A monochrome, or Camaieu, is a painting done with one color.
Some very beautiful effects may be produced in this manner, provided the subject is attractive, the technique all that is desirable, the chiaroscuro correct ; in fact, if treated both skilfully and intelligently.
While the beginner cannot hope to compass all the qualifications of the expert, his first efforts will probably be more acceptable, and give greater satisfaction, if bit one color is employed.
There are several reasons for this. One that perhaps appeals to a large majority is the slight cost of the experiment.
The expense of procuring a complete outfit has undoubtedly very often proved a deterrent factor against mineral painting.
The hesitation to incur the expense is more frequently
Saturday, August 7, 2010
OTHER ACCESSORIES page 94 -95
Place the bottle in a tin box, to prevent it from falling over.
When using it wrap a little raw cotton around a pointed stick, moisten with water, and dip in the acid, and then rub the china tell the color is removed.
Hydrofluoric acid should only be resorted to, to remove a small inaccuracy or disfigurement after firing, and is not intended to be used to take of an entire decoration.
Sometimes a small pointed stick, like a tooth-pick, will serve the purpose without the cotton, Ample precaution for accidents should be taken, before using, to have plenty of water and rags with reach.
Sweet oil is an antidote. The acid is usually diluted with water before using, at the fumes arising from the pure acid are not only exceedingly unpleasant to inhale, but likely to attack the glaze of china near where it is applied.
Unless a person is exceedingly careful, and able to guard against every possible accident, it should be let severely alone. It is mentioned here as the only thing to remove color when once fired.
An abundance of old, soft rages, as devoid of lint as possible, will be found a great convenience, if not an absolutely essential requisite ; and last, but not least, among the needfuls, may be mentioned plenty of courage and perseverance, determination, and unlimited patience. Though not purchasable commodities, these are quite as necessary to the equipment for painting china as anything mentioned.
Boxes are made especially to contain this outfit. They are of japanned tin or polished wood, and are divided into compartments. The following is one of many styles and sizes, is very compact , and is recommended..not shown.
When using it wrap a little raw cotton around a pointed stick, moisten with water, and dip in the acid, and then rub the china tell the color is removed.
Hydrofluoric acid should only be resorted to, to remove a small inaccuracy or disfigurement after firing, and is not intended to be used to take of an entire decoration.
Sometimes a small pointed stick, like a tooth-pick, will serve the purpose without the cotton, Ample precaution for accidents should be taken, before using, to have plenty of water and rags with reach.
Sweet oil is an antidote. The acid is usually diluted with water before using, at the fumes arising from the pure acid are not only exceedingly unpleasant to inhale, but likely to attack the glaze of china near where it is applied.
Unless a person is exceedingly careful, and able to guard against every possible accident, it should be let severely alone. It is mentioned here as the only thing to remove color when once fired.
An abundance of old, soft rages, as devoid of lint as possible, will be found a great convenience, if not an absolutely essential requisite ; and last, but not least, among the needfuls, may be mentioned plenty of courage and perseverance, determination, and unlimited patience. Though not purchasable commodities, these are quite as necessary to the equipment for painting china as anything mentioned.
Boxes are made especially to contain this outfit. They are of japanned tin or polished wood, and are divided into compartments. The following is one of many styles and sizes, is very compact , and is recommended..not shown.
OTHER ACCESSORIES page 92-93
There is no other means convenient. Gold is more pliable when warmed.
A little steel-pointed erasing-pin is a useful instrument to pick up specks or dust, if they accumulate before the paint is dry. A home-made one will answer the same purpose. Select a fine cambric needle, a no. 9 and insert it by the eye end in a ceder brush-handle, having about half of it exposed. These trifles all help to make good work easy.
Another dust-scraper, a steel blade, Shap on both sides, terminating to a point, is of value to the china-painter. ( cut No. 22.)
Three color erasers, one curved to reach around handles and other crooked, inaccessible places, are used sometimes for what their names suggest. Note from me...these are what they use to use to get rid of ink on paper when handwriting was done with ink.
Hydroflouric acid is a valuable adjunct, but to great caution cannot be exercised in regard to it. It is a most powerful acid, and exceedingly dangerous, destroying everything with which it comes in contact. One puts his personal safety in jeopardy every time it is handled. If dropped upon the hand, it will produce the most excruciating torture until its power is exhausted, which some times requires several days. Amputation has sometimes been necessary. This acid come in rubber bottles, as it would eat through glass ; and, as a precautionary measure against accidents, rubber gloves should be worn when it is used.
A little steel-pointed erasing-pin is a useful instrument to pick up specks or dust, if they accumulate before the paint is dry. A home-made one will answer the same purpose. Select a fine cambric needle, a no. 9 and insert it by the eye end in a ceder brush-handle, having about half of it exposed. These trifles all help to make good work easy.
Another dust-scraper, a steel blade, Shap on both sides, terminating to a point, is of value to the china-painter. ( cut No. 22.)
Three color erasers, one curved to reach around handles and other crooked, inaccessible places, are used sometimes for what their names suggest. Note from me...these are what they use to use to get rid of ink on paper when handwriting was done with ink.
Hydroflouric acid is a valuable adjunct, but to great caution cannot be exercised in regard to it. It is a most powerful acid, and exceedingly dangerous, destroying everything with which it comes in contact. One puts his personal safety in jeopardy every time it is handled. If dropped upon the hand, it will produce the most excruciating torture until its power is exhausted, which some times requires several days. Amputation has sometimes been necessary. This acid come in rubber bottles, as it would eat through glass ; and, as a precautionary measure against accidents, rubber gloves should be worn when it is used.
Friday, August 6, 2010
OTHER ACCESSORIES page 91
held across the plaque steadily, which will give firm support to the painting hand.
A rest for brushes will be found a convenient adjunct. It is made of china, is fine inches long, and its object is to keep the brushes in use from being bent, or coming in contact with any foreign matter if thrown down promiscuously, When doing some pieces of work, it may be found necessary to dry the painting quickly and repeatedly, in order to proceed. A spirit or alcohol lamp is convenient for this purpose..
A small jeweller's lamp with a handle is suitable ; it is light in weight, and easily moved to and fro over the painting without fear of smoking or cracking the china, which is probably would do if kept in one place.
Where a kiln or oven is accessible, the lamp may be dispensed with. china may be set in an oven attached either to the kitchen rage or a gas stove, to dry, with perfect freedom. Should the oven be so hot as to scorch the color, there is no reason to be disturbed over it..It will eventually be all right when it is fired, as it will be subjected to much more intense heat than is obtainable in any ordinary oven.
An alcohol lamp is handy for warming gold, if
A rest for brushes will be found a convenient adjunct. It is made of china, is fine inches long, and its object is to keep the brushes in use from being bent, or coming in contact with any foreign matter if thrown down promiscuously, When doing some pieces of work, it may be found necessary to dry the painting quickly and repeatedly, in order to proceed. A spirit or alcohol lamp is convenient for this purpose..
A small jeweller's lamp with a handle is suitable ; it is light in weight, and easily moved to and fro over the painting without fear of smoking or cracking the china, which is probably would do if kept in one place.
Where a kiln or oven is accessible, the lamp may be dispensed with. china may be set in an oven attached either to the kitchen rage or a gas stove, to dry, with perfect freedom. Should the oven be so hot as to scorch the color, there is no reason to be disturbed over it..It will eventually be all right when it is fired, as it will be subjected to much more intense heat than is obtainable in any ordinary oven.
An alcohol lamp is handy for warming gold, if
Tuesday, August 3, 2010
OTHER ACCESSORIES page 90
the method herewith given for tracing is the easiest way of transferring the design. It requires time, considerable patience, and nice handling ; but, when accomplished, half the battle is won.
The subsequent work will be comparatively easy. No detail should be omitted, as it will be found to be the very foundation to future success ; and no amount of care and attention bestowed on the drawing is wasted.
A hand rest is very useful for certain kind of work, and especially for those who hand is not sufficiently steady without a support.
While there may be no use for on in decorating small articles that are easily held in one hand while painting with the other, they will be found convenient when painting large plaques and similar articles. One large enough to extend across the plaque, and rest on the table, will be helpful. and prevent accidents from contact with the hand. If one of these be not obtainable, a ruler may be
The subsequent work will be comparatively easy. No detail should be omitted, as it will be found to be the very foundation to future success ; and no amount of care and attention bestowed on the drawing is wasted.
A hand rest is very useful for certain kind of work, and especially for those who hand is not sufficiently steady without a support.
While there may be no use for on in decorating small articles that are easily held in one hand while painting with the other, they will be found convenient when painting large plaques and similar articles. One large enough to extend across the plaque, and rest on the table, will be helpful. and prevent accidents from contact with the hand. If one of these be not obtainable, a ruler may be
OTHER ACCESSORIES page 89
picture is there, and an exact reproduction in out line of the copy.
The next thing to do is to go over the entire tracing on the china with India ink, using water and a very fine and -pointed brush. This brush should be kept separate from the painting brushes, and use exclusively for this purpose ; and care should be taken to keep it straight and always to a point. This is done to secure the drawing, and provides beforehand against any unfortunate accident that necessitates wiping off the painting and commencing again.
The India-ink line should exactly follow the tracing in a delicate, uniformly even, thin line.
After this is accomplished, a good plan, before commencing to paint, is to cleanse the china and free it from every trace of graphite, and thus have a clean piece of china on which to work.
This is easily done by wiping it over with a rag slightly moistened with lavender . This evaporates immediately, and leaves the china in a beautiful condition to receive color.
This may seem a long, and perhaps even complicated, process ; but it is the only process possible for those who are without previous instruction in the elementary rules of drawing.
One of the essential features in all painting is first to obtain an accurate drawing ; and , uninteresting as it may appear
The next thing to do is to go over the entire tracing on the china with India ink, using water and a very fine and -pointed brush. This brush should be kept separate from the painting brushes, and use exclusively for this purpose ; and care should be taken to keep it straight and always to a point. This is done to secure the drawing, and provides beforehand against any unfortunate accident that necessitates wiping off the painting and commencing again.
The India-ink line should exactly follow the tracing in a delicate, uniformly even, thin line.
After this is accomplished, a good plan, before commencing to paint, is to cleanse the china and free it from every trace of graphite, and thus have a clean piece of china on which to work.
This is easily done by wiping it over with a rag slightly moistened with lavender . This evaporates immediately, and leaves the china in a beautiful condition to receive color.
This may seem a long, and perhaps even complicated, process ; but it is the only process possible for those who are without previous instruction in the elementary rules of drawing.
One of the essential features in all painting is first to obtain an accurate drawing ; and , uninteresting as it may appear
Sunday, August 1, 2010
OTHER ACCESSORIES page 88
Very little is sufficient to be distribute over a large surface, and a superfluous quantity will produce unsightly and annoying smears over the china. As little as possible is to be used ; just enough to give the paper a tinge of darkness, without being black.
If the paper be sufficiently moist with the lavender before the graphite be rubbed on, it is not necessary to use any turpentine on the china : but if this be neglected, the surface of the china must be wiped over with turpentine, and allowed to dry before attempting to transfer the design, to dry before attempting to transfer the design. This serves as a "tooth" and nicely takes every line ; otherwise the china will not receive the impression.
Place the tracing-paper in the exact position, and fasten firmly to prevent slipping. This may done with wax, or strips of gummed paper, - the outer edges of a sheet of postage-stamps, where the mucilage has spread, answers this purpose admirably.
Then either with a very sharp pointed, hard lead-pencil, or stick, - as the end of a brush handle whittled to a fine point, - go over each and every line before made, as indicated. An agate or ivory stylus is convenient for this purpose.
If these directions have been followed, it will be found, upon removing the paper, that a perfect
If the paper be sufficiently moist with the lavender before the graphite be rubbed on, it is not necessary to use any turpentine on the china : but if this be neglected, the surface of the china must be wiped over with turpentine, and allowed to dry before attempting to transfer the design, to dry before attempting to transfer the design. This serves as a "tooth" and nicely takes every line ; otherwise the china will not receive the impression.
Place the tracing-paper in the exact position, and fasten firmly to prevent slipping. This may done with wax, or strips of gummed paper, - the outer edges of a sheet of postage-stamps, where the mucilage has spread, answers this purpose admirably.
Then either with a very sharp pointed, hard lead-pencil, or stick, - as the end of a brush handle whittled to a fine point, - go over each and every line before made, as indicated. An agate or ivory stylus is convenient for this purpose.
If these directions have been followed, it will be found, upon removing the paper, that a perfect
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