) ; and it will effectually ruin some colors, - blues for instance, - if incorporated with them.
Although this would be imperceptible at the
Tuesday, July 13, 2010
page 80
intervals, and reserve the rest of the space for mixing tints and trying the brush.
Another palette, quite convenient if powder colors are used, consists of a china box, with a lid. This box contains a number of little hemispherical spaces or sunken wells, to hold the colors.
This has on special advantage, inasmuch as, having a cover to protect the colors from dust, it may be kept quite clean, and in good condition for use for a long time. The lid may be utilized to mix colors upon ; although a tile is much more desirable, and will be found very convenient in conjunction with this sort of palette.
Still another palette much in vogue, and to be recommended in preference to any other, especially for those who paint constantly, is a double slant. This contains slanting spaces to hold a dozen colors, six on each side : and, being on an
Another palette, quite convenient if powder colors are used, consists of a china box, with a lid. This box contains a number of little hemispherical spaces or sunken wells, to hold the colors.
This has on special advantage, inasmuch as, having a cover to protect the colors from dust, it may be kept quite clean, and in good condition for use for a long time. The lid may be utilized to mix colors upon ; although a tile is much more desirable, and will be found very convenient in conjunction with this sort of palette.
Still another palette much in vogue, and to be recommended in preference to any other, especially for those who paint constantly, is a double slant. This contains slanting spaces to hold a dozen colors, six on each side : and, being on an
late posting
I have been gone and unable to enter into the porcelain Chronicles but now will continue...I have been also painting heavy with the brush...thank you for your patience.
John
John
Monday, June 7, 2010
PALETTES Page 79
A palette is a necessary accompaniment to the equipment ; and, as in some other things, there is a wide latitude for selection and individual preference. It is useful to mix and hold colors ready for use.
Formerly a square of heavy ground glass was considered all that was desirable, but it has been superseded by several others much better.
That most generally uses is a white glazed tile. Either on 6 X 6 or 8 X 8, will be found suitable.
A piece of plain window glass will of course answer the purpose admirably ; but if this is substituted for the white tile, it is recommended to fasten something white, either paper or muslin under it, in order to enable the painter to distinctly see the exact shade of color.
As the glass and the colors are both transparent, the latter would be seen to a disadvantage if placed on anything else than white. In other words, whatever the glass rests upon would influence the colors, and to a certain extent impart an apparent tinge of color they would not otherwise have.
In using either a tile or a piece of glass, place the colors in a row across the top, at equi-distant
Formerly a square of heavy ground glass was considered all that was desirable, but it has been superseded by several others much better.
That most generally uses is a white glazed tile. Either on 6 X 6 or 8 X 8, will be found suitable.
A piece of plain window glass will of course answer the purpose admirably ; but if this is substituted for the white tile, it is recommended to fasten something white, either paper or muslin under it, in order to enable the painter to distinctly see the exact shade of color.
As the glass and the colors are both transparent, the latter would be seen to a disadvantage if placed on anything else than white. In other words, whatever the glass rests upon would influence the colors, and to a certain extent impart an apparent tinge of color they would not otherwise have.
In using either a tile or a piece of glass, place the colors in a row across the top, at equi-distant
Friday, May 21, 2010
MEDIUM page 78
thoroughly nor so easily. Besides, brushes should never be put away after a rinsing-out in turpentine alone. It not only make the hairs brittle, but rarely entirely removes the color. If a brush, having been used in blue, for instance, is not thoroughly washed until divested of every trace of blue, be dipped in Carmine No. 1, a tinge of blue will inevitably be imparted, that will effectually destroy the purity of the carmine. This may not be notice before firing, but as blue is a strong color it will be quite perceptible afterwards.
If alcohol is not convenient, turpentine will do, to clean palette and knife ; but soap and warm water must be resorted to for brushes.
Alcohol does the same work, with less labor and more dispatch.
It cannot be to strongly urged that cleanliness and neatness in all the details and appurtenances of china-painting are of paramount importance.
Every accessory must be kept scrupulously clean, and nothing can accomplish this so quickly and with such ease as alcohol. As alcohol evaporates very quickly, it should be kept tightly corked ; and a good plan is to keep a wide-necked bottle especially in which to clean brushes. It should be sufficiently large to admit the brush. The color settles at the bottom, and the alcohol always remains clear and clean.
Next Chapter is on Palettes.
If alcohol is not convenient, turpentine will do, to clean palette and knife ; but soap and warm water must be resorted to for brushes.
Alcohol does the same work, with less labor and more dispatch.
It cannot be to strongly urged that cleanliness and neatness in all the details and appurtenances of china-painting are of paramount importance.
Every accessory must be kept scrupulously clean, and nothing can accomplish this so quickly and with such ease as alcohol. As alcohol evaporates very quickly, it should be kept tightly corked ; and a good plan is to keep a wide-necked bottle especially in which to clean brushes. It should be sufficiently large to admit the brush. The color settles at the bottom, and the alcohol always remains clear and clean.
Next Chapter is on Palettes.
MEDIUMS page 77
"open" a little longer, usually allowing, ample time to obtain the desired result. If, however, the worker is slow and hesitating, clove-oil is to be recommend in preference. It is seldom necessary to add thick oil. With the powder colors, however, the thick oil is most essential, and must be added in about equal quantity in bulk to amount of powder..
Mix with the palette knife until thoroughly in corpora ted, then thin with either lavender or spirits of turpentine, or even both. The exact quantity must be determined by experience. Just so much is required as to enable the painter to get over a specified surface before it dries ; and it is desirable as soon as this has been accomplished to dry immediately. Therefore the only gauge is good judgment, which can only be acquired by practice. The large the surface to covered, the longer must the color be kept from drying ; and the less expert usually require More oil than those who, accustomed to its use, can work expeditiously. It is not easy to give more definite directions as to quantity, as it so largely depends upon the dexterity of the painter.
Spirits of wine, or or alcohol, is indispensable for cleaning brushes, palette, knife, etc. Turpentine will answer for this purpose in lieu of alcohol, but it does not cleanse those articles so thro-
Mix with the palette knife until thoroughly in corpora ted, then thin with either lavender or spirits of turpentine, or even both. The exact quantity must be determined by experience. Just so much is required as to enable the painter to get over a specified surface before it dries ; and it is desirable as soon as this has been accomplished to dry immediately. Therefore the only gauge is good judgment, which can only be acquired by practice. The large the surface to covered, the longer must the color be kept from drying ; and the less expert usually require More oil than those who, accustomed to its use, can work expeditiously. It is not easy to give more definite directions as to quantity, as it so largely depends upon the dexterity of the painter.
Spirits of wine, or or alcohol, is indispensable for cleaning brushes, palette, knife, etc. Turpentine will answer for this purpose in lieu of alcohol, but it does not cleanse those articles so thro-
MEDIUMS page 76
consist of a combination of two or three of the oils mentioned, in various proportions, and are usually the result of the compounders individual experience or preference. While the ingredients and proportions are usually withheld from the purchaser, there can be no monopoly nor proprietary rights in any of them..It savors too strongly of patent medicines. There is nothing to prevent any china-painter from preparing, in any desirable proportion, any combination of the oils mentioned.
Nothing is gained by secrets and mysteries in china-painting, beyond the commercial advantages of profit.
The reader is advised to try these several oils, and to ultimately adopt that or those which give to him the best results ; and having ascertained this from actual experience, to adhere to it until thoroughly familiar with its possibilities, Those mentioned are standard articles, and may be obtained anywhere and at any time. Whereas, if entirely dependent upon certain formulas and mixtures, endless perplexity results if the painter be suddenly deprived of them.
The tube colors are already mixed with their proportion of thick oil, and the medium necessary to manipulate them with ease is turpentine ; or, if a large surface is to covered, lavender-oil should be used. Lavender-oil keep the color
Nothing is gained by secrets and mysteries in china-painting, beyond the commercial advantages of profit.
The reader is advised to try these several oils, and to ultimately adopt that or those which give to him the best results ; and having ascertained this from actual experience, to adhere to it until thoroughly familiar with its possibilities, Those mentioned are standard articles, and may be obtained anywhere and at any time. Whereas, if entirely dependent upon certain formulas and mixtures, endless perplexity results if the painter be suddenly deprived of them.
The tube colors are already mixed with their proportion of thick oil, and the medium necessary to manipulate them with ease is turpentine ; or, if a large surface is to covered, lavender-oil should be used. Lavender-oil keep the color
Monday, May 10, 2010
MEDIUMS page 75
turpentine carefully poured off into a clean vessel, and the sediment thrown away. The turpentine in time will become thick oil. Keep the bottle containing the spirits of turpentine tight corked, to prevent evaporation, and wrap a rag several times around the neck, just below the cork, to absorb the exudation's, and prevent the bottle from becoming sticky and unpleasant to handle.
It is equally expedient to have the essential oils also fresh. In this condition they are in a think, fluid state, and dry well. When ole, they be come greasy and unfit for use. This defect may in a measure be overcome be adding alcohol, but it is much better to have the oil fresh.
While spirits of turpentine, lavender , clove, and anise oils are almost colorless when fresh, they become dark when exposed to the light for any considerable time.
Tar-oil, on the contrary, is dark to begin with, and lends a slight tinge if itself to the color, Which, however, only last till it is fired. No one need be disturbed by this apparent change of tint, and it is a very pleasant and manageable medium with which to work.
The number of "painting-mediums" and "tinting- oils" and other "mixtures" on the market is legion. While perhaps none are absolutely bad, some may be better than others. They generally
It is equally expedient to have the essential oils also fresh. In this condition they are in a think, fluid state, and dry well. When ole, they be come greasy and unfit for use. This defect may in a measure be overcome be adding alcohol, but it is much better to have the oil fresh.
While spirits of turpentine, lavender , clove, and anise oils are almost colorless when fresh, they become dark when exposed to the light for any considerable time.
Tar-oil, on the contrary, is dark to begin with, and lends a slight tinge if itself to the color, Which, however, only last till it is fired. No one need be disturbed by this apparent change of tint, and it is a very pleasant and manageable medium with which to work.
The number of "painting-mediums" and "tinting- oils" and other "mixtures" on the market is legion. While perhaps none are absolutely bad, some may be better than others. They generally
MEDIUMS page 74
When used, and rectified from all foreign matter and other impurities. In this condition it is accordingly volatile ; and as it evaporates it becomes thick or fatter, and greasy. In this condition it is not wise to attempt to paint with it, but it should be set aside to evaporate still more.
In time it is reduced to a thick, heavy oil, which is the commercial fat oil, sold under several names. To prevent it from collecting dust, -- and it has a predisposition to accumulate it in vast quantities, -- it is well to cover the vessel in which it is kept. A piece of perforated cardboard is good, so that evaporation may still continue. When it has reached this condition, -- that of a heavy, thick mass of oil, -- it may be poured off into a bottle, corked and kept for future use.
The spirits of turpentine in use one day may be in good condition for next day's use, but it is always more satisfactory to have it clean and fresh at the beginning of each day's work. It is a very cheap commodity, and is not expensive even when used recklessly and extravagantly. That in use today for painting and cleansing the brushes may be put aside for twenty-four hours, when it will be found to have cleared itself.
Mineral colors are heavy, and soon settle to the bottom of the vessel containing the turpentine. The vessel can then be gently tilted, and the clear
In time it is reduced to a thick, heavy oil, which is the commercial fat oil, sold under several names. To prevent it from collecting dust, -- and it has a predisposition to accumulate it in vast quantities, -- it is well to cover the vessel in which it is kept. A piece of perforated cardboard is good, so that evaporation may still continue. When it has reached this condition, -- that of a heavy, thick mass of oil, -- it may be poured off into a bottle, corked and kept for future use.
The spirits of turpentine in use one day may be in good condition for next day's use, but it is always more satisfactory to have it clean and fresh at the beginning of each day's work. It is a very cheap commodity, and is not expensive even when used recklessly and extravagantly. That in use today for painting and cleansing the brushes may be put aside for twenty-four hours, when it will be found to have cleared itself.
Mineral colors are heavy, and soon settle to the bottom of the vessel containing the turpentine. The vessel can then be gently tilted, and the clear
Thursday, May 6, 2010
MEDIUMS page 73
The more time is required to produce the same effect ; consequently, another medium must be resorted to, -- one that will not dry so rapidly, thus giving more time to cover the allotted space.
For this purpose some one of the essential oils is employed, Lavender is the one most generally used. Clove-oil is preferred by some, as being even a slower dryer than lavender.
Those who dislike the odor of these, may use aniseed-oil. others frequently used are tar-oil, and balsam of copaiba.
It is quite immaterial which medium is employed. Some one or two of those mentioned is a necessity, but it is a matter altogether of individual preference.
To many, the odor of turpentine is unpleasant. Thees may use lavender-oil and alcohol, in about equal proportions, with satisfactory results.
In china painting, there need be no material used that is offensive. The amateur is counselled to use at all times the medium or method by which the best results are obtained by himself, and not to be influenced to much by the experience of others. Any of these mediums mentioned are reliable, and may be used with safety.
Thick or fat oil may be so easily accumulated that no one need ever purchase it but once, in the beginning. Spirits of turpentine should be fresh
For this purpose some one of the essential oils is employed, Lavender is the one most generally used. Clove-oil is preferred by some, as being even a slower dryer than lavender.
Those who dislike the odor of these, may use aniseed-oil. others frequently used are tar-oil, and balsam of copaiba.
It is quite immaterial which medium is employed. Some one or two of those mentioned is a necessity, but it is a matter altogether of individual preference.
To many, the odor of turpentine is unpleasant. Thees may use lavender-oil and alcohol, in about equal proportions, with satisfactory results.
In china painting, there need be no material used that is offensive. The amateur is counselled to use at all times the medium or method by which the best results are obtained by himself, and not to be influenced to much by the experience of others. Any of these mediums mentioned are reliable, and may be used with safety.
Thick or fat oil may be so easily accumulated that no one need ever purchase it but once, in the beginning. Spirits of turpentine should be fresh
Saturday, May 1, 2010
MEDIUMS page 72
A medium is the liquid vehicle with which the pigments are ground ; and the same medium is usually employed in applying the pigments and to obtain, by their use, the different degrees and gradations of color.
In mineral colors, various oils are used for this purpose. A thick or fat oil, which is usually a heavy oil derived from turpentine, is very generally used to amalgamate and hold the color. But with this medium alone, it would be impossible to paint, as it is thick, sticky, and quite unmanageable until thinned. Now, since this thick oi is the residuum from the evaporated spirits of turpentine, spirits of turpentine is used to dilute it to the proper consistency for painting.. This my be freely added in any desired proportions.
An expert in the use of mineral colors seldom has occasion to deviate from these two mediums in ordinary decorations. Spirits of turpentine dries quickly and a certain amount of skill is required to use it successfully. The less skillful the painter,
In mineral colors, various oils are used for this purpose. A thick or fat oil, which is usually a heavy oil derived from turpentine, is very generally used to amalgamate and hold the color. But with this medium alone, it would be impossible to paint, as it is thick, sticky, and quite unmanageable until thinned. Now, since this thick oi is the residuum from the evaporated spirits of turpentine, spirits of turpentine is used to dilute it to the proper consistency for painting.. This my be freely added in any desired proportions.
An expert in the use of mineral colors seldom has occasion to deviate from these two mediums in ordinary decorations. Spirits of turpentine dries quickly and a certain amount of skill is required to use it successfully. The less skillful the painter,
BRUSHES page 71
the brush in the turpentine, withdraw it at once, and softly pat it on a rag, pressing very gently, to remove the color, This may be repeated till the brush be perfectly clean.
At the end of the day's work, bushes should have their final washing in alcohol. Nothing so effectually remove every particle of color, and leaves the brush in a pliable condition.
If alcohol is not available, soap and warm (not Hot) water will take its place. If brushes be kept in a box or any similar receptacle, it should be sufficiently long to protect the points, and to prevent the hairs from bending. A cylindrical jar is a good think to keep brushes in ; and they should be thrust in handle down, and brush-end up. If . however, a brush is accidentally allowed to dry in a bent or crooked, twisted position, it is utterly useless until restored to its original shape. This may be accomplished by moistening the brush with a solution of gum Arabic, or any water paste, and gently pulling out straight till it is dry enough to remain so..Set it aside for a few days, then wash out in warm water, when it will be found to have assumed its normal condition.
At the end of the day's work, bushes should have their final washing in alcohol. Nothing so effectually remove every particle of color, and leaves the brush in a pliable condition.
If alcohol is not available, soap and warm (not Hot) water will take its place. If brushes be kept in a box or any similar receptacle, it should be sufficiently long to protect the points, and to prevent the hairs from bending. A cylindrical jar is a good think to keep brushes in ; and they should be thrust in handle down, and brush-end up. If . however, a brush is accidentally allowed to dry in a bent or crooked, twisted position, it is utterly useless until restored to its original shape. This may be accomplished by moistening the brush with a solution of gum Arabic, or any water paste, and gently pulling out straight till it is dry enough to remain so..Set it aside for a few days, then wash out in warm water, when it will be found to have assumed its normal condition.
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and vice versa. But the long brush for paste-work and gold is most generally used by professional decorators, and they usually have the faculty of securing those tools which will do the best work in the least possible time.
There is nothing, however, to prevent the use of other kinds and shapes of brushes, if the same results can be obtained. It is largely a matter of choice ; and persons are perfectly justified in exercising their own discretion, and even whims, and selecting that brush, whether it be long or short, which gives the most satisfaction, and enables the individual to produce the best work.
It will be found necessary, during a few hours' painting, to frequently wash out the brush before changing from one color to another.
It is customary to have at hand for this purpose a cup containing turpentine, If turpentine is offensive, alcohol may be substituted. When wishing to free the brush of color, it is not necessary to disturb the sediment at the bottom of the cup ; but gently shake the brush on the surface of the turpentine, and if necessary press lightly n the sides of the cup.
Never stir up the entire contents unnecessarily. One excellent plan, whereby brushes may be cleansed, and at the same time the turpentine kept comparatively clean for painting, is to simply dip
There is nothing, however, to prevent the use of other kinds and shapes of brushes, if the same results can be obtained. It is largely a matter of choice ; and persons are perfectly justified in exercising their own discretion, and even whims, and selecting that brush, whether it be long or short, which gives the most satisfaction, and enables the individual to produce the best work.
It will be found necessary, during a few hours' painting, to frequently wash out the brush before changing from one color to another.
It is customary to have at hand for this purpose a cup containing turpentine, If turpentine is offensive, alcohol may be substituted. When wishing to free the brush of color, it is not necessary to disturb the sediment at the bottom of the cup ; but gently shake the brush on the surface of the turpentine, and if necessary press lightly n the sides of the cup.
Never stir up the entire contents unnecessarily. One excellent plan, whereby brushes may be cleansed, and at the same time the turpentine kept comparatively clean for painting, is to simply dip
Thursday, April 29, 2010
Sunday, April 25, 2010
BRUSHES page 69
called grounding-brushes, and are useful for covering large spaces, wither in ground-laying, tinting, or painting. (Cut No. 12.)
For applying delicate tints of color, a tinting-brush should be employed. (Cut No. 13.) These are very thin, flat brushes, and work very smoothly. Being thin, they do not absorb or retain any more color than is required, and are to be recommended for this purpose beyond all other brushes. They come in a half a dozen sizes or widths, with metal ferrules and polished wooden handles. They are made of Russia sable, and are delightful to use.
A similar brush is an elastic tinting-brush, and is desirable as being just one-half the price of a Russia sable brush. These elastic brushes are really very good, and quite satisfactory for tinting ; and if they have not so much spring as the Russia sable, have quite enough for the purpose for which they are made and required.
The spring or elasticity of a brush is a test of its quality. A good brush, when we with color and pressed on the object or material to receive the color, will spring back and resume its normal condition immediately upon being removed. Bad brushes remain at the angle at which they are used.
While giving these suggestive hints regarding brushes, their use is by no means compulsory. Some always prefer a Short brush to a long one,
For applying delicate tints of color, a tinting-brush should be employed. (Cut No. 13.) These are very thin, flat brushes, and work very smoothly. Being thin, they do not absorb or retain any more color than is required, and are to be recommended for this purpose beyond all other brushes. They come in a half a dozen sizes or widths, with metal ferrules and polished wooden handles. They are made of Russia sable, and are delightful to use.
A similar brush is an elastic tinting-brush, and is desirable as being just one-half the price of a Russia sable brush. These elastic brushes are really very good, and quite satisfactory for tinting ; and if they have not so much spring as the Russia sable, have quite enough for the purpose for which they are made and required.
The spring or elasticity of a brush is a test of its quality. A good brush, when we with color and pressed on the object or material to receive the color, will spring back and resume its normal condition immediately upon being removed. Bad brushes remain at the angle at which they are used.
While giving these suggestive hints regarding brushes, their use is by no means compulsory. Some always prefer a Short brush to a long one,
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For raised past and gold, special brushes are made. These are somewhat longer than the ordinary painting-brushes, and are known in the trade as Trenton tracers. (cut No. 11.)
For very fine lines, It is frequently necessary to cut off the outer rows of hairs. this is done with a knife or scissors, and the cutting is done close to the quill. This will leave a remarkably thin brush, capably of fine work, with a long, sharp point.
A red sable liner No. 1 should be kept exclusively for India-ink, and should be marked in someway on the handle to prevent its being used for painting. It is equally important never to use a painting-brush in the India-ink.
Square shaders of extra size come in wooden handles ; they are Nos. 11 and 13. These are
For very fine lines, It is frequently necessary to cut off the outer rows of hairs. this is done with a knife or scissors, and the cutting is done close to the quill. This will leave a remarkably thin brush, capably of fine work, with a long, sharp point.
A red sable liner No. 1 should be kept exclusively for India-ink, and should be marked in someway on the handle to prevent its being used for painting. It is equally important never to use a painting-brush in the India-ink.
Square shaders of extra size come in wooden handles ; they are Nos. 11 and 13. These are
Saturday, April 24, 2010
Thursday, April 22, 2010
BRUSHES Page 67
pairing accidental damages. It is a little difficult at first to do at all ; but by practice, one is enabled to do it perfectly. The usual difficulty to overcome is the use of to much and too strong color. A similar brush, though longer than a stippling-brush, will be found useful for finishing. touches and deepest accents. These are called tracers (Cut No.9.) No. 1 is a useful brush ; and two will be necessary, -- one for color ; the other must be kept for gold.
A free handling of a tracer will produce graceful grasses and stems, and give better results for distant effects of these than any other.
A red sable liner No. 1 brush (cut No. 10) should be used for enamel, when it is to be applied as highest points of light-relief scrolls or ornamental dots. It is important to keep this brush only for this purpose, and not use it for anything else.
A free handling of a tracer will produce graceful grasses and stems, and give better results for distant effects of these than any other.
A red sable liner No. 1 brush (cut No. 10) should be used for enamel, when it is to be applied as highest points of light-relief scrolls or ornamental dots. It is important to keep this brush only for this purpose, and not use it for anything else.
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out high lights, cleaning up edges, and many other purposes that need not enumerated, as they will be discovered by degrees.
A short pointed brush ( Cut No. 7) is useful to take out high lights in modelling, and is to be used before the paint becomes to dry. A No. 5 or 6 will be found a convenient size. A small quill blender, No. 4 or 5, is also used for removing color. The curling petals of a flower can be beautifully delineated with such a short painting-brush, very slightly dampened with clove-oil ; and, in fact, all lost lights can be restored by the means infinitely better than by scratching out, which is not only a villainous method of removing color, but unavoidably leaves harsh, sharp edges, were as using a damp brush leaves the edges charmingly soft, and devoid of distinct lines.
A long, thin, pointed brush, called "miniature" pencil, is necessary for stippling. (Cut No.8.)
Stippling, it should be explained, is the application of color by the slightest touches from the point of a brush. It is sometimes called "point-ing." These minute touches of color must not show as spots or specks of color, but must be so blended one in the other as to form a uniform color, or graduation from one color to another. Stippling is necessary in figure work , and for re-
A short pointed brush ( Cut No. 7) is useful to take out high lights in modelling, and is to be used before the paint becomes to dry. A No. 5 or 6 will be found a convenient size. A small quill blender, No. 4 or 5, is also used for removing color. The curling petals of a flower can be beautifully delineated with such a short painting-brush, very slightly dampened with clove-oil ; and, in fact, all lost lights can be restored by the means infinitely better than by scratching out, which is not only a villainous method of removing color, but unavoidably leaves harsh, sharp edges, were as using a damp brush leaves the edges charmingly soft, and devoid of distinct lines.
A long, thin, pointed brush, called "miniature" pencil, is necessary for stippling. (Cut No.8.)
Stippling, it should be explained, is the application of color by the slightest touches from the point of a brush. It is sometimes called "point-ing." These minute touches of color must not show as spots or specks of color, but must be so blended one in the other as to form a uniform color, or graduation from one color to another. Stippling is necessary in figure work , and for re-
Tuesday, April 20, 2010
BRUSHES page 65
brush is longer than the other. (cut No. 4) These are called deer-foot, and are convenient for getting around handles, inside of cups, and other uneven surfaces.
The best brushes for painting china are those called square shaders. (cuts Nos. 5 and 6.) They come in quills ; and two large ones, a No. 10 and 12, and two smaller sizes, a no. 6,7, or 8, are quite sufficient for the ordinary painting. Each brush should be provided with a cedar handle.
Before inserting the handle, throw the new brush in a cup of water, to soak for a few hours. This softens the quill, and the handle is fitted without danger of splitting, as the quill when dry is brittle. and liable to split if this precaution is neglected.
Handles should fit snuggle, to avoid any possibility of the brush slipping or falling off ; but they should never be forced in the quill. If the handles are to large, reduce them by rubbing with sandpaper, rather than cutting with a knife. This method keeps the handles round. After the handle is firmly attached to the brush, sharpen the other end to a point with a penknife ; this end will be found to be very serviceable for cutting
The best brushes for painting china are those called square shaders. (cuts Nos. 5 and 6.) They come in quills ; and two large ones, a No. 10 and 12, and two smaller sizes, a no. 6,7, or 8, are quite sufficient for the ordinary painting. Each brush should be provided with a cedar handle.
Before inserting the handle, throw the new brush in a cup of water, to soak for a few hours. This softens the quill, and the handle is fitted without danger of splitting, as the quill when dry is brittle. and liable to split if this precaution is neglected.
Handles should fit snuggle, to avoid any possibility of the brush slipping or falling off ; but they should never be forced in the quill. If the handles are to large, reduce them by rubbing with sandpaper, rather than cutting with a knife. This method keeps the handles round. After the handle is firmly attached to the brush, sharpen the other end to a point with a penknife ; this end will be found to be very serviceable for cutting
BRUSHES page 64
desired size, and wrap it around a ball of raw cotton, and gathering up the ends, tie together with a string, -- this secures the ends, and forms a handle, -- and it is ready for instant use.
There are special brushes for blending, and a use will be found occasionally for two or three. They come in assorted sizes. A convenient size for general work is No. 10. But for large surfaces and spaces, No. 14 should be used. These large sizes come in wooden handles. (Cut no. 1.) The smaller sizes are in quill handles, and are invaluable in painting figures, heads, cupids, etc. (Cut No. 3. ) An intermediary size comes in a double quill. (Cut No. 2.) Some of these blender brushes are slanting on the edge ; that is one side of the
There are special brushes for blending, and a use will be found occasionally for two or three. They come in assorted sizes. A convenient size for general work is No. 10. But for large surfaces and spaces, No. 14 should be used. These large sizes come in wooden handles. (Cut no. 1.) The smaller sizes are in quill handles, and are invaluable in painting figures, heads, cupids, etc. (Cut No. 3. ) An intermediary size comes in a double quill. (Cut No. 2.) Some of these blender brushes are slanting on the edge ; that is one side of the
Monday, April 19, 2010
BRUSHES page 63
As there are legitimate uses for the blender or pad, the china-painter's equipment is not complete without several different sizes.
Pads may be made of any smooth fabric that is devoid of lint. It should be soft material ; and old stuff that has undergone much wear and tear, and is entirely destitute of fuzziness from frequent wahing, is preferable to new. Old handkerchiefs, eith linen or sil, chamois-skin, kid gloves, and even discarded gauze undervests, are capital for very large pads. Whatever the material, it must be perfectly clean, dray, and smooth. Cut it the
Pads may be made of any smooth fabric that is devoid of lint. It should be soft material ; and old stuff that has undergone much wear and tear, and is entirely destitute of fuzziness from frequent wahing, is preferable to new. Old handkerchiefs, eith linen or sil, chamois-skin, kid gloves, and even discarded gauze undervests, are capital for very large pads. Whatever the material, it must be perfectly clean, dray, and smooth. Cut it the
BRUSHES page 62
uatedwash of color with a small brush. It is true that inequalities may be partially overcome by blending, but this practice is not recommended for all occasions.
Blending by means of a brush or pad, has its proper place, and is of vast assistance in many instances. When a large surface is to be covered, wither with a graduated or uniform tint, it is the only means of attaining the desired result ; and this process is recommended as the surest and easiest method of obtaining a perfect and satisfactory tint. But to depend upon it altogether, for all work , is a most pernicious practice, and should be abolished. Accustomed to it continual use, it is impossible to work without it. Suppress, or rather resist, the impulse to use a blender to smooth out brush-marks and even up tints. It is a bad habit (and, like all others, easy to acquire), with the inevitable result of flatness, until all designs look as though they had been stepped on or ironed out.
It is preferable to obtain the same result by the legitimate means of skillful handling of the brush, rather than by resorting to artificial methods. Intellegently used, it is of immense advantage. Used to conceal faulty manipulation, it is invariably bad. It sometimes result in a "woolly" appearance that is both unnatural and unattractive.
Blending by means of a brush or pad, has its proper place, and is of vast assistance in many instances. When a large surface is to be covered, wither with a graduated or uniform tint, it is the only means of attaining the desired result ; and this process is recommended as the surest and easiest method of obtaining a perfect and satisfactory tint. But to depend upon it altogether, for all work , is a most pernicious practice, and should be abolished. Accustomed to it continual use, it is impossible to work without it. Suppress, or rather resist, the impulse to use a blender to smooth out brush-marks and even up tints. It is a bad habit (and, like all others, easy to acquire), with the inevitable result of flatness, until all designs look as though they had been stepped on or ironed out.
It is preferable to obtain the same result by the legitimate means of skillful handling of the brush, rather than by resorting to artificial methods. Intellegently used, it is of immense advantage. Used to conceal faulty manipulation, it is invariably bad. It sometimes result in a "woolly" appearance that is both unnatural and unattractive.
Sunday, April 18, 2010
BRUSHES page 61
not conducive to the moral, mental, or physical condition of the painter. If this fact be considered and estimated in the cost, to expense of a good brush will be more than counterbalanced by the comfort and convenience in its working qualities ; and is not what may seem to the inexperienced and excessive or unnecessary expenditure.
A few Brushes, provided they are of the right kind, are sufficient for almost any kind of work. They can instantly be cleansed in alcohol, and be used freely to apply several successive colors.
It is advisable to use a large a brush as can be conveniently handled. A beginner's timidity induces the selecting of too small brushes, but it is better to become accustomed to large brushes in the very beginning. If the handling of a large brush is under control, a small one is easily managed ; but if, on the contrary, only small brushes are used, when it becomes necessary to use a large one, it will be awkward and unmanageable, and give more or less trouble.
Those who have never handled brushes before will find it just as easy to acquire the use of a large one as a small one ; those who have become habituated to the use of Small brushes cannot discontinue the practice too soon. Paint may be laid on more quickly and more smoothly by the large brush.
It is impossible to lay a uniform tint or a grad-
A few Brushes, provided they are of the right kind, are sufficient for almost any kind of work. They can instantly be cleansed in alcohol, and be used freely to apply several successive colors.
It is advisable to use a large a brush as can be conveniently handled. A beginner's timidity induces the selecting of too small brushes, but it is better to become accustomed to large brushes in the very beginning. If the handling of a large brush is under control, a small one is easily managed ; but if, on the contrary, only small brushes are used, when it becomes necessary to use a large one, it will be awkward and unmanageable, and give more or less trouble.
Those who have never handled brushes before will find it just as easy to acquire the use of a large one as a small one ; those who have become habituated to the use of Small brushes cannot discontinue the practice too soon. Paint may be laid on more quickly and more smoothly by the large brush.
It is impossible to lay a uniform tint or a grad-
Friday, April 16, 2010
BRUSHES page 60
Too much cannot be said in favor of having not only good brushes, but a good assortment of them.
A bad brush is responsible for a great deal of bad work. The best the market affords is none to good for china-painting ; and although they cost more than inferior ones, they give greater satisfaction, last longer, and in the end are really more economical.
There is a very wide latitude in selecting brushes, both as to quality and quantity. Having secured a good brush, it should be well taken care of, and it will amply repay any attention bestowed upon its preservation.
It is useless to attempt to do good work with inefficient materials and tools ; and a poor, cheap brush -- and a cheap brush is always poor -- is
A bad brush is responsible for a great deal of bad work. The best the market affords is none to good for china-painting ; and although they cost more than inferior ones, they give greater satisfaction, last longer, and in the end are really more economical.
There is a very wide latitude in selecting brushes, both as to quality and quantity. Having secured a good brush, it should be well taken care of, and it will amply repay any attention bestowed upon its preservation.
It is useless to attempt to do good work with inefficient materials and tools ; and a poor, cheap brush -- and a cheap brush is always poor -- is
Thursday, April 15, 2010
SETTING THE PALETTE page 59
Carmine Nos. 2 and 3 would be even to strong for No. 1.
Carmine is a sensitive color, and is easily smirched from contact with an unclean brush or a soiled knife. Clean turpentine is therefore, essential in conjunction with carmine. Some even go to the extent of having separate brushes for carmine ; for if the slightest tinge of green or yellow or blue remain in the brush it will impart it to carmine. but as brushes and palette knife can both be thoroughly cleansed in alcohol, the same brush will answer for all colors, if these precautionary measures are carefully adopted.
As a matter of fact, the utmost care and cleanliness must be observed in every particular in connection with china-painting tools and implements. The victim of untidiness is betrayed, for his sins will surely find him out.
next chapter BRUSHES
Carmine is a sensitive color, and is easily smirched from contact with an unclean brush or a soiled knife. Clean turpentine is therefore, essential in conjunction with carmine. Some even go to the extent of having separate brushes for carmine ; for if the slightest tinge of green or yellow or blue remain in the brush it will impart it to carmine. but as brushes and palette knife can both be thoroughly cleansed in alcohol, the same brush will answer for all colors, if these precautionary measures are carefully adopted.
As a matter of fact, the utmost care and cleanliness must be observed in every particular in connection with china-painting tools and implements. The victim of untidiness is betrayed, for his sins will surely find him out.
next chapter BRUSHES
SETTING THE PALETTE page 58
Before Carmine is fired, it has not the remotes resemblance to the perfect pink it is after firing ; and a beginner is very apt to apply the color too heavily, with consequent disappointment. Carmine will turn a very disagreeable color, and very yellow, if applied heavy, and more than probable will blister and chip off.
It is because carmine makes these peremptory demands that it requires special treatment, and that recourse is sometimes made to one of the reds as a substitute.
While the pale tint of the reds, always violent, may not be exactly objectionable, no one should be allured to believe that they will produce a real rose pink.
Since the disaster has already been explained which will be sure to result if the carmine be applied to thick in the endeavor to obtain a dark pink, suffice it to admonish the amateur not to make the attempt, but instead to add a trifle of ruby purple to the carmine, and the shades will be in due proportion to the amount added.
Carmines and ruby, in fact all the gold colors, require a strong firing to develop their full possibilities ; and the heavier the carmine is put on the stronger must be the firing ; and this exceedingly high temperature is likely to destroy other colors in the kiln. Indeed, the heat required for
It is because carmine makes these peremptory demands that it requires special treatment, and that recourse is sometimes made to one of the reds as a substitute.
While the pale tint of the reds, always violent, may not be exactly objectionable, no one should be allured to believe that they will produce a real rose pink.
Since the disaster has already been explained which will be sure to result if the carmine be applied to thick in the endeavor to obtain a dark pink, suffice it to admonish the amateur not to make the attempt, but instead to add a trifle of ruby purple to the carmine, and the shades will be in due proportion to the amount added.
Carmines and ruby, in fact all the gold colors, require a strong firing to develop their full possibilities ; and the heavier the carmine is put on the stronger must be the firing ; and this exceedingly high temperature is likely to destroy other colors in the kiln. Indeed, the heat required for
Wednesday, April 14, 2010
SETTING THE PALETTE page 57
There are four carmines. The palest is carmine A ; the others are designated numerically, with corresponding degrees of shade, and are No. 1, No. 2, and No. 3 respectively. No. 1 is more used than the others, and applied and fired intelligently is a most satisfactory color for pink flowers, draperies, etc. Everybody, however, does not make the nice discrimination between a pink and a pale red, and therefore does not appreciate the value of the gold pinks.
The difference may be easily distinguished if a sample of both a gold color and iron color (red) be fired and compared. Carmine will be a delightful pure rose pink, and the carnation, or deep red brown, will inevitably present a tinge of red with an admixture of yellow ; and while both may be equally admired, and one may serve the purpose as well as the other, it is and indisputable fact that one is pink and the other pale red.
What is here said relative to carmine is equally true about rose, English pink, and other gold pinks.
In addition to a proper degree of heat, to develop the carmines, there is another imperative fact to be rigidly observed to secure the best results, and obtain the full beauty of purity of tint. It must be applied in the thinnest washes possible ; the thinner the color, the dainty and delicate will be the tint.
The difference may be easily distinguished if a sample of both a gold color and iron color (red) be fired and compared. Carmine will be a delightful pure rose pink, and the carnation, or deep red brown, will inevitably present a tinge of red with an admixture of yellow ; and while both may be equally admired, and one may serve the purpose as well as the other, it is and indisputable fact that one is pink and the other pale red.
What is here said relative to carmine is equally true about rose, English pink, and other gold pinks.
In addition to a proper degree of heat, to develop the carmines, there is another imperative fact to be rigidly observed to secure the best results, and obtain the full beauty of purity of tint. It must be applied in the thinnest washes possible ; the thinner the color, the dainty and delicate will be the tint.
Tuesday, April 13, 2010
SETTING THE PALETTE page 56
Sepia cannot always be relied on to retain its color in process of firing, but sometimes this is an advantage.
Light brown and yellow ochre are so similar to yellow brown, that one may easily be substituted for the other.
The gold colors, of all the colors, are the most difficult to manage. They consist of the carmines, pink, roses, and crimsons, -- called purples, -- and include the light violet of gold and dark violet of gold.
Carmine is called the "test color ; " and though this has especial reference to firing, it is as well a test of one's ability ; for the skillful manipulation of carmine is considered a standard of experience.
Both the firing of this color and its application require special treatment. If under fired, it comes from the kiln yellowish, and by no means agreeable in tone. Another and a stronger firing will restore it. If , on the contrary, it is fired too hard, it will come out with a blue or a purplish tint, that is even uglier than before, and far more disappointing, as the defect is irremediable. The lovely soft pure hue of pink is destroyed forever.
Sometimes a thin wash of carnation No. 1 fluxed and given a rather light fire, will improve this ; but carmine once destroyed by over firing is beyond restoration
Light brown and yellow ochre are so similar to yellow brown, that one may easily be substituted for the other.
The gold colors, of all the colors, are the most difficult to manage. They consist of the carmines, pink, roses, and crimsons, -- called purples, -- and include the light violet of gold and dark violet of gold.
Carmine is called the "test color ; " and though this has especial reference to firing, it is as well a test of one's ability ; for the skillful manipulation of carmine is considered a standard of experience.
Both the firing of this color and its application require special treatment. If under fired, it comes from the kiln yellowish, and by no means agreeable in tone. Another and a stronger firing will restore it. If , on the contrary, it is fired too hard, it will come out with a blue or a purplish tint, that is even uglier than before, and far more disappointing, as the defect is irremediable. The lovely soft pure hue of pink is destroyed forever.
Sometimes a thin wash of carnation No. 1 fluxed and given a rather light fire, will improve this ; but carmine once destroyed by over firing is beyond restoration
Monday, April 12, 2010
SETTING THE PALETTE page 55
Sky blue may safely be added to blues, violets, and to some greens with good effect ; ivory yellow to greens, yellow , reds, and browns, the last being particularly deficient in glazing properties.
A good sample test for practice is to first note proportions of either flux or the fusible color used, and apply it in three different degrees of strength, -- full strength, medium, and the thinnest wash ; then fire, compare results, and make a mental, if not a written, note as a guide for the future.
A thorough understanding of refluxing by either of these means -- it is in material which -- is not only essential to the ultimate perfection of china-painting, but of vital importance ; and this fact cannot be too strongly impressed upon the beginner.
A color should be fluxed for the first firing, and it will not be necessary for a subsequent repainting.
A variety of browns is absolutely indispensable, as they enter largely into all designs. It is well to provide these in several gradations of shade, form light yellow to the darkest brown, which is almost black.
Once accustomed to using brown, no painting will ever seem complete without them. Yellow brown, chestnut brown, brown M, brown No. 3, Brown No. 4, Vandyke brown, and black brown are among those most useful.
A good sample test for practice is to first note proportions of either flux or the fusible color used, and apply it in three different degrees of strength, -- full strength, medium, and the thinnest wash ; then fire, compare results, and make a mental, if not a written, note as a guide for the future.
A thorough understanding of refluxing by either of these means -- it is in material which -- is not only essential to the ultimate perfection of china-painting, but of vital importance ; and this fact cannot be too strongly impressed upon the beginner.
A color should be fluxed for the first firing, and it will not be necessary for a subsequent repainting.
A variety of browns is absolutely indispensable, as they enter largely into all designs. It is well to provide these in several gradations of shade, form light yellow to the darkest brown, which is almost black.
Once accustomed to using brown, no painting will ever seem complete without them. Yellow brown, chestnut brown, brown M, brown No. 3, Brown No. 4, Vandyke brown, and black brown are among those most useful.
SETTING THE PALETTE page 54
hension of the attributes of flux, it is equally expedient to understand the quality of the glaze on the war, whether hard or soft, as an excess of flux is rather more of a defect than its absence, when used indiscriminately.
This nice adjustment of color and flux to the ware can only be attained by observation and experiment.
Firing is another element that enters into successful fluxing, as the less flux the more heat required to fuse. A well-fluxed color will vitrify at a much lower temperature than a color deficient in this quality.
There is a way to avoid using flux, should any doubt exist as to proportions, or until greater familiarity is acquired with the various features connected with its intelligent use ; and that is to introduce, in its stead, some one of the soft colors. Very nearly the same results may be those obtained -- sometimes even richer effects, as a color highly fluxed must, or necessity, change its tint somewhat. It does not exactly impair it ; but the additional flux certainly acts in the nature of an adulterant, and dilutes the color a trifle.
Pearl gray possesses this peculiarity to a high degree, and is always satisfactory. It will not materially change any colors, and fires away very considerably.
This nice adjustment of color and flux to the ware can only be attained by observation and experiment.
Firing is another element that enters into successful fluxing, as the less flux the more heat required to fuse. A well-fluxed color will vitrify at a much lower temperature than a color deficient in this quality.
There is a way to avoid using flux, should any doubt exist as to proportions, or until greater familiarity is acquired with the various features connected with its intelligent use ; and that is to introduce, in its stead, some one of the soft colors. Very nearly the same results may be those obtained -- sometimes even richer effects, as a color highly fluxed must, or necessity, change its tint somewhat. It does not exactly impair it ; but the additional flux certainly acts in the nature of an adulterant, and dilutes the color a trifle.
Pearl gray possesses this peculiarity to a high degree, and is always satisfactory. It will not materially change any colors, and fires away very considerably.
Sunday, April 11, 2010
SETTING THE PALETTE page 53
tured, but are fluxed to be used in their full strength.
Now, when colors are used in a less degree than full strength, it is obvious they are deficient in this verifiable element, Consequently, the thinner the wash of color, the less the quantity of flux is distributed.
Herein lies the difference between the painting colors and grounding colors ; these latter, being prepared especially to be applied for tinting, -- usually in a delicate wash, -- are abundantly fluxed, and require no additional fluxing. On the contrary, whenever painting colors are to do duty as tinting colors, or to be applied for any other purpose in a faint wash, they must have additional flux thoroughly incorporated with them, and the amount is in exact proportion to the quantity of color use, or rather, the extent of surface over which a certain portion of color is to be distributed.
The direct addition of flux is twofold ; for it not only assist the color to amalgamate to the surface of the china, but gives it that much desired quality of glaze. It is the medium of obtaining the beautiful, brilliant lustre that is so absolutely necessary for perfect work, and without which a painting appears dead, dull, and unfinished, no matter how well executed.
Desirable as it is to have an intelligent compre-
Now, when colors are used in a less degree than full strength, it is obvious they are deficient in this verifiable element, Consequently, the thinner the wash of color, the less the quantity of flux is distributed.
Herein lies the difference between the painting colors and grounding colors ; these latter, being prepared especially to be applied for tinting, -- usually in a delicate wash, -- are abundantly fluxed, and require no additional fluxing. On the contrary, whenever painting colors are to do duty as tinting colors, or to be applied for any other purpose in a faint wash, they must have additional flux thoroughly incorporated with them, and the amount is in exact proportion to the quantity of color use, or rather, the extent of surface over which a certain portion of color is to be distributed.
The direct addition of flux is twofold ; for it not only assist the color to amalgamate to the surface of the china, but gives it that much desired quality of glaze. It is the medium of obtaining the beautiful, brilliant lustre that is so absolutely necessary for perfect work, and without which a painting appears dead, dull, and unfinished, no matter how well executed.
Desirable as it is to have an intelligent compre-
SETTING THE PALETTE page 52
However, there is really no necessity for this combination ; for greens are to be procured from the manufacturer, and not mixed on the palette.
Deep blue green is the axure of heraldry, and is also introduced in flesh tones, If used for tinting, or a very pale color is aimed at, it should be fluxed, or have a modicum of light sky blue, a soft glazing color. added to it.
Sky blue and air blue are both used for skies ; and, as they both fuse at a low temperature, are frequently introduced for the glazing qualities, in stead of flux.
Flux does not strictly belong to the list of colors, as it is white ; but as it is an important ingredient, and in a more or less degree exists in all colors, it is perhaps necessary to explain its use, that the beginner may understand its peculiar properties, and be able to use it intelligently. To be able to manage the refluxing of colors successfully requires, first, some knowledge of the essential characteristics of flux ; secondly, individual experience. The first may be, to a certain extent, explained ; the second is only acquired by experiment.
Flux is the medium by which the color is united, in the kiln, to the glaze of the china ; without flux, color would not fuse to any vitreous body. All colors, therefore, are fluxed when manufactured,
Deep blue green is the axure of heraldry, and is also introduced in flesh tones, If used for tinting, or a very pale color is aimed at, it should be fluxed, or have a modicum of light sky blue, a soft glazing color. added to it.
Sky blue and air blue are both used for skies ; and, as they both fuse at a low temperature, are frequently introduced for the glazing qualities, in stead of flux.
Flux does not strictly belong to the list of colors, as it is white ; but as it is an important ingredient, and in a more or less degree exists in all colors, it is perhaps necessary to explain its use, that the beginner may understand its peculiar properties, and be able to use it intelligently. To be able to manage the refluxing of colors successfully requires, first, some knowledge of the essential characteristics of flux ; secondly, individual experience. The first may be, to a certain extent, explained ; the second is only acquired by experiment.
Flux is the medium by which the color is united, in the kiln, to the glaze of the china ; without flux, color would not fuse to any vitreous body. All colors, therefore, are fluxed when manufactured,
SETTING THE PALETTE page 51
all, and requires more skillful treatment, It will utterly absorb reds or browns if mixed with them for shading. Mixed with black, it makes a rich dark olive green. There is not much necessity for orange yellow, as silver yellow answers the purpose for yellow flowers, draperies, fruit, and tinting.
By consulting the color plates, it will be seen that there are a large number and variety of blues. Many of these have names that indicate at once their special uses, such as sky blue, old blue, delft blue, cornflower blue, old rouen blue, and Holland blue.
The prettiest and most useful, however is listed under the greens, and its name is deep blue green. It is not green at all, but the most perfect pure blue of the mineral colors. It is always lovely applied in any degree of strength, although when strong it is by no means dark, It is generally useful ; indeed, one can scarcely paint without it. It is used for all blue flowers, draperies, skies ; in fact, everywhere a pretty blue is wanted. It combines well with green, red, pink, gray, and violet of iron for shadowy effects and vague forms, as seen in the distance ; and with violet of gold every possible variety required for violets, lilacs, and orchids; in fact, with any color except yellow, and with this it assumes a disagreeable gray tone.
By consulting the color plates, it will be seen that there are a large number and variety of blues. Many of these have names that indicate at once their special uses, such as sky blue, old blue, delft blue, cornflower blue, old rouen blue, and Holland blue.
The prettiest and most useful, however is listed under the greens, and its name is deep blue green. It is not green at all, but the most perfect pure blue of the mineral colors. It is always lovely applied in any degree of strength, although when strong it is by no means dark, It is generally useful ; indeed, one can scarcely paint without it. It is used for all blue flowers, draperies, skies ; in fact, everywhere a pretty blue is wanted. It combines well with green, red, pink, gray, and violet of iron for shadowy effects and vague forms, as seen in the distance ; and with violet of gold every possible variety required for violets, lilacs, and orchids; in fact, with any color except yellow, and with this it assumes a disagreeable gray tone.
SETTING THE PALETTE page 50
It can often be introduced t advantage for this quality alone, and do no detriment to other colors. In fact, this very delicate color is frequently a decided acquisition, particularly in harmonizing the general treatment, by giving the entire painting the thinnest wash imaginable, called glazing. It gives thereby an additional warmth to white flowers, draperies, etc. ; but when employed for this purpose, it must not be deep enough to change the white flower to a yellow one, but just sufficient to veil the cold harsh gloss of the surface of pure white china.
Having already referred to yellow for mixing as the best in conjunction with greens, it must be added that it is by no means used exclusively for this purpose ; for both silver yellow and orange yellow are both used to render a crude green Less harsh and more agreeable. Although called yellow for mixing, its capacity to mix has its limitations, and had better be confined to greens. It is usually fatal to reds.
Silver yellow is one of the invaluable colors ; indeed, there is no better yellow for general work. It is equally satisfying, from the palest tint of a thin wash to its full strength. Albert's yellow is another fine color, a trifle stronger than silver yellow, but very pliable.
Orange yellow is the deepest and strongest of
Having already referred to yellow for mixing as the best in conjunction with greens, it must be added that it is by no means used exclusively for this purpose ; for both silver yellow and orange yellow are both used to render a crude green Less harsh and more agreeable. Although called yellow for mixing, its capacity to mix has its limitations, and had better be confined to greens. It is usually fatal to reds.
Silver yellow is one of the invaluable colors ; indeed, there is no better yellow for general work. It is equally satisfying, from the palest tint of a thin wash to its full strength. Albert's yellow is another fine color, a trifle stronger than silver yellow, but very pliable.
Orange yellow is the deepest and strongest of
Saturday, April 10, 2010
goodnight
Have a pleasant night and a good weekend...
goodnight..
But though first love's impassioned blindness Has passed away in colder light, I still have thought of you with kindness, And shall do, till our last goodnight. The ever-rolling silent hours Will bring a time we shall not know, When our young days of gathering flowers Will be an hundred years ago.
-Peacock,Thomas Love 'Love and Age'.
goodnight..
But though first love's impassioned blindness Has passed away in colder light, I still have thought of you with kindness, And shall do, till our last goodnight. The ever-rolling silent hours Will bring a time we shall not know, When our young days of gathering flowers Will be an hundred years ago.
-Peacock,Thomas Love 'Love and Age'.
SETTING THE PALETTE page 49
any extent by the addition of blue, -- usually deep blue green, -- or carmine, or one of the purples. This word "purple," as referring to what is generally called crimson, such as ruby purple, crimson purple, etc., is apt to be confusing, as it does not correspond with the purple of the pansy, for instance. In other words, purple of the mineral palette is applied to crimson, and does not signify the color generally known as royal purple. 1.
Both deep violet of gold and light violet of gold are exquisite shades of purple, and the nearest approach to the color for pansies, lilacs, violets, iris, or fleu-de-lis, clematis, and, in fact all purple flowers.
The yellows are the easiest of all colors to use, and, with the exception of ivory yellow, fire and glaze well.
Ivory yellow sometimes is, under certain conditions, a little unreliable, Used pure, it will not admit of many firings.
It, however, possesses on agreeable quality as a compensation that makes it valuable, -- it is one of the soft, and consequently very fusible, colors.
1. This color, known astyrian purple, the only purple color known to the ancients, was obtained from a mollusk, and only in very Minuit quantities ; hence its value. Its production formed the chief industry of the city of Tyre, and was adopted by the ancients as the symbol of imperial power, probably from its great scarcity and enormous cost.
Both deep violet of gold and light violet of gold are exquisite shades of purple, and the nearest approach to the color for pansies, lilacs, violets, iris, or fleu-de-lis, clematis, and, in fact all purple flowers.
The yellows are the easiest of all colors to use, and, with the exception of ivory yellow, fire and glaze well.
Ivory yellow sometimes is, under certain conditions, a little unreliable, Used pure, it will not admit of many firings.
It, however, possesses on agreeable quality as a compensation that makes it valuable, -- it is one of the soft, and consequently very fusible, colors.
1. This color, known astyrian purple, the only purple color known to the ancients, was obtained from a mollusk, and only in very Minuit quantities ; hence its value. Its production formed the chief industry of the city of Tyre, and was adopted by the ancients as the symbol of imperial power, probably from its great scarcity and enormous cost.
SETTING THE PALETTE page 48
change somewhat, becoming perceptibly darker by repeated firing. But when these qualities are once thoroughly understood, an allowance is made, and in the end red will be found satisfactory and quite indispensable.
Violet of iron is one of the most delightful of reds, and of inestimable value to the china painter. It is a subdued, low tone and combines well with blues, greens and browns. It requires a pretty sharp fire to glaze, when used pure, as in a monochrome, for which it is one of the most charming and restful of colors.
It may seem almost unnecessary to give a special admonition with reference to this color ; but the fact is, strange as it may appear, that violet of iron and violet of gold are often thoughtlessly confounded one with the other. This is inexcusable in any but the beginner who is not yet familiar with the colors ; but as an interchange involves considerable difference in results, it is well to guard against making this error.
Violet of iron is made from the oxide of iron, and is red. Violet of gold is made from gold, and is purple. They are totally unlike, and once cannot be substituted for the other.
There are two shades of violet of gold, light and dark. The light is quite pinkish and in the dark the blue predominates. These may be modified to
Violet of iron is one of the most delightful of reds, and of inestimable value to the china painter. It is a subdued, low tone and combines well with blues, greens and browns. It requires a pretty sharp fire to glaze, when used pure, as in a monochrome, for which it is one of the most charming and restful of colors.
It may seem almost unnecessary to give a special admonition with reference to this color ; but the fact is, strange as it may appear, that violet of iron and violet of gold are often thoughtlessly confounded one with the other. This is inexcusable in any but the beginner who is not yet familiar with the colors ; but as an interchange involves considerable difference in results, it is well to guard against making this error.
Violet of iron is made from the oxide of iron, and is red. Violet of gold is made from gold, and is purple. They are totally unlike, and once cannot be substituted for the other.
There are two shades of violet of gold, light and dark. The light is quite pinkish and in the dark the blue predominates. These may be modified to
One fire..wheatFriday, April 9, 2010
SETTING THE PALETTE page 47
used, not to exceed certain proportions, other wise, after firing, no red will be perceptible. Yellow for mixing will devour all red if an excess is used. It would be better to avoid the combination altogether, although one part of yellow for mixing, one of ivory yellow, and one of carnation No 1, will produce satisfactory results. Any of the reds used thin require additional flux.
Capucine is still more vivid than deep red brown, and is useful for very bright flowers, such as poppies, and berries like holly, It is also the red used in hearldry. Flame red makes an attractive tinting color, very clear and brilliant.
Red is sometimes used for edges and handles of cups, saucers, pitchers, etc, and is to be recommended as a practice color, as for instance, to acquire facility in tinting and in the application of gold, for lace borders, etc. All of the reds will fires satisfactorily, if intelligently place in the kiln.
Too hot firing cause them to change to an ugly color, and if fired to hot and to long will inevitably and irrevocably turn black.
On the contrary, if not fired enough they will wipe off in irregular patches. Carnation especially will do this if thinly applied, unless highly fluxed. Even with the most successful firing they
Capucine is still more vivid than deep red brown, and is useful for very bright flowers, such as poppies, and berries like holly, It is also the red used in hearldry. Flame red makes an attractive tinting color, very clear and brilliant.
Red is sometimes used for edges and handles of cups, saucers, pitchers, etc, and is to be recommended as a practice color, as for instance, to acquire facility in tinting and in the application of gold, for lace borders, etc. All of the reds will fires satisfactorily, if intelligently place in the kiln.
Too hot firing cause them to change to an ugly color, and if fired to hot and to long will inevitably and irrevocably turn black.
On the contrary, if not fired enough they will wipe off in irregular patches. Carnation especially will do this if thinly applied, unless highly fluxed. Even with the most successful firing they
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