antique dinner plate
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.
BRUSHES page 70
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
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