painted in the late 1800's
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,
BRUSHES page 68
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.
BRUSHES page 66
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
SELECTING THE PALETTE page 46
and easily managed, and, as the change produced in the firing is scarcely perceptible, are very satisfactory colors.
The Reds are easily distinguished from the pinks and crimsons as being of more brilliant vivid coloring, entirely different in quality, and the nearest approach in the mineral palette to vermilion or scarlet.
Deep red brown, capucine red, and orange red are the most useful. The first mentioned is listed under browns, but it is devoid of any tint of the general acceptation of the word brown. On the contrary, it is a very bright red, and one of the most serviceable of colors. Although of a brilliant shade, in its full strength, used very thins and fluxed, it is a frequently used as a substitute for pinks, and even for flesh tones, combined with silver yellow, Carnation no. 1 is also frequently used for a similar purpose. Both combine well with yellow, and produce very pleasant salmon and shrimp pink shades.
While carnation, fluxed and applied in very thin washes, is sometimes used to paint pink flowers, and though quite agreeable in tint, it really is not a pure or rose pink. This particular shade is only obtained from the gold colors.
While the reds mix freely with the yellows, care must be exercised when yellow for mixing is
The Reds are easily distinguished from the pinks and crimsons as being of more brilliant vivid coloring, entirely different in quality, and the nearest approach in the mineral palette to vermilion or scarlet.
Deep red brown, capucine red, and orange red are the most useful. The first mentioned is listed under browns, but it is devoid of any tint of the general acceptation of the word brown. On the contrary, it is a very bright red, and one of the most serviceable of colors. Although of a brilliant shade, in its full strength, used very thins and fluxed, it is a frequently used as a substitute for pinks, and even for flesh tones, combined with silver yellow, Carnation no. 1 is also frequently used for a similar purpose. Both combine well with yellow, and produce very pleasant salmon and shrimp pink shades.
While carnation, fluxed and applied in very thin washes, is sometimes used to paint pink flowers, and though quite agreeable in tint, it really is not a pure or rose pink. This particular shade is only obtained from the gold colors.
While the reds mix freely with the yellows, care must be exercised when yellow for mixing is
SETTING THE PALETTE page 45
taste in selection, they are seldom used without some slight modification. They mix well with the yellows, one particularly -- yellow for mixing -- forming and especially agreeable line of warm tints. With yellow for mixing, apple green, chrome green, emerald stone green , brown green and back green No. 7, and their various combinations, any desirable scale of greens may be obtained, from the young and tender shades of the early shoots of spring, through the full, brilliant, vivid tones of summer foliage, into the successive shades of olives and glowing russets of autumn, to the low and mellow tones of the sombre evergreens of winter.
Brown is used to tone vivid greens to olive ; carmine or ruby purple, applied in a very think wash over the green, will also reduce the color considerably. Violet of iron is also very useful used in conjunction with greens, giving a degree of warmth frequently required in floral designs. If the green be too yellow, a thin wash of blue, or one of the blue greens, may rectify it. If too blue, a wash of yellow brown or chestnut brown will give it the necessary warmth and richness.
Brown green, an invaluable color as it comes from the tube, is seldom qualified by any other, and is more frequently used pure than other wise.
As a general thing, the greens are very pliable
Brown is used to tone vivid greens to olive ; carmine or ruby purple, applied in a very think wash over the green, will also reduce the color considerably. Violet of iron is also very useful used in conjunction with greens, giving a degree of warmth frequently required in floral designs. If the green be too yellow, a thin wash of blue, or one of the blue greens, may rectify it. If too blue, a wash of yellow brown or chestnut brown will give it the necessary warmth and richness.
Brown green, an invaluable color as it comes from the tube, is seldom qualified by any other, and is more frequently used pure than other wise.
As a general thing, the greens are very pliable
SETTING THE PALETTE page 44
From time to time it will be found expedient to make additions for certain specified decorations, and then the color plates will prove most valuable. 1.
Without entering into a lengthy disquisition of the component parts, or attempting and elaborate analysis of their chemical attributes, a few words relative to their peculiar properties as colors will not be amiss.
These colors are all made from metallic oxides, minerals, and earths, from which certain salts, chlorides, silicates, and aluminates have been extracted. On a previous page, mention is made of cobalt, from which blue is derived, and antimony, zinc, and iron, from which yellows are principally obtained. Greens are made from chromium ; reds from iron ; black from iron and cobalt, intensified with copper and manganese ; brown from cobalt and iron, modified by ochre and zinc ; whit from tin ; and carmines, crimsons, purples, and violets from gold, and are known as the gold colors.
Greens predominate on the list, and embrace a greater and more widely diversified variety of shades than any other color. Greens change very little in the firing, and usually glaze well, except black green No. 7, which requires fluxing.
Not withstanding the multiplicity of tints, affording a wide range and ample scope for individual
1. one should always make themselves a fired colored plate to know what each color will do .
Without entering into a lengthy disquisition of the component parts, or attempting and elaborate analysis of their chemical attributes, a few words relative to their peculiar properties as colors will not be amiss.
These colors are all made from metallic oxides, minerals, and earths, from which certain salts, chlorides, silicates, and aluminates have been extracted. On a previous page, mention is made of cobalt, from which blue is derived, and antimony, zinc, and iron, from which yellows are principally obtained. Greens are made from chromium ; reds from iron ; black from iron and cobalt, intensified with copper and manganese ; brown from cobalt and iron, modified by ochre and zinc ; whit from tin ; and carmines, crimsons, purples, and violets from gold, and are known as the gold colors.
Greens predominate on the list, and embrace a greater and more widely diversified variety of shades than any other color. Greens change very little in the firing, and usually glaze well, except black green No. 7, which requires fluxing.
Not withstanding the multiplicity of tints, affording a wide range and ample scope for individual
1. one should always make themselves a fired colored plate to know what each color will do .
MESSAGE NOTE
Porcelain painters should think of those who have walked the road before them. Search their paths, their timeless inspirations, and the lineage of their genius. Learn your craft well and your talent will mature into its full possibility. Keep an obedient heart before nature. Nature is the master above all other masters. Nature is the concrete manifestation of all that remains true and sublime. One must approach her in our porcelain art. Nature will renew every generation of china-painters, ready to illuminate the minds of those who practice the art with what is calm, rational, beautiful, sublime, and eternal. One cannot function in this field without the basics and the study of nature...one who wishes to paint "modern" cannot do so without the fundamentals and the knowledge of nature and what has gone on before them..You cannot skip the basics and hope to achieve fame in any style or become a good artist without nature and the basic fundamentals of art and china painting. This is one of the main reasons for writing down this book for all to learn from.
Thursday, April 8, 2010
SETTING THE PALETTE page 43
colors are to be recommended ; yellow brown, chestnut brown, brown M, brown No 4, van dyke brown and black brown. Yellow ochre and sepia are also useful.
Emerald stone green, moss green j, olive green, and dark green No. 7 may be used with advantage. Shading green is another fine color. Carnation No. 1 and capucine red are two valuable additional reds. Ivory yellow, Albert's yellow, and orange yellow each has its place ; and pearl gray, warm gray, neutral gray, and gold gray are all most indispensable. Sky blue is important for flesh, and deep blue for any dark rich effects unattainable with Deep blue green . Either deep purple or purple no. 2 will be found in many cases a good substitute for ruby purple, which is much more expensive color.
It is customary to have one black. Either Brunswick black or ivory black will do. White enamel is used for high lights in relief and decorative scrolls ; permanent yellow, another relief color, is used to represent the stamens in flowers, such as are seen in wild roses, apple and cherry blossoms, etc. The list may close with relief past for gold.while it is by no means necessary to possess all of these colors, it is a selection found most useful after many years' experience.
1. since this is an old book and the colors are not available now -when done printing I will try to photo the colors plates so one can compare with today's colors.
Emerald stone green, moss green j, olive green, and dark green No. 7 may be used with advantage. Shading green is another fine color. Carnation No. 1 and capucine red are two valuable additional reds. Ivory yellow, Albert's yellow, and orange yellow each has its place ; and pearl gray, warm gray, neutral gray, and gold gray are all most indispensable. Sky blue is important for flesh, and deep blue for any dark rich effects unattainable with Deep blue green . Either deep purple or purple no. 2 will be found in many cases a good substitute for ruby purple, which is much more expensive color.
It is customary to have one black. Either Brunswick black or ivory black will do. White enamel is used for high lights in relief and decorative scrolls ; permanent yellow, another relief color, is used to represent the stamens in flowers, such as are seen in wild roses, apple and cherry blossoms, etc. The list may close with relief past for gold.while it is by no means necessary to possess all of these colors, it is a selection found most useful after many years' experience.
1. since this is an old book and the colors are not available now -when done printing I will try to photo the colors plates so one can compare with today's colors.
SETTING THE PALETTE page 42
The fewest colors recommended to the beginner with which to do the average general work are three greens, -- apple green, chrome green and brown green ; one pink, -- Carmine No 1 ; one --- ruby ; one purple, -- deep violet of gold ; one red, -- deep red brown ; two yellows, -- yellow for mixing and silver yellow ; one blue, -- deep blue green ; two browns, -- orange and brown no. 3. These , with violet of iron and flux, form a simple, inexpensive list of colors quite sufficient to produce a variety of decorations. But probably the less experienced will require more colors than those already acquainted with the possibilities of these few. Therefore the following additional
SELECTING AND MIXING COLORS page 42
added, in sufficiently slight quantities as not to impair the color.
Aside from the hard tones of black, which are far from agreeable, it aptly illustrates a previous statement, that dark, deep strong colors are not as appropriate for pale, thin delicate tints as those which approximate the sale of the local color.
Black is the darkest and strongest color, and has its legitimate place. Only an expert should attempt to use it for any effect for which the use of another color will do.
Aside from the hard tones of black, which are far from agreeable, it aptly illustrates a previous statement, that dark, deep strong colors are not as appropriate for pale, thin delicate tints as those which approximate the sale of the local color.
Black is the darkest and strongest color, and has its legitimate place. Only an expert should attempt to use it for any effect for which the use of another color will do.
SELECTING AND MIXING COLORS page 41
If, however, the beginner is doubtful how to mix or make grays, he should use those that are ready made, but should never attempt to paint without grays. This is imperative, and cannot be too strongly impressed. Grays that are purchased are infinitely preferable to no grays at all, so necessary are they in modelling anything that has form, perspective, light, or shade.
Two grays recently added, one gray for flowers, the other gray for flesh, are made specially for the purposes indicated, and in the line of mixed grays readily assimilate with other colors. This relieves much hesitation, as it expedites a choice according to the requirements of the subject.
Finally, avoid using black for shading. It is harsh and cold, and , except skillfully used, is not leasing. It is rather hazardous for a beginner to handle ; but if it is to used, get Brunswick black, as it is capable of producing very clear tones in thin washes. Ivory black is a good strong color, but one is not always safe to fire twice if used pure. Sometimes it will chip off at the second firing, This disaster may be averted, provided a small quantity of sky blue, pearl gray, or neutral gray be
Two grays recently added, one gray for flowers, the other gray for flesh, are made specially for the purposes indicated, and in the line of mixed grays readily assimilate with other colors. This relieves much hesitation, as it expedites a choice according to the requirements of the subject.
Finally, avoid using black for shading. It is harsh and cold, and , except skillfully used, is not leasing. It is rather hazardous for a beginner to handle ; but if it is to used, get Brunswick black, as it is capable of producing very clear tones in thin washes. Ivory black is a good strong color, but one is not always safe to fire twice if used pure. Sometimes it will chip off at the second firing, This disaster may be averted, provided a small quantity of sky blue, pearl gray, or neutral gray be
Wednesday, April 7, 2010
Tuesday, April 6, 2010
SELECTING AND MIXING COLORS page 40
A still stronger tone is obtained from deep purple and dark green No. 7. Perhaps one of the safest and best of grays is one made from deep blue green or air blue and orange. With these a most delightful range of tints may be made, varied to suit the subject, from a cool, bluish gray, through several shades, assuming a greenish tone, to a warm yellow tint. This is especially good for white flowers and draperies ; and, being delicate, there is less danger of using to much than with some of the the stronger grays.
Attention must be called to this color, orange, It is not , as had frequently been supposed, orange yellow ; by consulting the color pages it will be seen there is a vast difference, and one cannot be substituted for the other.
Although not a new color, having been known and used by professional decorators for many years, it is almost unknown to the amateur ; but now that it is put up byLacroix, uniform with the rest of the colors, it will be doubtless become better known, and prove a valuable addition to the palette. It not only makes desirable grays, -- with the addition of blue, -- but tone greens and yellow if to vivid, Mixes well with ruby for reddish rose-stems, and in a variety of ways is useful. 1.
1. Having used this color for many years, and recognizing its value, the writer suggested to Mr. Lacroix the propriety of pre- paring and placing it on the market in the same form as his other colors, as hitherto it has been only procurable in bulk. Mr. Lacroix willingly complied, and one of the valuable acquisition to china-painting is now available to all..
Attention must be called to this color, orange, It is not , as had frequently been supposed, orange yellow ; by consulting the color pages it will be seen there is a vast difference, and one cannot be substituted for the other.
Although not a new color, having been known and used by professional decorators for many years, it is almost unknown to the amateur ; but now that it is put up byLacroix, uniform with the rest of the colors, it will be doubtless become better known, and prove a valuable addition to the palette. It not only makes desirable grays, -- with the addition of blue, -- but tone greens and yellow if to vivid, Mixes well with ruby for reddish rose-stems, and in a variety of ways is useful. 1.
1. Having used this color for many years, and recognizing its value, the writer suggested to Mr. Lacroix the propriety of pre- paring and placing it on the market in the same form as his other colors, as hitherto it has been only procurable in bulk. Mr. Lacroix willingly complied, and one of the valuable acquisition to china-painting is now available to all..
Monday, April 5, 2010
SELECTING AND MIXING COLORS page 39
to be those made from the colors in use, and out on the palette, rather than by the substitution of others. They are more in unison with the scheme of color, and consequently harmonize better.
A manufactured gray is mad warm or cool in proportion to the amount and quality of color introduced. Red and yellow are lively tones, and produce warm tints, while blue in predominance is excessively cool. Violet is an intermediate tone.
In Theory, the three primary colors, red, blue, and yellow, in a given proportion, will counterbalance or neutralize each other ; but with mineral colors, seldom more than two are requisite to produce a satisfactory gray. A good example of the first principle is a mixture of carmine, silver yellow, and ultra-marine, which can be made to have either color predominate.
Apple green and carmine make a soft, pearly tone, very delicate in quality, and useful when combined with pink. Either deep red brown or violet of iron, combined with deep blue green, forms a somewhat stronger tint, and is useful to shade blue flowers or drapery. It is also good for clouds and distant effects.
A manufactured gray is mad warm or cool in proportion to the amount and quality of color introduced. Red and yellow are lively tones, and produce warm tints, while blue in predominance is excessively cool. Violet is an intermediate tone.
In Theory, the three primary colors, red, blue, and yellow, in a given proportion, will counterbalance or neutralize each other ; but with mineral colors, seldom more than two are requisite to produce a satisfactory gray. A good example of the first principle is a mixture of carmine, silver yellow, and ultra-marine, which can be made to have either color predominate.
Apple green and carmine make a soft, pearly tone, very delicate in quality, and useful when combined with pink. Either deep red brown or violet of iron, combined with deep blue green, forms a somewhat stronger tint, and is useful to shade blue flowers or drapery. It is also good for clouds and distant effects.
SELECTING AND MIXING COLORS page 38
and always will. They have distinctive features, all their own ; and in spite of blue trees, brown skies, or red water, their distinguishing characteristics are respected and admired.
A reference to the colored plates will reveal a large variety of shades of gray, More or less useful. 1. Pearl gray, the softest and most delicate tint, is quite a necessary adjunct to the color - box. It is useful in many ways. It is a good glazing color, fusing readily, and can be freely used ; mixes well with other colors, and its introduction in small quantities does no materially change their hue, as if fires very largely away. Warm Gray is also equally useful. It is a soft, pinkish color, and may be freely used. Neutral gray is a very dark, cold, intense color, seldom used, and then generally in connection with other colors.
Royal Cophenhagen gray, a color recently added to the Lacroix 2. list, is a pleasing and manageable color ; alone, it is a beautiful tint, and it combine well with other colors in the matter of shading.
All of the grays glaze well. Those mentioned are used more generally than the others.
Gray is the result of neutralizing one color with another ; and the most agreeable tones are likely
1. color chart will not be printed. 2. colors not made any longe.
A reference to the colored plates will reveal a large variety of shades of gray, More or less useful. 1. Pearl gray, the softest and most delicate tint, is quite a necessary adjunct to the color - box. It is useful in many ways. It is a good glazing color, fusing readily, and can be freely used ; mixes well with other colors, and its introduction in small quantities does no materially change their hue, as if fires very largely away. Warm Gray is also equally useful. It is a soft, pinkish color, and may be freely used. Neutral gray is a very dark, cold, intense color, seldom used, and then generally in connection with other colors.
Royal Cophenhagen gray, a color recently added to the Lacroix 2. list, is a pleasing and manageable color ; alone, it is a beautiful tint, and it combine well with other colors in the matter of shading.
All of the grays glaze well. Those mentioned are used more generally than the others.
Gray is the result of neutralizing one color with another ; and the most agreeable tones are likely
1. color chart will not be printed. 2. colors not made any longe.
SELECTING AND MIXING COLORS page 37
Of greens may be obtained from it as a basis, It readily lends itself for a variety of purposes by being qualified with yellow, brown, or even blue and carmine, with the most charming results; and just in the proportion in which they are added will the yellow, brown blue, or carmine predominate.
Yet useful as is this color, --- chrome green, --- it is insufficient for all purposes ; and two or three additional ones give greater satisfaction, a more diversified scheme or color, and greater variety, for general work.
To recapitulate -- provide a variety of colors in their pure state, and then modify them, by a judicious mixing, to harmonize with the scheme of color suitable to the subject on hand. The same advice is equally good in reference to gray tones.
Grays are absolutely indispensable in all painting where any effort is made to model a form ; neither rotundity nor distance can be depicted without gray. In a flat, purely conventional design, there is no necessity for grays ; but they are absolutely requisite to delineate a natural object by a realistic treatment.
To model with only light and heavy Shadow of one color is absolutely bad.
In this statement monochromes are not included. They have their place in art ; always had 1.
1. they had fewer colors then but the above still holds true..and that is what is lacking in so much of the non naturalistic painting today.
Yet useful as is this color, --- chrome green, --- it is insufficient for all purposes ; and two or three additional ones give greater satisfaction, a more diversified scheme or color, and greater variety, for general work.
To recapitulate -- provide a variety of colors in their pure state, and then modify them, by a judicious mixing, to harmonize with the scheme of color suitable to the subject on hand. The same advice is equally good in reference to gray tones.
Grays are absolutely indispensable in all painting where any effort is made to model a form ; neither rotundity nor distance can be depicted without gray. In a flat, purely conventional design, there is no necessity for grays ; but they are absolutely requisite to delineate a natural object by a realistic treatment.
To model with only light and heavy Shadow of one color is absolutely bad.
In this statement monochromes are not included. They have their place in art ; always had 1.
1. they had fewer colors then but the above still holds true..and that is what is lacking in so much of the non naturalistic painting today.
SELECTING AND MIXING COLORS page 36
order to fulfil the requirements of art, and to produce harmonious results.
In painting a cluster of pink roses, but very little pure color is used. The highest lights, the shadows, reflected light, transmitted light, etc., must be expressed by other tones than the local color.
Trees in a landscape especially if on three different planes, -- the foreground, the middle distance, and those at a remote point of vision, -- cannot be expressed with one shade of green.
A differentiation in color is indispensable to delineate perspective and atmospheric effects. Color must be qualified to obtain a scale of gradation to suit the demands of the subject, otherwise the crude appearance of raw color would create a very unpleasant and unnatural result.
To assert on one page that greens cannot be obtained by mixing, and on another that they must be mixed to obtain the best results, may seen inconsistent, To avoid any misunderstanding, an illustration will exactly explain this apparent contradiction, and it is an important one to remember.
Chrome green is a very raw, cold green, bluish in tone, and, though one of the useful greens, is seldom used in its crude condition. But its value depends upon the ease with which a whole range
In painting a cluster of pink roses, but very little pure color is used. The highest lights, the shadows, reflected light, transmitted light, etc., must be expressed by other tones than the local color.
Trees in a landscape especially if on three different planes, -- the foreground, the middle distance, and those at a remote point of vision, -- cannot be expressed with one shade of green.
A differentiation in color is indispensable to delineate perspective and atmospheric effects. Color must be qualified to obtain a scale of gradation to suit the demands of the subject, otherwise the crude appearance of raw color would create a very unpleasant and unnatural result.
To assert on one page that greens cannot be obtained by mixing, and on another that they must be mixed to obtain the best results, may seen inconsistent, To avoid any misunderstanding, an illustration will exactly explain this apparent contradiction, and it is an important one to remember.
Chrome green is a very raw, cold green, bluish in tone, and, though one of the useful greens, is seldom used in its crude condition. But its value depends upon the ease with which a whole range
SELECTING AND MIXING COLORS page 35
very thin, loses its richness, and is an appearance weak and uninviting. Any one taking up china-painting for pleasure or profit should make extensive experiments of many and various combinations of colors. A systematic series, where proportions are noted and memorandum kept for future reference, will prove of inestimable value. Misgivings and doubts will soon disappear ; and the painter will find himself working with greater confidence and boldness, knowing positively the result beforehand.
Tests should be made in duplicate, and only one fired. Then any change made in the firing is at once perceptible. Tests need only cost time. Pieces of broken china may be obtained at any store where china is sold, -- it is imperative that it should be a new piece. Those who do their own firing have an extra advantage over those who do not.. But any firer will fire theses samples free of charge.
The endeavor to impress the necessity of having a sufficient variety of colors must not lead the reader to belief in a widespread fallacy that obtained for many years, that mineral colors would not mix. That misapprehension had no foundation, and was exploded long ago.
The fact is, in any kind of painting, and with any pigment, -- and mineral colors in this respect are no exception, -- colors must be modified in
Tests should be made in duplicate, and only one fired. Then any change made in the firing is at once perceptible. Tests need only cost time. Pieces of broken china may be obtained at any store where china is sold, -- it is imperative that it should be a new piece. Those who do their own firing have an extra advantage over those who do not.. But any firer will fire theses samples free of charge.
The endeavor to impress the necessity of having a sufficient variety of colors must not lead the reader to belief in a widespread fallacy that obtained for many years, that mineral colors would not mix. That misapprehension had no foundation, and was exploded long ago.
The fact is, in any kind of painting, and with any pigment, -- and mineral colors in this respect are no exception, -- colors must be modified in
Sunday, April 4, 2010
SELECTING AND MIXING COLORS page 34
Brighter, clearer, purer tone than can be obtained by mixing colors on the palette. Blues are made from colbalt, and yellows from iron, antimony, zinc, ect. ; and the union of either of these latter with the former will not produce a green oxide, nor will the combination ever give satisfactory greens.
The blues and carmines are more manageable ; but there is not advantage even here, for should a satisfactory tint be obtained at random, the fact that it was the result of mere chance preclude duplicating it with any degree of certainty. However close the approximation may be. haphazard amalgamations are of no real benefit ; and china makes certain demands, mechanical and technical. that must be respected.
Another error into which the amateur is likely to fall, if not suitably provided with a full complement of colors, is the ineffectual attempt to make a thin wash of a dark color do duty for a light shade, and vice versa. For instance, carmine, rose, or English pink must be applied very thinly to produce a pure delicate pink, as in a pink rose. But a deep pink rose can never be painted by using the same color heavier. When the darker rose is to be painted, a darker color must be used. such as ruby. With carmine and ruby, almost any shade me be obtained ; but used separately, each has its limitations. A heavy , dark color, put on
The blues and carmines are more manageable ; but there is not advantage even here, for should a satisfactory tint be obtained at random, the fact that it was the result of mere chance preclude duplicating it with any degree of certainty. However close the approximation may be. haphazard amalgamations are of no real benefit ; and china makes certain demands, mechanical and technical. that must be respected.
Another error into which the amateur is likely to fall, if not suitably provided with a full complement of colors, is the ineffectual attempt to make a thin wash of a dark color do duty for a light shade, and vice versa. For instance, carmine, rose, or English pink must be applied very thinly to produce a pure delicate pink, as in a pink rose. But a deep pink rose can never be painted by using the same color heavier. When the darker rose is to be painted, a darker color must be used. such as ruby. With carmine and ruby, almost any shade me be obtained ; but used separately, each has its limitations. A heavy , dark color, put on
SELECTING AND MIXING COLORS page 33
Sometimes the device of intruding a strong touch of the complementary color will have the appearance of raising the color to a higher key. for instance, if the greens are to gray, and are somewhat dull and uninteresting in color, the close proximity of a brilliant bit of red will restore it, and it will assume a more vivid tone of green at once.
With oil and water colors, it is usual to mix two or more together to produce greens and violets ; but it is not advisable to do this with mineral colors.
One of the elementary principles of art, or rather of color, is that the combinations of the two primary colors, blue and yellow, makes the secondary green, and that blue and red will produce violet shades ' but with mineral colors, it is well to confine this fact to theory, and to purchase greens and violets ready made. These may be modified by other colors, -- the greens with yellow, blue, or brown ; the violets with blue or carmine, to any desirable shade ; but it is impossible to obtain a gamut of pleasant tones of green by mixing blue and yellow. In reality, they injure or neutralize each other.
The reason is obvious, -- the greens of the mineral palette are mad from metals and materials that produce green in infinitely better,
With oil and water colors, it is usual to mix two or more together to produce greens and violets ; but it is not advisable to do this with mineral colors.
One of the elementary principles of art, or rather of color, is that the combinations of the two primary colors, blue and yellow, makes the secondary green, and that blue and red will produce violet shades ' but with mineral colors, it is well to confine this fact to theory, and to purchase greens and violets ready made. These may be modified by other colors, -- the greens with yellow, blue, or brown ; the violets with blue or carmine, to any desirable shade ; but it is impossible to obtain a gamut of pleasant tones of green by mixing blue and yellow. In reality, they injure or neutralize each other.
The reason is obvious, -- the greens of the mineral palette are mad from metals and materials that produce green in infinitely better,
SELECTING AND MIXING COLORS page 32
would be rather bewildered in making a selection, and without assistance would probably make an unfortunate choice, resulting in disappointment and consequent discouragement.
While not advocating the use of too many colors in the beginning,--believing it is well to become thoroughly familiar with the possibilities of the few at first employed, --it is recommended that a sufficient quantity and variety be provided for the subject painted. Better results are obtained from a full palette than by trying to make one color serve the purpose of two, generally an unsuccessful and unsatisfactory effort.
The amateur will not at first fully realize the necessity or importance of keeping colors in their purity. This quality is easily lost ; and when once the painting assumes a "muddy" look , it is impossible to restore it.
Mineral colors cannot be treated in the same fashion as oil or water colors : for it is possible, by a subsequent repainting with either of these pigments, to restore a lost tint, and correct inaccuracies in drawing, but it is not so with mineral paints. They are all more or less transparent, and every wash in succession is certain to be influenced by the previous ones underneath.. Light tints may easily be deepened, but a dark tone can not be made lighter.
While not advocating the use of too many colors in the beginning,--believing it is well to become thoroughly familiar with the possibilities of the few at first employed, --it is recommended that a sufficient quantity and variety be provided for the subject painted. Better results are obtained from a full palette than by trying to make one color serve the purpose of two, generally an unsuccessful and unsatisfactory effort.
The amateur will not at first fully realize the necessity or importance of keeping colors in their purity. This quality is easily lost ; and when once the painting assumes a "muddy" look , it is impossible to restore it.
Mineral colors cannot be treated in the same fashion as oil or water colors : for it is possible, by a subsequent repainting with either of these pigments, to restore a lost tint, and correct inaccuracies in drawing, but it is not so with mineral paints. They are all more or less transparent, and every wash in succession is certain to be influenced by the previous ones underneath.. Light tints may easily be deepened, but a dark tone can not be made lighter.
Saturday, April 3, 2010
Friday, April 2, 2010
SELECTING AND MIXING COLORS page 31
The tube colors are certainly most convenient, especially for beginners, who have not yet learned the exact proportions of oil required in preparing them to use. This knowledge comes only with experience, but is soon acquired. The colors in tubes, in course of time, if left unused, will become hard and unmanageable until reground with fresh oil. They are in no way injured when the is had dried out, leaving them hard, for they do not deteriorate with age ; but it is uninteresting and tedious work to get them back again into a manageable condition.
Those in the dry powder remain in a perfect condition for an indefinite time.
While it requires a little more time in the first place to get them into proper condition, they are in the end, perhaps, a trifle more economical and cleaner to handle ; but the minimum of money saved about equals the maximum of time and labor bestowed.
After all, it is a question of individual preference. The professional decorator in the factory invariably uses powder colors. Perhaps it would be easier for the beginner to buy tube colors, as they are ready to use ; later on, a good plan would be to have some of both,---those in daily use in tubes, those used occasionally in powder.
Owing to the wide range of colors, the amateur
Those in the dry powder remain in a perfect condition for an indefinite time.
While it requires a little more time in the first place to get them into proper condition, they are in the end, perhaps, a trifle more economical and cleaner to handle ; but the minimum of money saved about equals the maximum of time and labor bestowed.
After all, it is a question of individual preference. The professional decorator in the factory invariably uses powder colors. Perhaps it would be easier for the beginner to buy tube colors, as they are ready to use ; later on, a good plan would be to have some of both,---those in daily use in tubes, those used occasionally in powder.
Owing to the wide range of colors, the amateur
Thursday, April 1, 2010
SELECTING AND MIXING COLORS page 30
In purchasing the necessary supply of colors, there is a choice between those that are in collapsible tubes, all ready prepared for instant use, and those that are still in powder form, usually put up in small vials, with a meta top screwed on.
Every form has it particular advantages to comend it, the origin cost being about equal ; the actual amount of color is more than double that in the tubes.
The colors in both tubes and vials are identically the same in name and in shade.
Every form has it particular advantages to comend it, the origin cost being about equal ; the actual amount of color is more than double that in the tubes.
The colors in both tubes and vials are identically the same in name and in shade.
COLOR page 29
to all china-painters, and especially so to amateurs. Every shade and tint that can possibly be required, if not here shown and scheduled, may be easily obtained by combinations.
Every color shown may be obtained either in powder or in collapsible tubes.
Compared with other pigments, the number of vitrifiable colors is limited, as the manufacturer is restricted to obtaining them from a mineral basis.
They must be reduce by grinding to as fine a powder as possible, to secure an even distribution of color. They must furthermore be prepared not only to resist the heat requisite to vitrify to the surface f the ware, but must also be made to expand and contract equally with the china to which they are applied. and they must be fluxed in just such proportions as to fuse alike and at an equal degree of temperature. Lacroix'scolors are made from carefully compounded formulas, and fulfil all these requirements.
To secure the best results, it is strongly urged upon the amateur to get his art instruction and suggestions from the artist, and his merchandise from the merchant.
Every color shown may be obtained either in powder or in collapsible tubes.
Compared with other pigments, the number of vitrifiable colors is limited, as the manufacturer is restricted to obtaining them from a mineral basis.
They must be reduce by grinding to as fine a powder as possible, to secure an even distribution of color. They must furthermore be prepared not only to resist the heat requisite to vitrify to the surface f the ware, but must also be made to expand and contract equally with the china to which they are applied. and they must be fluxed in just such proportions as to fuse alike and at an equal degree of temperature. Lacroix'scolors are made from carefully compounded formulas, and fulfil all these requirements.
To secure the best results, it is strongly urged upon the amateur to get his art instruction and suggestions from the artist, and his merchandise from the merchant.
COLOR page 28
temperature required to fuse them ; ass high or strong, medium or light, respectively. The same phraseology is also applicable, for the same reasons, to china, indicating the quality of the glaze ; as, for instance, English china has noticeably a much softer glaze than French china.
A knowledge of the varying degrees in the quality of china is of great assistance in the manipulation of color, to produce the results sought.
The colors mentioned and recommended in this Manual are exclusively those from the laboratory of Lacroix of Paris. He was the first to make china-painting by amateurs a possibility ; and during the twenty-five years that he has supplied these colors they have always sustained their reputation for quality and uniformity.
They are universally recognized as standard productions, and are therefore most generally use. Moreover, they are always reliable, and may be obtained anywhere,--- two distinct advantages over ephemeral imitations that only asses a local reputation.
Nothing is to gained by using colors obtained indiscriminately from various sources.
Exact reproductions of all of Lacroix colors are given in this volume ; and as it is the first time that such a scheme has been accomplished, or even attempted, it cannot fail to be of real value
this is a color chart in the back of the book which will not be printed here.
A knowledge of the varying degrees in the quality of china is of great assistance in the manipulation of color, to produce the results sought.
The colors mentioned and recommended in this Manual are exclusively those from the laboratory of Lacroix of Paris. He was the first to make china-painting by amateurs a possibility ; and during the twenty-five years that he has supplied these colors they have always sustained their reputation for quality and uniformity.
They are universally recognized as standard productions, and are therefore most generally use. Moreover, they are always reliable, and may be obtained anywhere,--- two distinct advantages over ephemeral imitations that only asses a local reputation.
Nothing is to gained by using colors obtained indiscriminately from various sources.
Exact reproductions of all of Lacroix colors are given in this volume ; and as it is the first time that such a scheme has been accomplished, or even attempted, it cannot fail to be of real value
this is a color chart in the back of the book which will not be printed here.
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