howtobecomeornam00tiff by Glassmann Scriptorium

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PUBLISHED BY

FREDERICK

TIFFANY,

EMPORIA, KANSAS.

f BECOME

->iHOW TO

RW<-

—BY-

FREDERICK

TIFFANY.

EMPORIA, KANSAS.

<\'

A SAJ^B. SURE

AND PRACTICAL GUIDE TO

-5

ORNRMENTSL? POINTING ^-

Embracing

all the Latest

and Most Improved Methods.

A Perfect and Reliable

Instructor-.

'^^"^^

t ORNAMENTING. (s^?>ll^|||^f^?F-e)

I'URING

tlie

ornamental work

l^J

years

last fifteen

tlie

demand

for

increased at sncli a rapid

lias

rate in this conntry that

it is

almost impossible

any atticle into market and into i)nl)lic ftivor ornamented in some pleasing manner. As any demand will always find a sonrce of snp-

to Ining

unless

l)ly,

ics

it l)e

has l)een in this case.

combine

All classes of mechan-

make whatever they produce

pleasing to

the eye.

Who has not admired an American railway train when cars and engine are newly painted and ornamented AVlio does not look vdth preference at an omnibus when finely ornamented, and placed along sider ('

of one which

We ists

only painted in pl^in colors ?

hardly need refer to the difterence which ex-

between the iron

those of modern times.

safes

of fifteen years

From the

plain green

ai>:o

and

and black

painting, safes have changed to rich, tasty colors, fine

ornamental work and lettering; and frequently we find on them landscapes and portraits of a really fine execution.

Tliese changes have certainly not been the

ORXAMENTAI. PAINTING.

mere fancies of ahly to

iiianufaeturer, as tliey

t]ie

coiisider-

hut tliey liave hecome

of production;

tlie cost

add

a necessity caused l)y tlie develo})nient of taste in a

highly civilized community.

still

The

princi})al

take

tlie

ai'ts,

not, as a general

ap})ly decorations as profusel}' on articles of every

I'ule,

day

although they

nations of Europe,

lead in the tiner

themselves

use, l)ut confine

this

exclusively to articles which are to

respect

represent artistic

value. It is

often said that Americans ornament too much.

A\ (%

on the

case,

Tesidt has

contrai*y, assert that this

taste for the higher arts

hy no means the

developed, and the

been that styles of ornamentation have l)een

created whicli bear a strictly American cliaracter.

Aside from

this,

greater portion of the nu)st

Europe

that

the

countries of

situated within a l;;tiiiid>Miiuch farther north

that the nearer brilliant iN^ot

()l)sei'ved

liiglily civilized

than the United States, and

should

we get

an estai)lished

to the e(puitor,

the

demand

fact

for

ornamentation increases.

only will a tasteful

and

brilliant

exterior

cei'tain goods more salable in tiiis counbut in S})anish iVmerica, Brazil, New Zealand, Australia and other soutliern markets, go(^ds unorminiented

always I'ender try,

would

])e

unsalable

â&#x20AC;&#x201D; and

we here take

to call the attention of parties,

maimtacture

for,

whose

southern markets, to these

the op})ortunity

and especially those who

g(K)ds facts.

can

be used

in,

the

f r^'j&"^=3

LANDSCAPE PAINTING.

I^^N painting Landscapes, the painter is bound l)y certain rules of art to a correct imitation of the features of nature; but

shouhl descend to copy rejnvsent

all

absolute

witli

it is

not required

tliat h(^

her more minute features, exactness

(n*

the very shrults,

and trees with which tlie spot is decorated. The painter must intrt)duce no ornament inconsistent with liowei's

the climate or country of his landscape;

tlie

figures

winch he introducc's nnist have the costume and character of their age; and tlie piece must rejn'esent the general features of the scene

which he has chosen for his must V)e copied from

subject; his general coloring, too,

nature, and

tlie

general tints must be those which pre-

vail in a natural

landscape.

will first lay

out a s])ace the size of the picture

painted, and paint it white. OnTAixiNG THE Otttlixes. Supposing the painter to be an amateuu, or not versed in the art of off-hand drawing, ^^^e ^vill prepare an easy method by which he can oT)tain tlie outlines of the picture upon the surface^ to

l>e

â&#x20AC;&#x201D;

which he wishes to paint.

Prepare a sheet of white

ORNAMENTAL PAINTING. brushing over

])a|)ei' 1)}"

turpentine and l>alsani of ders

tlie

fir,

})aper transparent.

and over

this lay

parts of linseed

e(pial

mixed together;

oil,

this ren-

Select a suital)le picture,

the transparent paper, and with a

lead pencil trace all the outlines of the picture; having (h>ne or,

tliis,

(hist tlie

hack of the

except hlack or white.

have ])reviously painted,

the transparent paper upon place

and

l)y

^^'ith

with any dry

col-

surface,

its

and fasten

inserting a tack in each corner of the paper,

a pointed hard- wood stick carefully follow the

outlines of the picture; lines of the picture will

The

face.

})a})er

The white space which we now lieing dry, we will lay

picture

remove the paper, and the l)e found upon the white

now

))eing

ready to

i)aint,

outsur-

will

decide upon the time of day and the season of the year the scene

tliat

intended to represent.

Eveninci Scene.

painted in sul>dued in proportion

tints,

must the

—An

evenino; scene should be

and

as the light decreases, so

colors approach

toward neutral

tints.

Mid-day Scene.

less sky, natural ol)jects

—At

mid-day, under a cloud-

should

])e

painted in their full

brightness of color, modified of course

by the

position

of olijects with respect to the sun, and their sup|)osed distance from the eye of the o])ser\

An Eakly

Morning Scene.

er.

— An

early

morning

scene should be composed of grays of difterent depths

of tone, as they best represent the pecniiar indistinctness and haziness that is seen at the beginning of day.

ORNAMENTAL

A would

PAINTING.

Clear Eve:ning Sky.

—A

clear evening

require blue, violet, rose, Hesli

the blue to be placed at the

zenitli,

and

sky

yelloAv colors;

or at the top of the

sky space, and, the others to follow in the order named, 1)6 placed the lowest, or next to the line of

the yellow to horizon.

Begin the picture b}' first laying out on the pallet board a set of tints for the sky and clouds. Commence to paint the picture at the top of the sky space, workingdownward the colors to be the darkest at the zenitli and lightest toward the horizon; blend the edges of the tints together and let them dry.

—

Objects

in tjie

Distance.

—Next paint the

olgects

These should be painted in but darker in tone, as in looking toward the

farthest in the distance.

sky

tints,

sky we see

])lue;

so distant hills, mountains, etc., will

appear of that color because of their remoteness.

Objects in the Middle Distance,

— Objects

in the

middle distance should have a little stronger coloring the colors, though, should be rendered pale by the

—

admixture of white.

Air Tint.

—^Ultamarine blue

o-ives

air tint

and

an appearance of distance.

Objects in the Foreground.

— Objects that are

the foreground, or nearest portion of the picture, should

be painted in strong, rich

Trees

the Foreground.

in the foreground

greens

colors.

should

first

—The

foliage of trees

be painted with olive

—black, yellow and red forming the proper

color;

ORNAMENTAL paint

ill

PAINTING.

tliemass of foliage thinly witli this color, after-

wards painting into

this witli tints richer in color,

and

high-lighting with bright or yellowish green.

Distant Trees.— Distant trees may he painted green tint, composed of white, blue, and

witli a hhieish

yellow ochre.

The trunks

of trees are sketched in with

colored grays, composed of Avhite, black and red, and

worked partly over with washes of burnt

sienna,

and

darker touches of Vandyke brown or asphaltum, according to their positions in light or shadow.

Water.

— Water being largely dependent on

reflec-

sky and reflections from mounand objects casting their sjiadows u})oii

tions for its color, the tains, hills, trees,

the surface of the water, will furnish the proper color.

The Ground.

—For the

masses of a l)right afterwards break

umber and

ground, coat

Avith

broad

and raw sienna, and up with brown, composed of burnt

tint of wliite

white, or burnt sienna;

um})er tints of vari-

the most useful. Burnt sienna and white give sunny tints, which should be opposed by cold shades of blue or gray. White with yellow and reds, produce light and

ous kinds

l)eino;

warmth

in a picture, while

retiring

and

irowns and blacks are more

are used to give

shadow

effects.

HARMONY.

^S^YH^HE ;3Y^i^

paintel' >;lioiild

bear in

iiiiiid

tliat

in order

to produce a pleasing jol) of ornamental work,

the scenes and surrounding scroll- Avork should harmonize mth each *)ther that is, if a picture is intended to represent a warm scene, the scrolls sliould ])e

â&#x20AC;&#x201D;

composed if

of,

or sliaded with, colors having wai-mth; or

may be produced in coo] shaded and high-lighted with l)lues, grays, etc.

a cold scene, the scrolls

tints, or

Figures, objects

and

effects

should be introduced into

the scroll that represent either

warmth

or coolness, ac-

cording to the picture.

work may be poorh' executed, if there has been a system of harmony carried throuhgoiit the entire ornamenting, it will have a pleasing look, and

Though

the

the eye of an ordinary observer will not imperfections

detect an

PO RT RAIT PAINTING

i^T!v

[i^4\i^^ '"""'

NLIKE the

color of

landscape painting, a

accurately produced

tlie

ex|)ressi<)ii

—

tlie

})t)rtrait

must be

outlines of the face,

countenance, and the

complexion, hair and eyes mnst be

faith-

fully carried out.

Amateurs or new beginners should painted

portrait —

''a

chronio or lithographic poi-trait

that has good coloi's will

do"—and

pencil, faithfully dr.iw all the

upon

select a well

a sheet of t]":!nsp;:rci;l

v\it]i

<^utlil!(^s

a shar])-pointe(l of the portrait

paper pL'cc^d over the

ture, carefully sketching in the eyes.

The

pic-

surface that

you wish to paint, having been previourly coated white, and dry, you will o1)tain the outlines upon the white surface by [)roceeding the same as in landscape painting. Fie Sill Color. First mix a flesh tint, composed of white, JS^aples yellow and vermillion, and with this, coat

—

all

the ])arts requiring flesh color, leaving the

orl>it

the eyes unpainted.

Hdlf

TlihtH.

—Next mix half

tints, b}'

adding blue

or black to the flesh tint; these are to be used for the lightest shades,

blending tliem

well

with the flesh

ORNAMENTAL

For

color.

till'

PAtMTtNG.

darkest shades, use raw umber and light

red.

Hha<lou:ln<j. tlie

—

same

— In shadowing,

shadow

The

man

are very tine, rare,

arm

yon begin to shadow the right

sliad(.)\vs

of the neck

and

liard to

neck and leaving them be

sliould

full

child or

the sinews and veins are expressed tlie

foil

also the right jjartof the neck, arm,

etc.

the shadow

side of the body, leaving tlie other to the light

tlius in a portrait, if

cheek,

let

l)e

seen.

.side,

young woIn a man,

by shading the rest brawn of the

light; the

shaded on one

the shoulder

side;

shadowed underneatli. The >)reasts of a man are shoAvn by two or three strokes underneath; in a woman, by a deep ()l)icular sliade. The IJps. For tlie lips, use carmine and wliitc; the upper should l)e a shade darker than tlie h)wer one.

must

l)e

—

—The l)lended with the The Hair. — The The Cheeh^.

cheeks sliould

l)e

\'erniilion,

Hesli color. liair

may now

be painted

in; for

>A'liite, yelloAv ochre and Vandyke dark l)rown or chestnut, use red, black and yellow. The hair may be shaded witli vandyke brown or a red brown.

a light lu'own, use

brown; for

The Eye. eye.

Tliis

painting,

—We

will

now direct our attention

being the most

difficult ])art

should be cai'efully studied,

the whole expression of the face

The white

foi-

to the

of portrait

upon the eye

largely dependent.

of the eye, to present a natural appeai'ance,

should be composed of flake white, to which should be

ORNAMENTAL PAINTING.

added

and a

a trace of Pi-ussian blue

sli^-lit

tinge of raw

more nnd)er, painting in the (hirkest sliade nnderneath the njjper eyelid, and at the same time giving it a natnral, rounded appearance. The coh)r of the eye is next painted in. For a bhie eye, use white and Prussian blue; for the sha(h)W, there should l)e added to the color, a larger proportion of })hie. For a gray eye, the color should be composed of a ])luegray, by adding to white and l)laclv a small portion of blue, and shading with tlie same color, to which either more blue or black has been achled. For a })row)i eye, use l)urnt umber and orange chrome, or Vandyke brown and l)lack, shadowing with Mack. For the pu])il or center of the eye, use clear l)lack. The eyebrows and winkers may now be painted in, using tlie same color as limber; for the shadow, add

for the hair. CciHtin<j

or clothing

I) rape r lex or

now

tributed in such a

[)ainted,

manner

( '/of/iiin/.

â&#x20AC;&#x201D;The

as to

appear rather the

of mere chance than of art, study or labor. picture

1)}^

l)ut sliould

drapery

and the folds should be

dis-

I'esult

Finish the

painting in the back-ground to suit the taste,

be composed of some dark

color,

harmoniz-

ing .with the picture.

LITTLE TIimGS. There are a thousand and one little things connected with ornamental painting that are seldom, if ever, thought of 1)}' the majority of painters; while, if a ],)erson takes time to examine closely, he

Avill

find that

it is

ORNAMENTAI, PAINTING. tliese little

The

things that go to

painter

an ordinary

make up

who overlooks them finish,

wonders why

it is

a first-class joh.

wdll turn out

work with

that will not l)ear inspection, and that his

work

inferior to others.

INDIAN RED. This pigment

one of the most useful

the most desiral)le of those used

pure pei'-oxide of

iron,

as well as

the 2)ainter.

and possesses a body or

covering-

power almost astonishing. It is excellent for use with the pencil, and mixed with other pigments it gives rich and permanent colors. For striping, this color is used \"er\' extensively, and a lu'oad line of indiaii red glazed with carmine, then edged with fine lines of green, makes a very handsome stripe on black gears.

Theatrical Scenery and Pictorial Signs.

^^\'j>^-HIS

AV()rkl)eino;

tance,

3')'^^

slioiild

eolor, witli

intended to be viewed at a

l)e

heavy

painted

and

li^'lits

Objects

sliades.

should be }>ronght ont bohlly, and very

little

dis-

masses of

J>i-(ku1

care 1)eing

taken to l)lendthe edges of the colors together.

^\Tiile

painting this class of work, the |)ainter should fre(]uently step out at the right distance from the scene, to see that his

work

progressing properly, and that

can be ob-

served at the proper distance.

â&#x20AC;&#x201D;

Preparation of the Cannax. Select a firm, heavy piece of muslin or canvas and stivtch this out against a wall or anything having a smooth surface.

In order to

prevent the colors from striking through the canvas,

should be sized with stroncj

o-lne

should be ap])lied with a large

or stai-ch water; this

])ristle l)rush,

care being

taken to cover the entire surface.

Mixing of

Colors.

â&#x20AC;&#x201D;Theatrical

scenery and picto-

rial signs, to

look well, should be painted with colors

having

or no gloss.

little

ment and mix

Take a

quantit}' of dry pig-

to a stiff paste with

brown japan; put

ORNAMENTAL it

PAINTING.

into the mill, dilute with a very little rubbing- varnish

and grind; then thin with turpentine to a working consistency, add one table.spoonful of raw linseed oil to each [)int of mixed paint. This will produce a mixture that will dry well, and have a little less than an egg-shell gloss.

In painting a pictorial sign, a good

effect

may be

produced by painting a landscape with a large sky space, and lettering upon the sky space; tlie letters

and under-shaded. Anothei" good effect painting a marine view, or water scene may ])e made and producing the lettering upon the water space. If the sun is represented as being in the rear of tlie letters, they may l)e shaded and have a shadow cast the sliado\v must be cast forward upon the surface of the water. AVe have given these two illustrations as examples of a thousand and one ways that fine effects may be ])roduced hy forethought and study. In compounding shades, tin'ts and colors for tliis style of work, the same rules should be observed as in landscape and portrait j)ainting. should

l)e

l)ack

l)y

â&#x20AC;&#x201D;

ULTAMARINE BLUE. Ultamarine blue is the purest of all colors. AVlien pigment is used as a glazing over blue ground, it should be mixed with hard-dryino; body varnish and this

thinned with a very applied.

when used

little

turpentine

Ultamarine requires ])ure,

and

this

when about

a good

to be

ground-work

should be as near the desired

ORNAMENTAL

PAINTING.

shade of finish as can be obtained by other blues. Being' a very transparent color, the ground should be solid.

The sum

finest

(j^iiality

).()()

$!)(

of ultamarine blue

worth the small

a pound.

CARMINE. Carmine

make

a peculiar color to mix and apply, to

a perfect job.

Glazing over a prepared ground

the usual method, and various sliades of the color may Carmine be made by a slight change in the ground. can l)e darkened without sullying its 2:)urity, by the addition

of ultamai'ine

mixed

in equal parts,

Carmine and ultamarine, as a color, form a beautiful purple. blue.

CHROME YELLOW FOR GROUNDS. Few

painters would believe that wlien two good

coats of ultamarine

blue are laid over a briglit chrome

yellow ground, that the bine

Avill

appear purer or richer

in tone tlian if laid over a lead, or light blue.

ion laid over

and

it is

said that

of color longer than of indiau red.

Vermil-

a chrcme yellow ground, covers solidly;

and purity aground composed

will bold its brightness

when

laid over

THE ART OF SCROLLING.

' f

$^OLT) LEAF SCROLLS.â&#x20AC;&#x201D; In

r^V^lX

scrolls, tlie

the following process, as practiced by

leading ornamental painters tln'ongliont

connti'}^, will V)e

found

correct.

that your panel which you Avish in

painting gold

and thoroughly dry.

tlie

AVe will now su2)])ose to ornament is grounded

The first

step to1)e taken

prepare a wash to preyent the geld leaf from adhering

beyond the outlines of the sizing. Take the white of an egg and reduce it with water, and with

to the surface

a piece of sponge apply

to the panel, being careful to

go o\er every ])art; or a thin wash of starch water can be used, applied with a flat camel-hair brush. While this is drying, you should prepare your scroll pattern. Select a heavy pirce of paper in size corresponding with your 2)aL>el; on this trace the outlines of your scroll which you V ish to paint, and with a medium size needle pr(^ceed to puncture small holes about one-sixteenth of an inch ai)art, carefully following the lines.

your

])attern against the

Now

place

panel to be ornamented, hold-

ORXAMKNTAL PAINTING.

iiiU'

tacks in

i)Iac'e })\ innn'tiiiL;' siiiail

ill

mid with

pcunce bag, made of

in wliieli is tied

white

d< ts;

remoN

a thin piece of n'uslin

dry wliiting, strike o\er

Remove

[)unetnre(l holes. will find tlie

sronie

tlie })attern

all

the

and you

carefully,

design on the surface of the panel

in fine,

dust this very lightly with a soft duster, to

any surplus whiting

—

an excess of whiting

tends to clog the pencil inu\ prevents

smooth

clean,

eacli corner,

from

cnttii'g a

line.

(rihlhiij Si?:e.

— Thei'e are

different

se\<^i"al

methods

of pivparing the sizing to I'ece've the gold, and ])erha})s the following, for

practical purposes,

all

Take good wearing

l)ody varnish

the best:

and an equal ([uantity it a little chrome yel-

of good coach japan, and mix with

This

low.

will bs^

found to be

tVrred by most painte.rs to fat

vantage of drying more I'ooJs.

— A^V

tools reipiired. l)alette

to is

made

oiK^ t^tid,

rest-stick.

The in

and

is ju'e-

has the ad-

Tln^ palette boar<l

left

and while

hand.

The

the the

used

in use,

rest-stick

of hard wood, about 2i feet long, taperwith a small ball of cotton encased in a fasteiu^d on the smaller eud; end of the stick from scratching the

leather,

to })rex"entthe

W( rk.

hand

(piickly.

thund» of the

piece of chamois this

now turn our atteiitien to to come into consideration is

distril)ute the colors u})un,

u})()n tlie

should be ing at

First

board and

mix and held

will

\ei-y dui'able, oil size,

larger end

of the stick

held in the left

connection with the pah-tte boai'd, while the

smaller end with the ball rests against the woi'k; upon

can

lliis y<>"

now

von to pi'ocnre

The

your

rest

arm,

riirlit

wlncli (^nal)les

with the

long, steady (riweep

pencil-.

painter shonld learn to nse the^<e tools to advantag-e^

as they are indispensalde in doing

Pencil BniKheA.

good work.

â&#x20AC;&#x201D; The pencil brushes used

t'oi-

kind of work are what is termed "Idack sable hair ing pencils." to

They

and should

are sold in assorted

T)e in

The hair shoidd come

length from

to a fine

sizes,

f to

this

scroll-

from

inches.

You will also

sharp point.

need a round l)adger-hair Idendei- or softener; this

used to blend the shades and colors together.

With

the tools at hand,

the design.

Take

are

now

read}' to

size

small size pencil, and vA\\\ the

gildino; size, carefulh' follow

the outline*; of the scroll,

between the lines as you proceed, T\ith a shorter and thicker pencil, being careful to lay the size smooth tilling in

v'iud level.

LaijUKj Irohl in,

Z<?<?/'.â&#x20AC;&#x201D; The scroll

the leaf should be laid so as to

every paintei*

having been sized

show no

Nearly has a difterent process of laying leaf, and

each one thinks his method the best.

lapsv

The following

method

will be found to be one of the )>est as well as most economical ways of producing a good jol) of gilding: Take a sheet of ^vhite tissue paper, and rub it over on one side with ^ piece of white wax, which can be procured at any drug store^ The paper should be placed on something perfectly flat, and ruV)bed l^j-iskly

with the

wax over

the surface, wdiich will give the pa-

per a "tackiness" suflicient to c-ause the gold leaf to

-ad^

ORNAMENTAL

here to hirger

The

it.

tliaii

now

])aj)er is

PAINTING.

cut into s(|iiMves a little

the leaves of the l)ook of gold; this

ha\'ing'^

been done, the book of gold leaf should be carefully opened, and the waxed side of the tissue paper pressed u})on the gold; the gold will

tached to the waxed paper. Each

taken out

The gold

in the

same manner

leaf

now ready

until the l)0()k

â&#x20AC;&#x201D; but

])egin to lay the leaf until the sizing

linofit.

The

sizins'

"tacky" feeling.

now be found

at-

leaf of gold should

for use

that you can i)ress the leaf

liglitly

emptied.

and not dry enough so l)e

sure

down hrmly without

should be aJmo-st dry,

wrink-

^'.,lias

a very

If through dela}' or miscalculation,

should become too dry, breathe gently on

just before

each stri]), and it will adhere ])erfectly. The now beinii' all laid, we will rub it down smoothly with a wad of cotton, and with sj)onge and water wash

you

a})})ly

arold

off all excess of the leaf.

Sh(((Jim/. ficult

â&#x20AC;&#x201D;This

part to perform,

artistic taste will l>e

the ])leasentest but the most

and the painter

<lrawn upon to

dif-

will iind that his

its

extent.

fullest

But commence your work with l)oldness and confidence, and with the determination that you will accomplish what }'ou desire. By following the directions given in this

work, you cannot

fail

of obtaining the desired

re-

Before attempting the shading, the gold should be toned, by receiving a thin wash of raw sienna diluted

sults.

with varnish and turpentine; this lected

by the

painter, as

directh on the irold

when

the

should not

shading

l)e

has a daub\' look, caused

neg-

applied b\'

the

;

leaf quickly

al)s<>i'1)iiig

tions inipt)ssil)le.

and

wasli,

commenced.

correc-

inakiiii;"

time will permit,

tlie

a coat ot'rul>l)ing \arnisli ]»efore

.slioivld lia\'e

ing

tlie

AVlie-re

panels

tlie

shad-

Asplialtum, diluted with \arnish,

generally used for shading gold leaf; altliongh burnt

mu\ raw sienna can be used

good

Foi'a Avarm

etfect.

shade, tinge the as})lialtuni with carmine, cooler tones

are produced

by applying the

lightest Avashes of shade.

be blended, or softened,

taking youi-

1>y

beginning at a point that you the shade

it toAA'ai'ds

AVlien the

first

commence

These shonld Idender and

the lightest, or

t(*

Avliere

a faint shadoAA, and

the darker part of the shade

this should also be carried

shade.

Avisli

intended to tade out

lightly sti'oke

First

tinge of verdigris.

l»y a

out with each

succeeding

shade has become dry, the parts

intended to be darker should receive another coat of the Avasli,

and so on

until the scroll is In-ought out

l>old

relief.

GlazliKj.

— Our next

lu'illiant job, Avill

step, if

be to glaze

we wish

])arts

to ])roduce a

of the scroll; the

colors general h' used for this are carmine

and

verdigris,

to AA'hich should be added a small cpiantitA' of varnislh

Carry the gUze over the clear gold, and the shades, This })roduces a l)eautiful effect, and gives the a})])earance of light and dark shadoAVs of the same eoh)r. IIi(fh-li(/hfin<j. hio'li-liii'htinii:

directly

—-High-light

with straw color.

the ed^'e of a scroll

should be done

on the leaf and not on the ground- work.

Hemfirl-s.

— In shading

scrolls,

either gold or color,

OHSWMKNr.U. PA IN t IN G;

the

i»aiiit(^»-

avoid

slioiihl

tlipiii \\u\t jf<(f

ii'iviiiL^'

i\\)\){^'dv-

aiUM- that some scrolls have, e^peeiallx' those done by Pai'ts that aiv intended to be iiiex})ei'ieiiced workmen.

retired, or in the l)ack liroiind,

while tliose to

lio'hter

sri'oll

l>e

shadinic

relieved

I'roni

under shading. sjioidd

prominent

ha\e

tlie

(hirkei',

sliould be l>rono-]it forw.ii-d

and the wjiole of the ])anel by back and after

scroll,

bein^'

laid

eom])leted,

been cut from

ai>])earance of Imvinii;

and

shaded

)>e

]iiohdi;^htinu',

the sni-fare

The

or solid color

^•old,

and

shonld

upon the surface of the

j)an(d.

Buck and tliose

scrolls^

Viulei' SjH('/ii)(/.--\\\

on bhick grounds, should have

excepting

back and under

shadow is A: upon the ground. fir>t nin on, afterwards going over it with a black shade about half the width, keejying the black shadow against shadow

the

cast

scroll.

^aniisli

glazed

inav

-ijiould hav(^ a

(

red gi'ounds,

c'armine

be used for the shadow

;

diluted

with

blue grounds

shadow of ultramarine.

COLOK ScmOLLS. In ])rodncing the outline of a scroll in colors uj)on the surface of a pmel, the serv'e<l

as in gold scToUing.

in several different colors, i-etired, IS

same A\

I'nles

hen

should be ob-

a sx-roU

painted

the darkest color skonld be

or j)laced in the Imck-gronnd^ while the lightest

bronglit in prominence to the front, and the

medium

colors are placed into position acc(»rding to their depth

OUXAMKXTAL i>t"t()iu\

makiiiLi'

111

should he used

PAINTIEG.

selection of tlie coJoi's only

tluit MJ-e

ill

with

liurinoiiy

hrowiis, oli\e, greens

and umber-toned

very pleasiuo-

color alone

same

color

scroll.

scroll

may

that

n[)])earas if

the scroll,

is,

other;

ejieli

dral)s

make

painted

l>e

th()s<'

one

and shades of the

}>y usino- diifereiit tints ;

when completed,

will

conij)osed of graduated tones of blue, green,

For example, take a l)lne scroll, for the lighter parts add white; for the shade or (hyker part ad<l more blue, or sha<le with ultramarine, and highdight with

iVrc.

very light blue. J^ropcr

T/fe

ground lemon, red

color, flesh,

(rrotind^ sets

olf

well

light

])earl,

ground, use lemon,

greens.

Blue

for

Scrolls.

with gold,

butt',

(rreeii,

j)ur])le,

])ink,

greens and yellows. jx^arl

ornaniented

blues, greens, pnr})le r.nd salmon.

Iiiodidiu'hted

may

with

light blues, yellows, or dra]»s.

For a black ground, drabs, pink, lemon, gold, drab or green,

and

blues

pale

gold,

grounds should

gold, pink, salmon,

—

be shaded

If a scroll

with

light

painted

asphaltum, and

with the colors of the scroll

by the addition of white or yellow.

made

lighter

If a red

scr(»ll,

shade with carmine, and highdight with orange.

DESIGNING, ENLARGING

AND REDUCING OF

SCROLL PATTERNS, LANDSCAPES, Scroll ners,

Pcsltjiiiiiij.

and those not

— The best method skille<l

for

kQ.

new

designing, will

beginl>e,

;

ORNAMENTAL

2*4

select a li'ood sci'oll design, will first decide

whether

proposed space to sary to have

and

stud}"

so complicated

(

it is

We^

carefully.

Next,

ornanu^nted.

1)6

proportioned to

fill

the

neces-

too small, or too

must he enlarged or reduced. Should we dethat it is too compact, we would omit some inferior

hirge,

cide

FAINTrNCV.

If too long,

l)i'anches of the scroll. at differeut })oints.

Scrolls

may

may be

divided

be divided, and one

Thus, from one or more scroll designs, a large number of patterns can be ol)tained. All scrolls shouhl have a base, or pace of beginning., })art

added

to another.

compact and well 1)alaneed. The linesshould l)e gradually diminished and bec(mie less compact, as tliey recede from tlu^ uise, or beginning point.

and should

l>e

]

Knl<ir<jhnj

â&#x20AC;&#x201D; Should a

and liednr'nuj of

scroll or

and we were not eve,

HcrolJx^ hcuidxcapex^ &<'.

landscape prove to be too small,

sufficiently skillful to enlarge

\\()uld s(puire

ing an even nundoer of s(piares upon

draw the on ])aper

size of ;

by the

the pattern, or picture, by draw-

Now

its sui'face.

the ])ane], or space to be ornamented,

next lay

off the

space thus

ol stained

into

number to thi)se on the origand guided by the lines, redraw it. To re-

squares corresponding in inal design,

<luce a design, reverse the operation,

foregoing rule.

Enlarging and reducing

an exercise of the very as

and

as given in the

first

l)y

squares

importance to the

})ainter,

trains the eye to notice the true direction of lines in

time very correct copies

recourse to s(puxring the design.

may be made

without

SfiSiKS)

N—fflfs^

THE ART OF STHIPING.

TRIPINCt

reijiiires prefision,

correct eve.

..."

c^^^^

his striping

keep that

style

HaN/Uin// of the pencil

a o-ood T)aintei', .

One thing

spoil the joh. is,

and a

light liaud

])e

may

careful of in striping a joh tain style,

While one may

to l)e

after deciding upon a

cer-

throughout the entire carriage.

Striping

held between the

Pencil.

—The

striping

thumb and forehnger

of the

right hand, the second, third and fourth lingers acting as guides

shoidd

In drawing a stripe the hand

and supports.

move

steadily

and rapidly, and the

with the guide fingers should be light.

plays an important

ularity.

C^are should

es])ecially a lieaAV

be taken

line,

point of the pencil Avhen it

about to

l>e

raised.

it,

eye,

which

should always

])art in striping,

rede the stripe, 1)ut never follow

The

pressui-e

jf>»/r-

thus avoiding irreg-

drawing a stripe, tt)o hard on tlie put down, and when

not to press it is first

The proper

rest for the

guide

tingers should not be ovei* half or three-(puirters of an

ORNAMENTAL inch distant from the ed2;e Avill

]»e

I'AINTING

of the stripe.

lino

sti'aii;-lit-

found very useful wliere niouhlings and

of l)odies are too far distant to

edii'es

for the uuide

MlxiiKj of

used as

i)e

I'ests

tinu'ei's.

Sti'ipln<j Color.

painters, prepared tnl

coh)rs are by far

also the cheapest coh)rs that as they are o'ronnd

— In the opinion

much

can

irner,

l)est,

tlie

used

i>e

of most

and

striping,

and work smoother than

To thfse sliould he those mixed and ^Tound l»y hand. added a ch-o}) or two of wearing' hody xai'uish. 'Idiis has the effect of holding the to the surface

on which you are

ing akippiiKj.

Use turpentine

in a cu]) ]\\ itself, into

(h)wn more ch)sely

})encil

striping, thereby avoid-

which the pencil

tervals, as the color re([uires tliinning.

lead

Jaj)an

usuall}' is

used

added

is l<e[)t

(lip[)ed at in-

Tube sugar

dryer; hut

foi*

should by no means be achled directly

to the color, but should

that

the color

This

fortliinner.

l>e

mixed with

turi)eutine

tlie

used for thinning.

Glazed

Stripex.

—The

colors

generally

used

for

French ultramarine These colors being transparent recpiire a ground ])lue. color to be first striped on, afterward going o\er it with The ground for carmine should 1)e Tuscan the crlazing.

glazed stri})ing are carmine

red, a l)lue

and

deep rich In-own or orange chrome; while for the

ground mix a medium toned blue of

and Prussian

l)lue.

Mix

fiake

white

the glazing with the varnish,

and with a camel-hair stri[»ing ground color with the glazt^

])encil

go o\er the

Strij'iiKj Pencils^ SeJ&<'fi<>imi'(\窶能\\ selertliig' stripers Set' tliat tlie j)()iiits

end

makes a

ﾂｫ>t'

down

the

flat.

pencil

The

liair

tlie liaii' ai'e sliarjj,

sliouhl

ehistic.

To draw

ting

a sure sign that

it is

selecting it.

foi'

Water

you

l>e

Red

a-days.

sj)()i]

kink the

hair,

and

again.

Camel

hair,

FoV

otherwise

will

on account

sehhmi foun<l of

-stiilicient

the market at the

being the

l>end

a very

striping,

least

elastic,

only be used to advantage in colors that are hea\'}',

j)resse(l

mostly used now-

sable, aJtliough liighly prized

length that none can he found in pi'esent (hiy.

the

smooth, straight and

ox-liair pencils are

su])erior ([uality,

t>f its

it"

you do not know much ahout the pencil while yon are l)uying

ditHcult matter to straighten

and

tliat

aii<l

off

the pencil through the lips and wet-

will snrely

cainel, sal)le

ent

sipiare

nt)t

can too

downward and become

some })ainters use these brushes manage to get alcng well with them. 8able hair stripers., having more .spring to them, are certainly to be prefered to any other, as they will work

difficult to handle; still

exclusively, and

well in any color first-class ai'ticle,

but their high price, es})ecially for a

prevents

many from

hair stripers are very straight

and

using them.

elastic,

but too

Ox stiff

make curved lines-. )n straight lines, on i-ars and The fiat or Wagonsv, they may be used to adv^a-iitage^ to

(

sword

pencils, for strij)ing^ without doul)t, are the

\vorking

man

stripei's

yet introduced*

to accomplish twice the

ﾂｫh)ne with the round pencil,

It eiiable^s

best

the work-

amount of work usually and more perfectly. Its

ORS;\\.\iEXTAL PAiNTING;

peculiar shape

spokes can

makes

when

(me

l)e stri[)e<l at

pencil will do one

and

a self-fee(lei\ and five or

only.

fillina',

Tliis

wliile

advantajj'e

runniuii" a or eat lengthy as the stripe is

and much joining avoided.

perfect,

round

tlie

ii'ivat

t>t'

continuous

can

six-

l»e

used

with (juick drying colors with greater tree(h>m than the

round pencil can

slow dryings and i\vv to

made

ent width stripes can be

six

differ-

The

with one pencil.

practice of cutting off tlie ends of Irroad stri])es in order to secure a s(piare

mende<l,

foi'

end to the

v«

Flow lo

itli

awkward when

CaKKIA(tE OR

Si'IMI'K A CN)A('1I,

Blnck

(redr.

FF KENT 1-:

;

l>lue

;

two

W A(^0.\

may

he strip])ed in

line

of blue, glazed

of olive green

line

green

;

or with

fine lines

and distant

two ^ inch

split

through the center with a

I-IC)

fine line of carmine: :

or with

brown; or ^' inch line of fine line of same color | inch

inch lines of dark

Chinese vei-million, with a

with gohl

or with a hroad line of green, edged with gold

doulde

lines

of red, glazed Avith carmine:

or striped with a broad line of lake^ edged

and

(tKAK,-

or a \ inch line of l>rown, edged with

or a f inch

fine lines of light

dark

the pencil

Stripe with fine double

chrome green; or a ^ inch

with ultramarine

carmine

c(»m-

Sa^ YLKS,

—A Idack gear

the following different styles: lines of

l>.e

color.-

10.")

not to

AVhen once the natural eruls of the hair are

cut the pencil ])oint f>ecomes is filled

stri|xes is

glazed with

ilistaiit,

JioH

cai'iiiiiie

;

two

tine lines of verniil-

or distant tine lines of green, witli center tine line of

;

white; or with hroad line of dark green, edged with tine lines of light green,

line of gold

;

and

split

through the

or stri])ed vvith \

irieli

two

verdigris; or with

with tine

lineof rnah)ri green,

with fine line of same color distant J;

centei'

inch, glazed

[

inch lines of dark Idue,

with

glazed

with nltraniarine; or striped with a hroad line of

edged with gold, and line of

orange

Hne of

light lilue,

;

or with

l)lne,

the centei- with tine

split thiv)ugh

inch line of (hirk hhie and fine

inch;

distant |

In'own and <listant lines of carmine

*)y

;

inch

line

inch

line

or stnped with of green two tine lines of Tnsc^an red, glazed Avith cai'inine.

green

anc' distant fine lines

^1 Piu'pJe

Lake

may

(refhf

line of hlack, edgetl with

line

L'lqlif

Yi'lloir

striped with

line of

11(1

Sfnnr Color

gold

blue;

medium

or a

;

inch

striped with

oi'

two

due and distant

orst]'i[)e<l

black

fine lines of

same

inch line

orxin ^inch

;

coloi"

;

or f

with ^ inch line of pah^

with a broad line of black with distant

fine line of VÂťlack

distant fine line

oi-

fine Ibies of

s[)lit

should be

(ri^Oi-x

i inch lines of black;

inch broad Inie of black,

line

with a

stri])ed

lines of lu'own, glazed with carmine.

of blue gray and distant

line

l>e

tine line of

of Indian v^d, ghized with carmine;

two ^ inch

;

or with

broad line of

c^ii'mine aiul

f black.

Cardinal lied (reiir may be stri})ed with a I inch of black, edged with a fine line of gold or a | inch of black with distant tine lines of black; or tno i

4nch lines of

;

black-.

Ilnnrii

J>(iik

edged with a

(t((ii\

hi'owii;

sti'ipes of* lio;lit

— Stripe m

iiiie

stripe

brown, and

tine line of light

the center with a

two

witli

ivicli

spirt tlii'ongh

or carmine;

line of gftld

iiicli'-

blac-k^

oi'

inch line of Ivlack with distant fine lines of orange;

or'

tw(»tine lines of dai'k re<h

A L^

J/njlii ('(inn'nte

inch

(rear

of hhn-k

lines

;

may he

or a

with two

inch line cf bhick with

same color or a hroad line f)f black,, and split throno-h the center with a tine

distant tine lines of edo-ed with o-old

striped

;

line of green^

Dark Gireu

line of

Hue

(ri'di' A\<>\\h\

bladv and distant

lines of

••

ermilion,

fine lines

two

tine lines of

milori green

;

inch

carmine; or a

inch line of light green;

vellow lake: or distant tine lines of

or a broad line of Ivlack with distant tine

lines of light green

with an

of red; or distant

with

glaze<l

inch line of black split with an or

be stri})ed with a

;

or a broad line of Idack,

edged

inch line of carmine and split with a tine line

or a f inch line of black, edged with a \ inch line of white and centered with an ^ inch line of

of carmine

;

olive green

;

or a broad line of black, e<lged

with fine

wi+h tine line of blue; or distant

line of gold

and

tine lines of

black and center line of yt'llow lake

split

inch line of l)lack with distant tine lines of or

two

^ inch lines

of light green

;

of black; or stripe<l with two tine f^lazed

two

;

same

or an ^ color;,

1-S inch lines

lines of vermilioiu

with carmine,

Pluin. Color

Gear should be

stri])ed

with two

1-S.

ORNAMENTAL of

ivd, glazed

hicli

Jiiiers

iiic-li

line of mediuiii tolled

Iii<li;iii

iiicli

YelJftir Lithe Gr(nlilies

of Idack

;

(>]•

;

niny

or with

l)ivad line of black

rai-niiiu^

with two

l»e sti'i[)ed

}

lines

line

1-,^

of scarlet lake

qua ker green

and distant

or a

;

two liaii' lines of hroad Hue of l)];u-k.

witli

l)ro;id line

•centered with a line line of

color; or with a

witli

l)Jiie,

caiian color, <listant I inch edged with gold.

PAINTlNVi.

;

with a

of the same

inch line of l>lack, edged with a line

line of scarlet lake

and

with a

s])lit

line of

dark

striped Avith

two

line

green. Ajf Ollre i^reen ircd)- should line lines of vermilion, glaze<l

])e

with carinine

;

or a

inch line of milori green, edged with hlack; or a line of l>lack, c^lged with gold,

green in center of Idack

A Dark 1--1

and

line

inch

line

|)ea

stripe.

(^(innine (redi-

lines of black

or a

and

1-4

with two

strijied

carmine

line line of light

-S

inch

center:

inch line of black and distant Hue lines of black:

or a broad line of black, edged with dark green and a fine line of gold in ceiitei' of black stri]>e.

.1 I>arl-

J>l:n,e

dfear.

—

two

Stri])e with

line

lines

and glaze with nltrainarine or a broad line of black, edged with line line of white i?n<l centered

light blue

with

-S

;

inch line of white

edged with

line line of

;

or a

broad line of black,

gold juid Hue

line

of oi-ange in

center of black stripe.

\'ei'niiJ ion

(rear.

—

Sti*i])e witli a

black with <listant line lines of same

inch Ibie of

1-4

c-olor

;

or with

two

OK X A M E NT AT. FAINTr N (,

V1-S

iiicli liiirsot*

hlat-k; or a 1-4 iiu-h

liii"

Mack and

distant tine lines of white or V(dlo\v. .1

nia\

(rctfr

L(ik(^

with

l>laek split

dark hrown

with

orange; or

Kroad

of light earnii]u-; ion

;

i^-old

brown,

lines of lioht

tine

or two

or a 1-4 inch line of

;

inch

1-S

lines

of dark

line of l»laek witli distant tine

with

(H-

t^vo 1-S inch

lines

lines of vermil-

or two ;M<> ineh lines of maroon; or two tine lines

of carmine; line of

distant

with eai-niine;

glazed

with a hruad line of

strij)ed

l>e

a fine line

oi-

Xdp/cs

of Mack, edged witli tine

a l»road line

gold ai'd

sj)]it

with tine

y(^]]()ir (}('(().

lin(^

— Stripe with two

of l>rown; or a 1-4 inch line of lines of

same

two

color; or

of pea green.

Mue

1-s

lines

fine

with <listant fine

inch

lines of lilne or

carmine.

Li(j/if

lihic

lines of gold: or

(j('t(r

two

may

l>e

strij>ed

with two

1-S inch lines of scarlet

tine

vermilion;

or a hi-oad line of Mack, (Mlg(^d witli a fine line of .1

(((iKinj Color G(^((r.

with distant lines of red

mine or ^4

or two

hroad

1-S

line of

inch lim-s

black

of car-

Irlue.'

Scarlet Lidu^

(i << ( r .—'\>\\'\\w

carmine^ lake, centered l)lue; or

;

— Stripe

])nff.

two

with

1-S inch lines

with

fine line

broad of

line

nltramarine

of black; or a bi-oad line of

black, e<lged with a fine line of gold.

l^tii

Color

^rV-c//"

slionld l)e striped with a 1-4 inch

line

of canary color and distant fine lines of black; or

two

1-S inch lines of black.

ORNAMENTAL PAINTING.

Smoke

Loinloii

<>t'l)lack,

edged

London smoke,

witli

an<l

(rear.

— Stripe

an ^

ineli

tlie

line

witli

hroad

lii»:lit

sliade of

black stripe two line lines

of yellow oelire; or a \ inch line of black, edged a fine line of

gold

;

two

inch lines of ])lack with gt)ld

;

An Orange and distant

;

two ^

or a h

with

^ inch lines of black.

may

Baffle Green (rear

line

l)e

inch line

incli lines

two 3-1 of ])lack, edged

striped uith

(')

of milori green.

^rft'w.— Stripe with ^ inch line of black

tine lines of

Idack; or two \ inch lines of

])lack.

An V)lack,

Uniher (rear.

and

— Stripe

witli

an ^ inch

line

tine line with bntf; or a I inch line of black,

edged with gold or orange. ^4 Chocolate Gear may be striped with a broad Ihie of orange and distant tine lines of lemon; or two inch lines of black; or two 8-1 inch lines of maroon. J-

(xcjld

may

above colors

l)e

nsed with good effect wpon any of the

^''ea'cepfvn.g

yellows'''

in coiinectiou

the striping, bnt should be nsed sparingly.

with

A stripe

two around the hubs, and a few touches, or scroll or fancy stripe upon the clips will be good taste re(pnres.

light

all

that

CARE OF TOOLS. All hair tools used in ornamenting, such as striping l)encils,

brushes,

tfec,

after using, should

be washed out

clean in turpentine and then greased from heel to })oint

ORNAMENTAL

witli tVesli iiuittoii tallow.

straigiit fiat,

on a piece

PAINTINtJ.

Stripers .should

of window

I>e

laid

out

and pressed down in a hox or dravv(n-

glass

while pencils should he laid

kept for that purpose.

YELLOWS. \'elJo\v i)V

a delicate color, easily detiled,

The

other coh)rs.

eidivening and

full

primary or simple |)ai'taking

which

Lhc

most

of,

pure,

sensible effects of yellow are gay,

of luster. colors,

the

nearest

the

first

relation

of the to,

nature of wliite, mixed

affords the faint hues

princi})al

when

yellows used

iLÂť

calle<l

the

straw-color, ])aint

shop

and with tt^c.

are,

cliromc Nellow, yellow ochre, ])atent yellow and Naples vellow.

THE ART OF SIGN WAITING.

)I(TN-\\'RrrlN(T

may be and

aeciuired

a mere meolmuical

by any one

j)osBe8sinjo:

art,

exactness

precision

Formation, of

mnst

V)e

sncli as

italics,

itals,

Letterii^â&#x20AC;&#x201D;-lL\\^

painters

lirst

manuscri})t or text-hand,

Kgyptian,

block,

&C.,

<fec.

Roman cap^ He slionld

carefully observe the proportion of all letters.

upper parts of B, E,

and

smaller than the lower parts

difference in size })etAveen the

the S

shown

bottom side up. a fine

line,

round.

l)y

will

The

be seen, are a

of these letters.

lit-

The

upper and lowei* part of

olÂťserving this letter

r>bject

knowledge of the forms

to ac([nire a thorougli

of letters,

tle

hik)

when turned

be seen, those letters having

the period and other punctuation

In the block and

square

letters,

marks are the period

marks are square^ To become a good ^sign-writer the ])ainter must fii*st practice tlie manu^ script or text hand, by so doing he will acquii'e the and

kindred

OnXAMKNtAL ^AINTiNG;

h;i])it

]iiakiiiu' a

with the

Egyptian

l)loek, for

They

never

will

and

free

Many

peiK'il.

sign-writers,

Tools For Siyrir are

comparatively

thev

I'id

of.

by the

used

few,

ac-

formation

ever, get

r It i )»(/,—^1l\w tools

phiiii

tlie

the easiest.

the use of the pencil an<l

of letters, which they very rarely,

sign-writer

with

])aiiiters l)egin

the reason that

make good

(juire a stitfness in

stroke or sweep

iri'Mt'eful

lest-stick,

small palette hoard and palette knife, a few good salde

and camel

of assorted sizes, a rule and

haii' [)encils

pair'

of compasses, and a guilder's tip and cushion for laying

gohl

leaf,

are about

Jj<u/itit/-onf

.all

that he will require.

or Arr((i}<jernenf of Ijefiers on

Shjw

— \\\

laying out a line of letters the six line

|)rinci])le is,

without douht, the best rule that can he

llo(ir<l.-

practiced

l>v

the {)ainter.

Divide the hoard e(|ually

into six hoi-iz(»ntal lines (see cut).-

?riX

will

letter,

will I),

LI>-E

PRINCIPLE.

he readily seen, in laying out

the space between figures

form the

arjus,

and

head and lower

E, F, G, J, L, O, P,

Q, K,

plain

and

])arts

T, \\ Z,

.'>

hlock

and

of H, C\ .^.

Tlie

space between tigures 3 and 4 form the center bars of B, E, F,

1*,

R, S, the crossing

()f

the arms of X.

'o'RXAMEN'rAK I'aVnTIX'G.

Vii'id

the

space

4 and

This rule

fonii

will

.">

])ar

ters

used by the s-ign-writer.

A-,

The

point of the two anus of Y.

coiiiiectiiiii'

))et\\eeii

3^'

h)wei'

th(^

cross

<ﾂｻ]窶｢

styles of

let-

Tlie .painter should

in-

ap})li(*able tv

all

troduce into a sign a secticn of a circle or a cur\ed line, as

it is

pleasing to the eye, and relieves the stitfness of

Each

the straight lines.

line

of letters should begin

from the side^)f the hoard. The space l)etween each letter in tlie same line should he equab If you <'au jsossihly axoid it iie\ er hegin oi'

and end

end a with,"

at at ecpial distance

line

of lettM-s with

etc.,

hut

let

Make

larger letters.

sui'h

them come

words as

words, such

largest,

may

Take

tlie eli'ect will l>e })a<h

endeavor to form the as .|)o8sible,

st:^okes

.princi])le

you

a piece

of chalk

and with

it,

ont-line

letters in

tilling

with a shorter and thicker

distinct,

anMiot ])roperly

be, if they

and slightly sketch y<ﾂｻur letters with few

most

The above

of sign- wiiting, for liowe^ er good

the shape of the letters

])encil

for,

the most injportant

and easily read of any on the hoard.

arranged

to,

the lines of

as the name, business, ttc, the

\'erv importaiit .part

''an<l,

l>etween

a tine

with as

up between the

lines

By tollowing

})encil.

will ai-(juire ease, ra.])idity

this

and correctness

out-line.

The Rapid TiUmxil

M(^f/i<K/.-窶能 lunv

ing out a sign-l)oard, and on(^ that sively

use<l

present,

heavy ])aper or \'A\\ this u])on

st]-aw-})oai"<l a

the surface to

method of

being very exten-

follows

C^it out

correct pattern of a bt^

lad-

lettered,

an<l

from letter-.

with a

ORN^\ Mental

^'S

jtciicil

around the

iiiiirk

line of tlie letter.

I'AiN't'fS'c;'.

thus tormina' ihv out-

])atteni,

the

^•et

lines

shading' luove

t'oi'

and a little to the /vV/Zc/, and with a })ercil mark around the lower and ri^'ht hand edii'es This is a ver\ simple, (piic-k and c-orof the pattern. rect metliod of lettering", an<l enables the most ordi-

the

j)a.ttern f/o/ni

nar\' ])aint(M* to

heconn- an expert workman.

of Sign- WrifiiHj.

PtNH'fi/(ffio/i

\ised at

the end of every (Sentence, even

Martin, Dealer

but one "J.

The

also used to denote the omission of letters at

|)eriod is

^\. J.

if it is

(.)

and Sand."

\V<K>d, Coal, l>ime

period

"Henry Williams."

word, as '^Hakeiy." "Jeweler."

the last

— The

of a

name

"Company/'

The coma

abbreviation,

called

woi-d,

(Uark" for "William Jann^s

(/lark;"

'^C^)."

used, in sio;n-writino',

(,) is

This

denote the omission of woi'ds.

sh«)wn

as for

the

"Jones and Mitchell and Co. are Dealers in Paints and Oils and Class and sotbrth." To avoid rej)eating the tritd we use the coma, thus:

followinu' sentences:

'STones, Mitchell 6z Co., Dealers iu l^lints, Oils,

The

ttc."

a})osti'ophe

(') is \ised

(ilass^

to denote the omission

of letters in the beginninii- or middh^ of a word, thus

'tis," for

is;

were," for

"com[)V," for com[)any "d's," for

phe

days;

also used

"Bacon's Block." If

"ovnl

"'m's,'' foi-

were

ai;-'t,"

luonths,

denote the If the owner's

the apostro})he follows

Shop."

;

tlie s,

;

" 'Sl," for 1S81;

for genei-al agent;

etc.

TIjc

aj)ostro-

possessive case, thus

name ends

Avith

:•

an "s,"

as "Jones' Block," "Burs

two or more persons are spoken

the

ORXAMENTAI, p()ssessi\e

"Ladies'

case,

iieter

This

"Jones

article,

tlie

Block,"

cliaractei" {<Sz) stan<]s foi-

originally from AV., Etc., tion for ef reterff,

in script,

"and the

''s,^'

name takes the

descrihiug

re(juii-ed,

the

tul](»v\s

If the })ersoii's

adjective,

tlif

Sniokiug Rooiu;" "Ileiirv

Parlor;" "(xeiits'

apostrojdie

Bark."

apostroplic

tlie

Brothers' Shop."

P.VINTIEG.

rest."

char-

then no "Plantei-s

and came

c/y///,

the Latan abbrevia-

The

first is

used for

connecting firm names, and the other at the end to avoid details, thus: t^ Co.,

and to

Letters. —-But

wntten

])ainter

tk,

Wood,

Dealers in Coal, Lime, Sand,

S/n/y/i/tr/ l>e

"Jones

tlie

\ery

or Jones,

Wood

tkc.

can

little infoi'Diation

of shading letters.

sulgect

The

should have some knowledge of light and shade, ac(]uire that

knowledge, as regards

letters,

would advise him to [U'ocure a few good letters cut from wood, ab<Mit an incli tluck. By laying these on a ])aint-

where a strong side light will fall n})on them, by careful study they will give Jiim the ti-ue ed surface,

principle of sha«ling a letter.

The Cdsf painter

SJt<«l(Hr.

should

— To

best

illnstrate

this

the

understand the Javs of })rojection of

shadows from solid bodies. Lverv solid bod\' j)i'ojects a shadow in the same directioji with its rays, that Is, towards the part o})posite to the light. Hence, as either the

luminary or the body changes place, the,

shailow also changes.

many shadows .\.s

Every

solid

as there are luminaries

the light of the lunnnarv

body t(»

})rojects

enlighten

intense, the

as it.

shadow

oRXA.\rK\'TAr. FArNrrvcv.

40"

l)nve(

tlic

(U'u'ret^s

oil si/,e

some pure

linseed

the sun for a few

mix

ch-an.

inch

months

TIh^ \essels should

them

keej)

aixMit

Ire

into shallow

oil

thick.

de-

ret^uirinu* lii'eat

and outside work

\u\' paintei' can liave a supph of

ally.

slijidow

space

SIZE.

should he used for work

dui"al>ility, sucli as siiiiis, cars

ting

tile

tlin.t

liu'lit

of.

FAT<UL Fat

intensity

tlie

lleiice.,

(let'jK'i'.

iiieasuivd l»y

witli a tpiantity of

the

ochre-,

the ahove

oil,

them stand heconies.

oil

with

co\ere(l

l>e

put-

1>\'

leaden vessels, Let

'p.

until

Take ytdlow

fat oil

g(nier-

u'lass

Mne

[)owde]'.

grind them welt

together, thin with turpentine and put into a clean pet.

kee{)

fat oil

it fi'om.

on top.

skimming over, Be suiv to keep

[>ut it

some of the clear

covered.

This

size

keep g<M»d tV r yc^irs. Size, wben too thin, will curdle and I'un, and when too thick, will g"ive heavy edges and <liminish the edges of the gohl. The pencil that is used for out-lining should not he so narrow as to lay a heavy (^^dix*^ that cannot he worked hack, and will

fill

in, a short,

thick ])encil

the painter

ohiiged

the hest to use.

should I»ecome set

])lying size, if

t<»

wash

the

Ina])-

and

pencil,

out in tui'pentine,

should he careful not to continue the woi'k until the

from the

tur]>entine has })een wcu'ked out

Would dilute

tlie size

whei'e he hej^ins

and make

aLi'ain.

])encil, as

too thin at the

that

point

ORNAMKNIAl. PAIX IING

4"^

(JLASS (ilLDING. Size,

two or

foi-

fire,

iieu dissol\ed,l>oil

and strain

This slionld

tlirouii'h a

l)e

hy the

its

a feAA

miiiiite.s

wa-

ti-ace

IIa\e

the

l)e

s^)A\

innslin. jx

Lilass

i--

of fingei- marks or grease.

placed, and tlnMi

lÂťe

on immediately, being careful to have

parts to

over a

piece of linen or tine

leaf to

extend

lettered or scrolled.

Use a

Allow the

brush for flowing on

tlie

tire,

lay

upon

over the

well flat

the

smooth, as

camelduiir

Rub the leaf down wad of cotton, then hold

size.

smootli and solid with a clean (face side) towai'd a

in a great measui'e

uniform brightness dej)ends

this point.

dissolniig

then iiow the size on the space

fiiv,

wliere the gold leaf leaf

made by

wai'ni.

a})})Iied

fectl\- clean, leaving'

Warm

ulass,

u})()ii

thre;' f^hivds of refined iL;elatiiie in clear soft

ter.

iiilding

to burnish.

Draw

out the

design you require to put on the glass upon a piece of paper, and prick around the outdines with a pin. lav the paper face side

a pounce

bag

(fille(i

down

Then

against the gold, and with

with dry whiting) pounce

off^"

parts where the holes are in the paper, which gives

the

outdine on the gold, forming a guide in which to back For backing, use asphaltuni diluted with tlie gilding.

Lay on the asphaltum according to tlie The gold, design, and when thoroughly dry, wash off. where it is not covered by the backing, will readily leave the glass, lea\dng the edges sharp and clean. The

turpentine.

letters or scroll can

then

V)e

shaded,

required.

In de-

ORNAMENTAL

where you

signs,

will

PAINTING.

have to etch, or sliade the gohl,

you will proceed to lay on the gold and pounce the design exactly as above, then etch or shade

point of a slate-pencil, or piece of hard

wetting the wood. When you line, ])ick it in with black.

with the

sliglitly

\vo<,>d,

hroad or black

wisli a

STANDARD PRICES OF ORNAMENTAL WORK. has been

It all

ur aim an(i endeaxor to give

the vahmble and reliabh' information

painter

tlie

that can be

acquired on the subject of oi'naniental painting, and the

following

tariff

of pnces will

our readers.

ditl'erent

prices

points of the country,

leading

some

for

tlie

While the

painters.

prices thus obtained were too high in others

l)y

have been to the ex[)ense of procur-

from widel}

ing,

established

appreciated

fully

})e

localities,

they were too low, but we have carefully cojn-

})ared them, and selected from the number a or standard price to be charged in doing work kind

medium of this

Ornameiuinti "

.....

Omnihus

Menagerie

extra).

Ornamenting tra),

Wagon

Isanti -

(painting extra). Wagon (painting

.small

large

The

35.00

5500

65.00

.size, -

Ornamenting Luml)er Wagon (painting

Sprmg Wagon,

25.00

15.00102 5.00

Wagon, -

$25.00

size.

(

Ornamenting

(painting ex-

Ornamenting PedtUer's Wagon, painting extra). Peddler's (painting extra),

$20.00

extra),

'â&#x20AC;˘

25.00 to 30.00 3.5011) 5.00 .v.SO to 5.00

ab(>\e prices include striping of the gears.

Ornamental work, time work, per hour,

0.50

0.75

STANDAKl) PKK'ES OF LETTERING. Lettering

in paint, pl.-iin letter, •'

Add

per toot.

'•

In order to

Hlgn-board

tret tlie

the full

is,

he measured

length

shoidd be measured.

oi-

' -

iiumhei' of feet of letteriuLi:

should

30 60

' '

the above, tor single shade, per foot. " •' for double shade, " jrlazec) shade, per foot.

That

gold.

ruuning ineasnre,

width of the sign-hoav<l

If there are

two

lines of letters

the board, they should be counted as dou}>]e uieasure,

and so on with each succeeding h^

RECEIPTS FOR MLXLNU FINE COLORS.

Tea

(jreen.

l)luislj

— Raw umber,

Prussian blue and clH\>me

This color should be mixed so as to preserve

^yellow.

line*

tone.

Odd Brown. — Burnt Dark Pure

(rreen.

sienna and Prussian blue. green, deep and Prus^

— (Jhrome

sian blue.

Bottle

ground,

Green.— Dutch pink and

— Five parts of — Eight parts of ochre. Olive Color. — Eight parts of Rose

Prussian

blue,

for

(xlaze vvnth yellow lake.

C'olor.

carmine. (^ak Color.

iiake wliite

white and

two of

and one of yellow

yellow,

(^>ne

l)Iue

an<l

one black. Snuif Color.— Four parts of yellow, and two of Xau^

dyke

l>rowT»*

— Wliite and

Canary (olor.

lemon yellow, or patent

yellow. Peai'l Color.--^ White, l)lacl< and red. Gold Color. White and yellow, tinted with hlue and red. French (xray, White, tinted with drop ))lack/ Deep Bulf. Yellow ochre, liii^htened with white, and

—

— — small portion of Light — Yellow ochre, lightened with white. of white, one of Idue and Lead Color. — Eight one of hlack. — Eight parts of white and two of Aledinm red.

Bulf.

})arts

(xray.

l)lack.

—

Yellow, -Flake white and chrome }ellew; a(hl a very small proportion of vermilion or'

J()n(piil

to wliicli

carmine. Frencli Red.- -Indian red, lightened with vernnlion. and glazed with carmine. Bismarck Brown.— 1 ounce of carmine ^ ounce crimson lake, and 1 ounce best gold bronze. Raw sienna, raw umber and white lead^ Cla>' Drah. tint with a few drops of chrome' then equal parts

—

;

green.

—

Olive Bnnvn. ^One part of lemon yellow and three parts of burnt umber. Yellow Lake. LTmher and white, equal parts. Add a small (piantity of Naples yellow and a (b'op of scarglaze with yellow lake. let lake Add a bttle lake or carmine tc) a Ch(>colate Color. Inirnt umber, or Indian red and black to form a can of hrown, then add sL very little yellow. Plum Color. Two parts white, one blue and one red.

—

;

—

Portland Stone. Three parts raw low ochre, one white.

iimbei-,

three

yeb

Brick Color.

— Two

jKii'ts

yellow ochre, one jvd and

vvbite.

'i)iie

(irass (rreeii.-

e parts yell(n\

r]ii'<

and one

Prussian

blue.

— Three jmrts one white. Hron^;^ — areen, one one Peach Bh)SBom. — white, our and one yellow. \Yilh)W — Five white and two of L^ght — Xin' parts white, one Idue one Idack. Do' Color. — Ked, white, blue and Claret Color. — Red and black, or carndne and Cream Color. — Five parts white, two yellow and one Carnation Red. (xreen.

•and

Jake,

Fi^'e j)arts rlu-onie

V)l^ck

uiiiher.

Eii>'lit

j)arts

re<i,

t>ne

erdi-

i)lue

j)arts

(rreeri.

jj^ris.

(yray.

x-nnl

yelh)V\\

blue.

I'ed.

London Smoke.- -Two parts umber, one white ^nd >one red.

— Four parts of red, three

Lilac.-

white and one blue.

two —The same of but more red than purple. — —Nine parts of white and one umber. — Three parts of two yellow and one two yellow and — Five of

Purple.

Violet.'

as lilac, withi

parts

blue.

Similar,

Oral) Color. (

-itron.

red, parts white,

Stone Color. •one of burnt und^er.

Pea

(xreen.

—-Five

blue-.

parts of white, and one of (rhrome

o-reen.

sienna, two yellow — Five parts of Maroon Color. — Three parts of carmine and two of and vellowv — Blue vellow, or

Taii Color. •and one of

})urnt

raw umber.

.yellow.

(Trreen.

an<l

blaclk

OH^^VME^TAi

Wine

(\)1(H'.

Two

t'AlN'rlNG,

parts of iiltraiiiarine and

thi'ef

of carmine-

Chestnut Color.— -Two parts of red, one black and

two of chrome yellow. Flesh ('oloi-.— -Eij^ht ])arts of white, three of red and three of chrome yellow. Fawi» ('olor.— -Eight parts of white, oTie of red, two of yellow and one of umV)er, Straw Color.----Five parts of yellow, two of white and

one of red. Leiilon C'olor.— ^Five parts of h^non yellow and two of white. Copper (\^lor''--One pai"t red, two of yellow and one

of hlacki

Brown.-— Three parts of

red,

two Ulack and one

yellow,

Salmon

C)olor;— Five [(arts of white^ one yellow,

one

umber, one red.

The

painter should avoid using a greater numlter of

pigments in mixing colors than are absolutely necessary to pi'oduce the color i-equired.

THK ART OF FRESCO

FAINTJNti.

?<Jj^

^I^Tpx^VHE 'Q^'^^,

AKT

adapted to

(Âťt'

paiiitino-

tion of eminent ai-tists

mode

the revival of this great is

tVesot)

naturaJlv

and the atten-

oriiaineiital jjaiuthig,

at present turned to ai't.

Fresco

paintiniJ-

perfoi-med with pigments prepared in water and ap-

plied n|)on the surface oY fres/t

l{fi(/

p/a^ster of lime

sand, with which walls are covered.

an active

state, is

And

and

as lime,

the commoi> cejnenting material of

the ground, and colors employed in fresco painting, is

thus obvious that such colors only can be used as

re-

main unchanged by the action of lime. The followingtable will show the colors that are little, or not at all, aflPected l)y lime, and may l>e used in fresco [)ainting :

Red Ochre, Red Lead,

f I

Lij^ht Red, I

NcJ-

\'erniilioii, -J

[

Bltu

Oro

Venetian Red, Indian Red. Madder Reds. Ultramarine, Smalt, and all Cobalt Blues.

(

Whiteâ&#x20AC;&#x201D;

Orange Ochre, Orange Chrome, Orange Lead, Laque Mineral, Jaune de Mars, Burnt Sinena, Barytic White, Pearl White,

Gypsum.

C^K\.\^{KST.M.

-f^S'

}\'//<Ki

f'A

NTINr;.

\'ellovv Ochre, Oxford Ochve, Brown Ochre, Koman Oihre, Stone Ochre,

Asphalt tim.

Mummy. Bone Blown, Ruben's Brown, Vandyke Brown.

.Sienn;i Eartli,

Bistre,

Indian Yellow,. Patent Yellow,.

Raw Umber,

(rreen

Burnt Cmber,

Naples Yellow.. Massicot.

Cassel Earth,

Antwerp Brown, Chestnut Brown, Ultramarine Ashes Mauiianese Brown.

Cobalt Green, Terre Verte, V'erdig^ris,

—

\ I

Cireen Verditer, Chrome (Jreen, Mineral (jreen,

P^nierald (Jreei^.

Black— Purple

Madder

F^urple.

Mixing of Fresco there has been that

liirie

slacked in

The glne

—

'I'ake

dissolved a (luautity

wet

This

state.

employed

them

dissolve

( 'olorti.

has heeii pertertly

will

and

form

di-y colors

whisky and add

water

which

and add

of glue,

Imrnt,

to gi\c adhesion

Next, take

colors in place.

when

fl'urple Ochre, Gold Purple,

Indian Ink. Lamp Black, Ivory Black, Frankfort Black, Graphite, Mineral Black, Black Chalk.

long

ke})t

white v ash.

and

to hold the

or pigments and

to the

white wash,

Fresco paints ready pref'oi* use. bought of wholesale dealers. They

the\ are read}'

pared can now are sold dry,

V)e

and only

Tools [Twd by

th<^

re(piire the additicm of water.

Fre-'<('n

Painter,-— 'X\\k^ tools used

by the fresco paintei' consist of

and

"Hat,

also

o.x

and are sold in assorted

hair riggers,

The

from

sizes

mnnbering from

hair stripers of all sizes.

pencils,

V)ristle

to 6,

round to

24;

and ox

painter should see that

his })encils, after using, are well

washed out with water,

ORXAMENTAL as lime, wliich tonus

General artist,

ba.se

tlie

very injurious to hair, and soon destroy

PAINTING.

fresco colors,

all

left

the

would

})eneil

it.

l7istrycfi<)ii^.--"Yo heeonie

an ex})ert fresco

the painter should understand the generaJ prin-

and striping and above all a thorough knowledge of light and shade. Also the general ciples of scrolling

;

rules of perspectixe.

must

l)e

In }>erspective, the point of sight of the supposed picture.

the center

lines |)arallel to

All

an imaginaiy line drawn from the eye

of the observer to the point of sight, must terminate or

The

vanish at that point. fore rise or descend

consequently with

line of horizon

there-

the position of the eye, and

\\'\i\\

j)oint

tlie

must

The

of sight.

l)ase,

ground line of the ])icture, iui(\ all others parallel with All obit must be j)arallel with the line ci horizon. jects a})pear to diminish in proportion to their distance

from the eye of the

Thus, columns,

ol)server.

trees,

posts, etc., of etjual height,

wW\ appear

they recede from the eye.

Lights are those parts of a

subject which are illuminated, or which

to diminish as

lie

open to the

lu-

minary by which the subject is supposed to be enlightened, and in this sense lights are opposed to shadows. There are various kinds of lights general lights, as the :

air

;

fire.

particular lights, as the sun, a lamp, a candle, or a

Different

lights

have different

painting a picture, occasion a different

almost every part. never be

one

Two

an<l the

effects,

and

management

lights of equal strength

same

[)icture,

must

but a larger and

OUXAMENTAL PAINTING. a lesser,

the lartrerto strike forcibly on the middle, ex-

teudino;

its

greater clearness on those parts of the de-

sign where the priucijde tigui'es of

gradnall y as

Shadow

der.

diminishing

are,

plan where the light

weakened by

the interposition of some solid body before

perpendicidar to the horizon, and the place jected on

liorizontal,

})e

the

shadow

Innii-

ings, monntains, etc. allel to

If tlie solid

the horizon, the shadow

ow, as the arms of a

NoTK.â&#x20AC;&#x201D; -For

man

body

be pro-

called a riglit

shadow, snch are the sha<h>wsof men, posts,

article

tlie

If the solid body, that projects the shadow,

nary.

ap])roaches neai'er and nearer to the bor-

trees, bnild-

jdaced

l)e

})ar-

called a versed shad-

ontstretched, etc.

the laws on prt)jection of shadows see

on cast shadows in sign-writing.

ITFM^ FOK THP: PAINTEK. J^ai//fi/i^/.â&#x20AC;&#x201D; Vn\ntu\<j;

both a

and

[)reservati\('

beantifier.

Mercni'}

produces

vermilion,

Venetian

red.

Mars

orange, and yellow aiul Indian red are the [trodncts of iron.

In order to [)revent scratching the })anel when making guide lines to stripe by the ])ainter should use a pair of compasses

Metal cups

made from wood. used for common

may be

vermilion, carndne, tine gi'eens, lakes, ai'e

colors,

<tc.,

but for

earthen cups

the best, as thev can readily be cleaned

ORNAMENTAL PAINtlNG-

A good reader Tliat

the

is,

amonnt of

make

will geiierall}'

depends very nT'.erest

there

good workman, is read and

on jnst what

miicli is

matter tonehing on one's own

taken

V)nsiness.

the I'eading of

This

espee-

ially a(hipted to the oi'namental painter.

False

economy

the paint sliop

wliert^

the paintei'

work with ])oor tools and cheap stock. The painter who rnns a shop on the cheap plan turns ont work that is of l:)ut little credit, and gener^

attem])ts to do good

Poor tools and mahand with good work.

ally has his trouble for his j)ains. terial

never yet went hand

(irold

hnished

leaf

superior to colors in

scroll.

hnely sha<led, has

produce showy ornaments; hut gold a richness that is

Drairing Paper. l)est.

"Demy,"

])roducing a tineh^

Colors and their hues, or even neutral

tints well assorted,

the

peculiai'ly its

— A^'hatman's papers are considered

Tliey are distinguished

"Super

own.

Koyal,''

1)\'

"Imperial,'"

the names

"Double

—

F^le-

pliant," "Anticpiar."

The painter should not rely too much on the judgment of othel's, Init should be original and have some ideas of his own, in case he

was

left

to try

his

liand

some time unexpectedly. Red is complementary to gVeelJ, and ):U'e rer.sa; orange to blue; greenish yellow to violet, and indigo to orange yellow. Carmine, the richest of the red colors, was discovered

by •a

a Franciscan

Monk,

at Pisa, while

medicine from cochineal and

salt

he was preparing

of Tartar.

ORNAMENTAL

7,2

Tile hest si'i'ounds tor

2:o](l

PAInTING.

to sliow

ofl^"

dark

well are

blue, vennilioii aiul lake.

yynfs.

— Tlie tones of a added to the

tion of white, S/nifleK.

produced

—-The

normal

))y

by the

a(hli-

color.

series of graduations of a

tVoni its greatest intensity,

the addi-

iioriual color.

— The tones of a color produced

tion of black to the

ToneH.

color

weakened

1)Y

pure color

the a<ldition

of white, or deepened by the a<ldition of l>lack.

USEFUL

KECrP:rPTS

FOR THE PAINTER.

To Clean. J^icfiiviy.—Vnt into two (piarts of strong quarter of a pound of castile soap scra])ed fine< with a pint of spirits of wine; let them simmer on a tire lye, a

an hour, then strain through a cloth; with a brush to the picture, wipe it off with a and apj)l} a second time, which will remove then with a little linseed oil warmed, rub the for half

and

let it dry.

This will make

Savin (J OrnitnientH.

a])ply

sponge, the dirt; picture,

look as well as new.

— Sometimes

i-e-painting old

work, the painter wishes to preserve the ornament. (\(^

this he should giN'e

such as glue, isinglass,

a coat of

l)all

licorice

some kind of

To size,

and water, or the

white of an ^^^. The painting then proceeds, })aying no regard to the oi'nament until theHrst coat of \arnish is

ready to rub.

In rubbing, the varnish shotdd be cut

through over the ornament Oil Paint

— To

Bfduce

until

it is

irifh

exposed.

Water.

— Take

gum

'Oll.NAMKN

shellac

a kettle

when

sal

It),

and

cool,

soda

tf»,

stirring

lx)il,

PA'lNTlNiG.

Al.

water H

])iiits;

until all

can be bottled tor

put

all into

dissolved;

Mi.x

iise^

5;^

tliis^

up two quarts

of oil paint as usual^— except no turpentine

—any color

of the gunj

tliick,

and

Xow

desired.

shellac mixture

with

may be

the

put one oil

paint

water to

with

reduced

])iut

when

used

l)e

}>ecomes

working

I'onsistency.

Another solve in •slowly

Mei/KHj/.-^-V'dkki soft water,

H ounces of j)earJ ash; bring

add

shellac.

When

lt>.

cold,

and

(lis-

to a boil,

and

ready to

a<ld

gal.,

it is

to oil paint, in equal portions.

BlacJi/xHtrd Paint.

ounce

iine rotten stone,

ounces

pumice

stone,

lampblack: mix the

together, wet a j)ortion at a time

last three ingredients

and alcohol, and grind as possible with a pallet knife, after which pour

with a line

pint of shellac dissolved

ground

ounces

alcohol,

— One

little

of the shellac

as in

the renuiinder of the alcohol, stirring often to prevent

One

settling.

pint

will

fjU'uish

two

coats

forty

for

square feet of black))oard not previously painted. oil sliouh]

be used.

Fhr-proof into a tub,

steam. •sieve, •salt,

I'diiit.

— Slack

stone-lime b\

j)uttijig

which should be covered, to keep slacked, pass the powder through a

When

and to each

and water

gallons of

this,

six (juarts of gal.;

add

(piart of

then boil and skim clean. tt»

pidverized alum,

11)

the

line

rock 'J'o

."^

[)\d\er-

ized cop})eras, and slowly add j)()W(^ered potasli,

lt>: ;i

OKNAMKNTAI,

then hard-wood

ashee^,

added

tliis.

lt>s.

rAiX'i'lNG.-

Any

makes wocxl

brick impervious to water, and Water-j)r(j(>f

India rubber in intf.

If this

thill,

use

(

—

^^Dissolve

of Ituiled linseed

<>a.llon

too thick, reduce with

more rubber.

This

l)e

as durable as slate.

^ll-Rnhhtv Paint.

desired color can

incoiiihustible, reiulens

oil,

Vxuled

oil;

]t)s

ii'

boil-

too

valuable for painting

cloth. Fi'oxfiiKj (rla^x.

plied with a

— Sugai* of

brush,

wad of cotton.

then

lead iri'ound

])onnced

wliile

wet,

oil,

ap-

with

HON( )RABLE MENTION,

Too

imicli

g'oods

cannot be said

Xew YoTk vorably

Tlieir eoaeli

City.

known

praise

tiie

by John W. Masury

nianutHCtni-ed

painters'

tlirongliout the

valuable

Son, of

colors are fa-

whole country, and are

to-day the I'ecognized standard colors of the world. the varnishes manufactured by them, we for brilliancy^

ea^nj irorhimj pr()perti(^i<

will say that

and

(Jin-(fhilifij

they are surpassed by none. Their Black I\ubl)ing has varnish,

elates i'ubV>ing

largest panels.

the cpuilities of a

lii'st

and can be flowed safely overtlie

It co\ ers

thereby diminishing

all

tlie

solidly over one coat of black,

hibor and ex[)ense of painting

a carriage.

They ers'

are also extensive manufactureis of house-paint-

materials, which for (juality

and durability can

safe-

be relied on.

In mentioning these goods we speak from experience, having used them successfully for nuiny years, and as yet liave the

first

cause for complaint.

Their advertisement this

vdll

be found in another part of

book, and we would urge

all

painters

})rocure tirst-class material to send to descriptiN'e circulars

and

pi'ice lists.

them

who

\nsh to

for catalogues,

oKXA:sri-:NTAr. rArxrixcv,

ALPHAlUrrS OF LETTERS USED RY THE SIGN-WRITER.

,%c g^^-

^-. K:

.UJw,^5^

f^^

tf^'S)

.^ ^fp Mi=^e>2l

^giiS^

il^"

st^' V£.>-.^@

jp a!Mi^

fewS'-;''

w '.^:_^!^-.L^;

•S

HaI

7^:-. ^4iM& V£jf^

2^' 'Hi V£i-''i^

(55^«. S^3?S)

i_ '(?.i„-!i'

(i t§

^mm lmS lm^3 mM)

iM^M '3!^

©i^

4BiilFi IIJII. 'i^« r/

jp!

H»

DRNAMENTAI. PAtNTlNG-

ALPHABETS OF LETTERS

tJSED

BY THE SIGN-WRITER.

"'"ffT/1

\l.

yj'

.''

-I

./////^

/ ^ <S'

/ .3

6> '

OKNAMENTAL PAINTING.

90S-,;:-?i

ABCD.EFG'HiJE.

LMNOPQUST VWXYZ&aTDcd efg'h.ijklmnopq.

4567890., ;.?!$£

ORNAMENTAL

ABCD

PAINTING.

EFG

KLMNO PO R 5 T U V W X Y Z

6 a b c d e f g hi klmnopqrstu

vwxyz

2345

67890.,;:-!?$

ornamental

paintiStg,

JOHN W.MANSIJRY& SON, NEW YORK AND

CHICAGO,

MANUFACTURERS OV

Siii)erfine

Paints and Colors, -AND-

Fine Varnishes for Coach

Railway Work.

THE MASURY COACH COLORS

Are

STANDARIJ CJOODS, makers

and are pronounced by

THK BEST

£lie

largest

roach and carriage'

THE WORLD.

MASURY'S VARNISHES have no epuah

36 91

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• • »

'Trw

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«•-

HECKMAN BINDERY INC.

90 €|.W DEC MANCHESTER, ^

INDIANA 46962

.HO*.

^^..

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