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neutral or Purple tint and White for the latter. The face is now nearly
finished; it only remains to add a few touches to the eyes and mouth,
and impart life and expression to the countenance. If the person be
dark, use Sepia and Purple Lake, equal proportions; but if fair,
dispense with most of the Sepia. Next complete the background, after
which finish up the hair over the background; after the last shaded
parts of the hair lay on the high lights. Burnt Umber is most useful in
brown and auburn hair; Indigo, Sepia and Lake, or Lake, Indigo and
Gamboge, are the colors used for high lights, the lights inclining to a
purple tint, the blue predominating. Keep the hair in masses; a good
sized brush is needed. In painting cloth fabrics it will be well to use
the local color at first very light, much more so than you desire it to
be when finished. A black coat: begin by laying in a weak local wash
as directed, and when it is dry go over the folds with a thin shadow
color, which will prevent them being obscured by the next local wash.
Having repeated this two or three times, you will find the garment to
be as dark as necessary, but the shadows will be feeble; you may
strengthen them with Sepia and Lake. A good black for gentlemen’s
drapery is made of Indigo, Lake and Gamboge. When a blue-black is
required, first make a purple-blue and then add the Gamboge till the
tint is changed into black. In shadowing, always carry your pencil the
way the folds run, instead of across them. The colors for backgrounds
for fair people are blue, purple and greys. Dark complexions should
have dark background. Stone is represented by a tint formed of
Carmine, Indigo and Yellow Ochre, and the more distant you wish it
to appear the more must the Indigo prevail. A background made of
Cobalt, Burnt Sienna and a little Rose Madder works well. Madder
Brown and Cobalt answers for the same. A purple cloudy ground is
made of Indigo and liquid Carmine or Lake. An opaque ground, of a
chocolate color, is composed of Lampblack and India Red.
Paint curtains over the background and put on the lights with body
colors.
 RUSSIAN,
OR
EGYPTIAN METHOD

OF COLORING PHOTOGRAPHS

WITH TRANSPARENT INDELIBLE COLORS.

his is the “biggest little thing” in painting that probably has

ever been presented to amateur artists. For beauty of
arrangement, ease and simplicity in its execution, no
branch of art work of a similar nature has ever met with like
success. With a fair idea of colors and their application, you
may increase the beauty and enhance the value ten fold of
any ordinary photograph, by following these instructions.
To produce a first-class picture, you must necessarily have
a good subject to work on. A photograph that will take a variety of
colors, is best adapted for a showy picture.
Before applying the colors to a burnished or finished photograph,
soften or cleanse the surface with the tongue until the saliva wets the
picture evenly, without crawling; oxide gall is good, but saliva is the
best for this purpose.
For a palette on which to mix or dilute colors, the bottom of a plate
or saucer will answer. Always have a piece of blotting paper at hand
to take up or remove superfluous paint from the picture, and use it
after each application of color to the photograph.
It is not necessary to mix paints on a palette, washing one color over
another will produce better results. A tint is a color absorbed in the
picture, and washing or wetting will not remove it. A surface color
remains on top, and water will remove it. You can use colors stronger
over the shadows. Use just what liquid you will find on the cork of
the bottle, added to about one teaspoonful of water, for flesh; for
draperies you can use it stronger, or as you desire.
The liquid colors are mostly used, and consist of twelve one ounce
bottles, and are very powerful. Therefore, make your application very
weak, a mere tint only is required. Repeat the washing or tinting
until the desired shade is produced. The colors used are as follows:
Black, Red, Blue, Green, Carmine, Gold, Brown, Violet, Orange,
Purple and Lemon, all of which are transparent, soluble in water, and
used as tinting colors. White is a surface color, and opaque.
For Flesh—Use first a weak wash or tint of gold; over this a tint of
red, a little stronger for the lips.
White—This is always used last for high lights; you can make the
white any tint by use of other colors.
Black—Can be used for a natural tint if toned down; valuable for all
kinds of shading.
Red—Takes readily, and produces all tints from rose to scarlet; used
in flesh.
Carmine—A delicate pink to magenta.
Gold—Takes readily; is a substitute for yellow; used for jewelry, flesh,
blonde hair, etc.; use weak, and wash over with red for deeper
results.
Brown—Takes readily; darkened by tinting over with violet or black.
Violet—Takes on touch, and is very powerful; first application very
weak to insure even coloring; it makes all tints from lilac to purple,
etc.
Blue—Takes slowly; repeat the washing for deep results.
Green—Takes easily, lighten by washing over with gold; darken with
the blue; always let your first wash or tint be very weak; increase as
desired by repeating.
The colors in moist cake form are often used, but the liquids are
preferable. Sable brushes, about Nos. 3, 8 and 12, are sufficient for
ordinary purposes.
 HOW TO MAKE PHOTOGRAPHS
BY THE
Gelatine Dry-Plate Process

he latest and most rapid advance in the art is due to the

discovery of the sensitiveness of a gelatine film. This
knowledge has been practically applied in the
introduction of plates prepared with such a coating; they
are called “dry plates,” to distinguish them from plates
which must pass through the silver bath, and be used
while wet. The gelatine-bromide dry plates are now in
general use for taking pictures of out-door scenes, landscapes,
houses, groups of people, etc. To make photographs, First Procure
an Outfit from a dealer in photograph requisites, costing from ten
to twenty-five dollars, consisting of a view camera, for making 4×5 or
5×8 inch pictures. This camera is so constructed as to make either a
picture on the full size of the plate (5×8 inches), or by substituting
the extra front (supplied with the outfit), and using the pair of lenses
of shorter focus, it is admirably adapted for taking stereoscopic
negatives. Also, by the same arrangements, two small pictures, of
dissimilar objects, can be made on the same plate. Included in the
outfit, are also one patent double dry-plate holder, one large
achromatic nickel plated lens, one pair “Waterbury” achromatic
matched stereoscopic lens, one Taylor folding tripod, one carrying
case.

Filling the Plate Holder. If this is done in the daytime, a closet or

room is selected, and all white light excluded from it. It is difficult to
make this exclusion absolute. One ray of white light will spoil a
sensitive plate, and therefore the evening is generally chosen to
develop negatives, and for illumination, the light from a ruby lantern
is employed.
Gelatine Plates are glass, with one side coated with gelatine,
containing a haloid salt. Place one of them in a dry-plate holder, with
the sensitive (or the coated) side facing outward. Handle the plates
by the edge, between the thumb and fore finger, without touching the
sides. After putting into the holders as many plates as are needed for
the day’s work, pack the outfit so that it can be carried about.

Taking the Picture. For field service a camera, a number of plate

holders, filled with sensitive plates, a lens, tripod, carrying case, and
focussing cloth are needed. When these have been taken to the place
which you want to photograph, fasten the camera on the tripod,
throw the focussing cloth over your head, gather it under your chin,
draw out the back of the camera, thus extending the bellows, and
continue the movement until the image on the ground glass appears
distinct, then fasten the back of the camera. This is called
“focussing.” At the first glance, an inexperienced person sees no
reflection on the ground glass, but the eye soon becomes practiced to
perceiving the inverted image there. Substitute a plate holder for the
ground glass, see that the cap is on the lens, pull the slide out of the
holder, place it on the top of the camera, or in a convenient place. If
everything is now in readiness, and the time for exposing the
sensitive plate determined, uncap the lens, re-capping it at the end of
the allotted time, and replacing the slide in the holder. After you
have picture impressions on each sensitive film, pack your outfit and
return home.

Making Negatives. Amateurs may content themselves with

making the exposures, and sending their plates in a light, tight,
negative box, to some photographer, who will produce the finished
picture, and mount them on cards. It is not necessary that this
should be done at once, months may elapse, and these dry plates be
carried hundreds of miles.
The chemical outfit for making negatives comprises the following
items: Two vulcanite trays, a glass graduate, a set of small scales, and
weights for weighing chemicals, a ruby lantern, a bottle of varnish, a
package of dry plates and of chemicals, a small quantity of bromide
of ammonium, neutral oxalate of potash, protosulphate of iron,
hyposulphite of soda, alum, and sulphuric acid. These chemicals are
not dangerous, neither will they injure any one who handles them,
and they do not emit offensive odors. Silver stains, and the
disagreeable smell of collodion belong to the old or “wet” process.
At a convenient time take the plate holder into the dark room,
illuminate it with ruby light, take the sensitive plates out of the
holders, being careful not to touch their surfaces. Hold them by the
edge. Place one of the sensitive plates, film side up, in a tray partly
filled with water. While it remains there, mix this solution: Neutral
oxalate of potash, 5 ounces; bromide of potassium, 20 grains; water,
20 ounces. If the solution does not turn blue litmus paper red, add a
few drops of oxalic acid, enough to make it do so. A graduated glass
is used to measure out the liquids. After rinsing the glass out, mix a
second solution made as follows: Protosulphate of iron, 5 ounces;
water, 20 ounces; and acidulate it with 20 drops of sulphuric acid.
Both of these solutions keep well. Now combine a quarter of an
ounce of the latter solution with two ounces of the former and mix
them well. Pour off the water in the tray containing the gelatine
plates. Be certain not to touch the sensitive side of the plate. Flow the
combined developing solution over the plate and displace, by a touch
of your finger, any air bubbles that may form. After a short time
traces of the image on the sensitive film will appear. If they do not,
pour the developing solution back into the tray and add a quarter of
an ounce more of the iron solution. Pour the strengthened solution
over the plate and look at it intently. In a short time the details of the
picture may be dimly seen. Wait patiently till the milky white
appearance is changed to a grey color, and then pour off the
developer into a developing bottle, if you have one. Wash the plate in
two changes of water. In the unused tray mix a solution composed of
4 ounces of hyposulphite of soda and 20 ounces of water. (Label this
tray “Hypo.,” and do not use it for any other purpose.) A plate lifter is
a convenient device for taking plates out of the solutions or baths.
Change the plate to the hypo. tray, and let it remain there until every
vestige of the milky white appearance has vanished, even from the
under surface of the plate. The plate can now be examined by white
light, which has no effect upon it at this stage. Wash it thoroughly. A
negative washing box will be found to be of great assistance. If this
washing of the plate is not done thoroughly, the hyposulphite of soda
crystals will adhere to the plate and mar the picture. Meanwhile rinse
out the tray first in use and partially fill it with a solution consisting
of 20 ounces of water and all the alum it will hold in solution. Allow
the plate to remain in the alum bath five minutes. Cleanse your
hands from any adhering soda solution. Again wash the plate, and
set it on edge to dry in a negative rack.
All the preceding instructions can be briefly summarized.
1. Put some sensitive plates into dry plate holders.
2. Make the exposure.
3. After taking a plate out of the holder, place it in a tray filled with
water.
4. Drain off the water and put the plate in the mixed developing
solution.
5. Wash the plate and place it in the soda solution.
6. Wash the plate and give it an alum bath.
7. Wash the plate and set it in the rack to dry. When perfectly dry,
coat the plate over with negative varnish, and have that coating dry
and hard. Now it may be touched by the fingers.

Making Prints from Negatives. At this point the work ceases to

be one of faith, as the results are now to appear. An outfit of printing
requisites comprises a printing frame, a porcelain pan, a vulcanite
tray, some ready sensitized paper, a bottle of French azotate, a bottle
of chloride of gold, a glass graduate, some hyposulphite of soda, a
glass form, a Robinson trimmer, some sheets of fine card-board, a jar
of parlor paste, and a bristle brush.

Sensitized Paper Prints. In the morning prepare a toning bath

sufficient for the prints to be toned that day. Put 7½ grains of
chloride of gold into 7½ ounces of water. Label the bottle “Chloride
of Gold Solution.” Take 1 ounce of French azotate, 1½ ounces of the
chloride of gold solution, and add 6 ounces of water, and you have a
toning bath which keeps well. Where the prints do not give the
required tone, the bath must be strengthened by adding to it some
new solution. Place the glossy side of a sheet of sensitized paper
upon the film side of the negative in the printing frame. Do this in a
very dim light.
The printing has gone far enough when the print looks a little darker
than you wish the finished picture to appear. Make as many prints
from the negative as you desire. Wash the prints in several changes
of water. Take seven ounces of the toning solution and change the
prints to the pan containing it, where the prints should be turned
over and over to make the toning even. The toning process should go
on until the dark part of the pictures have a very faint purplish tint
and the white portion is clear. Wash the picture, but preserve the
toning solution. The pictures should now be left for twenty minutes
in a solution composed of 4 ounces of hyposulphite of soda, 1 ounce
of common salt, ½ ounce of washing soda, and 32 ounces of water.
This solution should also be prepared a day or two in advance. Give
the pictures a final and effectual washing. After they are dried, lay
them out one by one and, using the Robinson trimmer, cut them to
the desired size. Now spread over the back of each in turn some
parlor paste, and lay them down with the center on the sheets of
card-board. This operation is called “Mounting Pictures.” Press with
a paper cutter upon the pictures and toward their edges until you are
satisfied that they will lay flat.
 DRAUGHTSMEN’S SENSITIVE PAPER,
FOR COPYING DRAWINGS.

rocure a printing frame, such as photographers use; lay

the tracing, face down, upon the glass, upon which place
the sensitive paper, prepared side down, then several
thicknesses of cotton flannel for a pad to equalize the
pressure, and cause the sensitive paper and tracing to
lay in close contact, and then close in the back. If, on
turning the frame over, any wrinkles appear, that side of the hinged
back may be opened and a piece of paper laid in just above the spot,
when all will come smooth on closing the frame, (this should be done
in a dimly lighted room), then expose to direct sunlight, care being
taken that the whole frame comes under the light, without shadows;
let the exposure be from five to ten minutes, according to the
brightness of the day. Remove again to darkened room, examine by
opening one of the hinged backs; if the lines have slightly turned in
color, it has been highly exposed; it can be removed and washed in
clear water, with two or three changes, then hang up to dry. You will
have an exact copy of the original, with white lines on a blue ground,
at a cost of about one tenth that of tracing, with absolutely no error.
The paper must be kept in perfect darkness until used.
 THE NEW
WOOD PAINTING.

TRANSLATED FROM THE GERMAN.

he term wood painting has, through the numerous

designs invented for the purpose, found such a
widespread use that it would be wasted pains to attempt
to substitute a more fitting one. Not everything that is
painted upon wood, falls under the knowledge of wood
painting. No one would think of counting an oil
painting, executed upon wood, under the category of
wood painting. But if the colors were the distinguishing
sign, then wood and water color painting would fall
together, or wood painting could be only an aquarelle
painting applied upon wood. Wood painting permits itself to be thus
defined, inasmuch as the character of the material and the choice of
its objects differ, so wood water-color painting differs from the
actual water color.
While it is possible for the water-color artist to produce upon paper
the softest tones and most brilliant phenomena of nature, so that the
painting inspires the observer through its life-like freshness; if the
same picture, by the same artist’s hand, were reproduced in exactly
the same manner upon wood, it would appear raw and unfinished,—
yes, even wholly incorrect.
The prepared wood takes the softest tint, as well as paper, but the
texture of the wood shimmers through the transparent tones, and
though the fibres and pores of the same have taken another hue, they
still act as wood, and thereby destroy the effect which the artist
intended. For it is originally the task of the artist to thus deceive the
human sense of vision in such a manner, and so faithfully imitate the
appearance of things in nature that the observer must believe himself
transported in the midst of reality and actual life, through the activity
of fancy; in short, the artist must reproduce true to nature, and his
pictures have the effect of nature.
If one was to try with exclusive body colors which do not allow the
grain of the wood to penetrate, to attain this ideal of painting, and
attempt to create upon wood an actual life-like picture, we would not
conceive such an aquarelle, that never can compare with a picture
upon paper in softness, just as little as an oil painting upon wood, as
wood painting in the general sense.
Therefore, neither the material to be painted nor the colors applied
are the criterion of distinguishing reasons for wood painting on one
hand, and the oil or nearer related aquarelle painting on the other.
The difference in a measure lies herein, that the characteristic
peculiarity of wood does not subdue, but is drawn upon for the effect
of the painting, partly in the nature of that which painting upon
wood represents or should represent.
Wood painting, as far as we have touched upon it, cannot and does
not intend to create natural pictures; it only serves to ornament
objects in wood, which through colored and tasteful designs are to
produce an agreeable charm to the eye. It is not an object in itself,
like a painting, the frame of which serves as a folio, but an external
addition, like the ornaments of buildings, to make an otherwise
monotonous surface interesting.
Wooden articles admit of being ornamented in various ways, through
sculpture work, by inlaying of colored woods and metal, and by
painting.
The choice of ornamenting is naturally dependent upon the purpose
the object to be decorated is intended for; a table, which must
naturally have a smooth surface, we would not think of making
useless by carving the top.
Wood painting, as it is now en vogue, is of a recent date, and
originally sprang out of the idea to imitate the mosaic work of art
cabinet-makers.
It may, with consideration for the purpose of the objects to be
ornamented, also imitate carving, but must not go beyond the wood
tones and the production of the effects of light; it may even attempt
to imitate enamel work by the application of strong, bright colors;
but it ought at the same time be in keeping with the purpose the
object in hand is intended for, and never involve itself in
contradictions.
Its refined field should always remain the imitative, and should
therefore confine itself as near as possible upon the application of
ornaments with a surface where effect is flat, and consequently do
not mar the surface. To apply figures, modest, decorative additions
for the ornamentation of surfaces, is allowable, as long as they do not
clash with the character of the surface; but here the limits that are
drawn by the nature of the article are not to be overstepped. For
every perspective representation of a figure painted with the
application of light and shade intends to deceive the observer; it lifts
itself off the surface and no longer works upon our fancy as a part of
the surface, but as body. Cases, chests and other large pieces may be
decorated in this manner; tables, portfolios and similar pieces which
in themselves are required to have smooth surfaces; smaller objects
to be handled, where the sense of touch can at every moment
convince itself of the attempted deception intended for the eye, one
will do well to take heed in not painting these with figures of a plastic
effect. Such contradictions are not to be tolerated in principle and
should be avoided in the selection of patterns and designs.
To create a real picture in the beginning lies outside the province of
the art of wood painting, and therefore the practice of the same, as
far as it does not reach into the professional art, must always be
confined within the circle of amateurs. Good, correct drawings of the
outlines, cleanliness in coloring and a proper combination of the
colors, is the highest aim the art of painting upon wood may achieve;
for the artist is greatly answerable for the composition of ornaments,
where designs are used as patterns.
But even in the narrow limits in which the art of painting upon wood
moves, it accomplishes much that is beautiful, that the acquirement
of the same cannot be too strongly recommended.
This is especially intended for young ladies, who, in the occupation of
painting upon wood, find just as agreeable and remunerative
diversion as the tedious, sense-dulling work of embroidery.

General Preliminaries. The first essential requirement to paint

upon wood is, without a doubt, practice in drawing.
One is easily inclined, inasmuch as there is no self-inventive gift
employed in connection with it, to consider painting on wood as a
purely mechanical work, because the design is traced and transferred
upon wood, by means of tracing paper; yet there remains, up to this
easy beginning, the further embellishment entirely to the free hand,
and it is just here that difficulties meet the painter unskilled in the
art of drawing.
The difficult point in wood painting lies in the conscientious, artistic
execution; the more pains taken in that direction, the stronger the
lines of beauty and harmony in coloring, the more certain it is to
obtain something excellent in this work.
The simplest design, when correctly and cleanly painted, has a more
agreeable effect upon the observer than the most beautiful pattern
that has been faultily produced through a series of shortcomings.

Requisites. The possession of a good and complete set of

instruments, in a measure, assists in the success of the work. The
following utensils are used in wood painting: Lead Pencils, (Faber’s
B, HB, HH), a pen knife, a lead pencil file, an eraser, a horn
protractor upon which to rest the compass upon round articles, a
ruler, a square, a porcelain palette with six cells, several good fine
and coarse water-color brushes on handles with metal ferrules,
several sheets of extra fine tracing paper or cloth; the latter is more
expensive than the paper, but far more durable, in such cases where
the drawing is gone over again. For the drawing of fine outlines, pens
(Gillott’s crowquill pens are best); for heavier outlines or large
designs goosequills are best. It is desirable to possess a complete
outfit of drawing materials, of which the following are indispensable:
A drawing pen, a compass with pen and pencil pieces.

The Colors. It is advisable to use only the genuine India ink, as the
ordinary India ink nearly always discolors the soft tints that are
painted over it, which sometimes spoils the entire work. The
ordinary water-colors, not the covering or Gouache colors are to be
used. The prepared wood just as readily takes the Gouache and
covering colors, as a large number of designs of natural flowers show,
yet this method should not be indulged in, for this reason, because it
completely covers the texture of the wood, thereby giving the art
critic an opportunity to censure.
Since wood painting is mostly an imitation of inlaid wood work—
mosaic—as a rule the preference should be given to the application of
the fitting colors to the stained wood tones. Who does not possess a
complete outfit of colors, ought at least secure the following: sepia,
dark sepia, burnt sienna, light ochre, dark vermilion, carmine, cobalt
blue, Indian red, olive green, Roman brown, lampblack and white.
The best colors are the Dusseldorf (Schonfeld or Winsor & Newton’s)
moist water-colors, in metal tubes or porcelain pans. Gold and silver
is generally painted from shells, this is to be used sparingly, and is
polished when the work is finished with a steel instrument, a
knitting-needle, glove buttoner, or an agate burnisher. Red gold has
a dark effect, retreating; green gold, on the other hand, stands out
and has a light appearance. Black-lead is to be had in lumps, and is
most effective for bright or red ornamentations. Bronze powder is
prepared with a little gum water. The possession of a magnifying
glass is of importance in going over the work when finished, and
subjecting the same to a severe scrutiny. It also greatly assists in the
correction of faults that may have crept in.
Transferring the Drawing upon Wood. A design should be
chosen that corresponds with the size and shape of the wood article.
A design is seldom spoiled by extending the outer lines, yet we
should be cautioned against the reverse case, in trying to force a large
design upon a small space by omitting the outer lines that serve as a
frame.

Enlarging and Reducing Designs. If a design is to be brought

within the compass of another, reduced or enlarged, take a
proportional divider, or draw a net of equal squares, the original or a
drawing of the same with a lead pencil, in proportion required for the
wood surface, which are numbered. In each square exactly the same
parts are drawn from the design which are contained in the
corresponding square on the wood.

The Divisions of the Wood Surface. At the beginning of the

work, the surface to be painted is divided by distinct pencil lines into
halves, quarters, sixths, etc., just as the design admits of; these lines
serve as a starting point for the traced design to be placed upon this,
where halves, quarters, etc., must fit exactly into these. The
measuring is done by means of a compass or a strip of paper the
length of the object, which gives the center point by cutting the same
in two. In painting round articles, such as lamp plates, table tops,
etc., a sheet of paper of the exact size is cut out This is folded once, in
halves and quarters, as the case may be. It is spread upon the surface
of the article, then prick through the creases where they cross each
other. To avoid injury to the center of a round wooden plate by the
repeated application of a compass, a horn protractor is fastened to
the center with thumb tacks, which leaves the center transparent,
upon which the compass may be applied with considerable pressure.
In the absence of a compass with an extension where large circles are
required, a strip of pasteboard is substituted; this is fastened to the
center by a needle. For every cross line a hole is made into the strip,
the pencil is inserted and drawn around by moving the strip in a
circular motion.
The Tracing and Transferring of Designs. The design is
carefully drawn upon tracing paper or tracing cloth, by means of a
medium soft pencil; the more perfect the drawing is made, the more
it will lighten the work. If the drawing obtained is perfectly
symmetrical, i. e., the right half of the same exactly like the left, it
will save much time and labor by transferring it upon the surface by
rubbing. If the symmetrical design is accompanied in the center by a
monogram, motto, figures or flowers, these are for the present
omitted and traced in a manner which will be explained further on.
The tracing of an entirely symmetrical design is reversed, with the
drawing turned downward upon the wood and carefully observed
that the center of the tracing lies completely in correspondence with
the center line of the division line of the surface. The tracing paper is
fastened with wax, and held as firmly with the left hand as possible,
that it cannot be displaced, and rubbed with a paper folder or the
thumb-nail of the right hand over all parts of the design, until the
same is plainly transferred upon the wood. For figures, flowers,
monograms and all not strictly symmetrical designs, the following
manner is applied: The tracing paper is laid upon the surface, design
upward, under which a piece of colored transfer paper is placed and
the design is retraced with a hard lead pencil. For this somewhat
slower and more tedious manner it is advisable to fasten the tracing
and transfer paper with thumb-tacks. Those parts of the surface are
selected for the thumb-tacks that are afterwards to be painted with
black or other ground colors, so that there will be no visible traces
left after design has been transferred.

Fixing the Transferred Design. After the design has been

transferred, all the straight and intersecting lines are carefully
measured and compared with the compass from the center or the
dividing middle lines; then with the drawing pen and India ink the
entire design is gone over in fine lines. In figures and light
ornamental designs, that come upon a dark ground, the India ink
line is not put over, but closely to the outside pencil mark, or such
figures will become too faint in the beginning, and are lost in the
dark ground, whilst it can always be remedied by the subsequent
removal of parts that have been drawn too heavily. The entire article
is now cleaned from all pencil marks left by tracing, and the coloring
begins.

The Coloring. Spread upon the palette, before beginning to paint,

all the different colors, in sufficient quantity, that are to be used. A
good rule in coloring the design, is not to apply the colors in too dry a
state, so that the separate brush strokes may not be visible. The
coloring is just that part of the work which cannot be explicitly
enough described and taught in written instructions, and can only be
thoroughly comprehended through the practical knowledge gained
by experience, and thereby perfected.
Upon the most delicate tinting of entire surfaces the middle tones
follow, lastly the dark ground colors, black, and the metals. Allow
each color to dry thoroughly before beginning with the next, or going
over it. The colors must stand out boldly from each other and should
not be too lightly applied; this must be particularly observed in the
dark body tints, as the colors lose a little of their depth in the process
of polishing.
When the work is completed, the entire drawing is gone over again
with a fine brush or pen; all the outlines lost in painting are
reproduced with India ink.
Clear white upon light wood is to be avoided as much as possible; on
the other hand, a mixture of white serves to make the light colors
stand out more effectively upon gray or black wood.

Retouching. If there are any weak points in the painting, the spots
are to be carefully removed with a damp sponge, and the dampened
parts scraped clean with a penknife. If visible holes are left by the
thumb tacks used in the tracing of the design, a small drop of clear
water is applied to them, when they will gradually draw together.
Paint in good light, have a steady table, and keep the design
constantly before the eyes during the work.
In painting boxes and other high objects, it is necessary to place on
the right and left of the same some other objects, such as books, to
reach the plane of the surface being painted, in order that the hand
and arm may rest with ease.

The Wood Articles. Wooden articles ready for painting are

procured from the cabinet makers, or at the art stores.
There are over 900 different articles in wood for decorating, in all
shapes and sizes, beautifully and tastily finished, for the artist and
amateur to paint upon. A few of them may be mentioned here—
tables, panels, workboxes, paper weights, fancy boxes, fans, hat
brushes, glove boxes, albums, dust pans and brushes, photo frames,
easels, trays and newspaper holders. What canvas is to oil painting,
and paper is to color painting, the above articles are to the art of
painting upon wood.
Not every ordinary smooth-planed piece of wood is adapted to
painting. The wood must be prepared for the purpose it is intended
for, or it would cause the color to flow or spread. Lime, maple,
chestnut, ash and holly are the woods generally manufactured into
articles intended for painting upon. Olive wood is also excellent for
this purpose. In the south of France and Italy, painted olive wood,
forms quite an article of commerce, being closely allied with the
inlaid work.

Polishing. Procure a bottle of the wood varnish (prepared for this

purpose); in a warm room, with a soft flat brush, go over the article
as rapidly as possible, with a thin coat. Leave this first coating until
the next day to dry, in a place entirely free from dust. The varnish is
applied twice more in the same manner; then have at hand a small
bottle of white shellac polish and one of linseed oil. Make a small ball
of flannel; put upon this a few drops of the oil; then cover it with a
piece of linen, which is moistened with the polish, and the article is
rubbed in a circular manner, without resting upon the article when
the rubbing is discontinued. If the linen should adhere during the
polishing, put a drop of the oil upon it. It sometimes requires from
one to two hours of constant rubbing until the surface is completely
smooth and polished.
 Designs recommended are those by Minna Laudin,
Hermann Schaper, E. Wendt, Emil Zschimmer and
Elizabeth Hubler. They are lithographic color plates,
and come in the form of sets.
Minna Laudin’s designs are among the newest. The
two sets contain over twenty patterns, each fitting
exactly in size and shape the wooden articles already
mentioned.
Schaper’s designs are intended for larger pieces,
such as table tops, music holders, lamp trays, etc.
His first series (entirely new) is divided into five
sheets, with as many sheets upon which the outlines
of the designs are clearly printed, to facilitate the
transferring of the same upon wood.
E. Wendt’s designs are both unique and rich in their
way, and contain considerable ornamental work in gold and silver.
His designs for table tops are extremely handsome.
Emil Zschimmer’s and Elizabeth Hubler’s are acknowledged as
standard works, and favorites of the artists engaged in painting upon
wood.
 TRANSPARENCIES.

hese transparencies, or window pictures, are of late very

much used and admired, and are purchased by those
who have no knowledge of how they are made, at
exorbitant prices. They are made upon glass, perfectly
transparent, and require a good light to see them. The
way these pictures are produced is simple, and the
process easy to learn. In it lies the secret, or
fundamental principles, of all glass pictures.

Instructions. Procure a fine, clear, French plate glass,

size required, to receive the picture, and make it
perfectly clean with alcohol. Select the picture you may
desire from the list of fine steel engravings contained in
magazines, etc. Go over the face with a damp sponge, in
order to remove the dust or spots that may have
accumulated upon it, and smoothing it out. Apply to the
face of the print, with a brush, a paste made from
amylum, a teaspoonful, and nitrate strontium, ⅛ ounce
—sometimes albumen is used. Now go over the glass in
the same way, evenly and smoothly. When this is done,
lay the picture, face down, upon the glass, and press with dry cloth
until every part of the picture has adhered to the glass, and all the air
bubbles pressed out. Lay away the glass for a few hours, until
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