This chapter is intended for those who have never had any experience whatever in the use of colors, and is therefore devoted to the simplest elementary instruction. The first things to be learned are the names and properties of the different colors and their combinations. The three primary colors are blue, red, and yellow. Blue and yellow mixed together make green, while blue and red together make purple.
It is excellent practice for the beginner to make combinations of the different colors on his box, so as to find out how to use them. For example: take a piece of academy board, and mark it off into squares, measuring two inches each way, ruling the lines evenly with a lead-pencil or pen and ink. Begin with the crude colors, taking antwerp blue, light cadmium, and white. See how many different shades of green can be produced with these colors, filling one square with each shade. Next, combine madder lake, cobalt blue, and white, and see how many shades of purple and violet can be made. A little practice of this kind with the different colors will soon familiarize the student with their general properties, but this is only the first step. These combinations of color, though brilliant and pretty, are perfectly crude, and will appear to lack something, even to the untrained eye. That something is what is known to artists as "quality," and expresses exactly the difference between the work of those who under- stand the use of colors and those who do not.
This "quality" is obtained by mixing other qualifying colors with the crude combinations already mentioned. For example: the greens used by artists in representing trees, foliage, or other natural objects, are not made simply with blue and yellow, but by combining other colors with these until the desired tone is reached. To practice such combinations, rule the squares as before, devoting one square to each tone, and mix antwerp blue, light cadmium, and white ; then add vermilion and ivory black to the crude color. The greens will instantly soften and change their character, losing their hard, crude, raw effects. In this way the colors are mixed for painting. By substituting softer blues or richer reds still different shades of green are produced, but one thing must always be remembered, that no color is ever used entirely alone, but is always combined with others, which have a qualifying effect.
A little ivory black may safely be used with every thing, and white is almost always necessary, even though sometimes in very small quantities. Experiments in this way may be made with all the colors in the box, adding a little ivory black and white in all cases, and also any other colors which may sug- gest themselves. A very good way of learning how to combine colors readily is to take different pieces of plain stuff, such as cashmere, flannel, chintz, and putting it beside the easel, endeavor to copy exactly the shade of the cloth, mixing the different colors together until the right tone is obtained.
Friday, September 9, 2011
Setting the palette
To "set the palette," means to take out the colors needed for the day's work and arrange them in convenient form and regular order upon the palette.
This should always be done before painting, as a well-set palette is of great assistance in mixing tones and keeping the colors clean. Begin with the upper right hand corner and put out the white first, squeezing from the tube what seems sufficient for the day. Next in the following order conies yellow-ochre, light-red, vermilion, madder-lake, cobalt, antwerp-blue, rawumber, burnt sienna, bone-brown, and ivory-black.
Place these colors almost an inch from the outer edge of the palette and leaving, say an inch and a quarter or more between each color. This is the regular palette for ordinary occasions. If any other colors are needed they are put just above or to one side of these in their proper places. For instance, in painting landscapes we shall need cadmium in addition to yellow-ochre; the cadmium is put directly over or under the yellow-ochre.
If terre verte and zinuber-green are needed, place them between the blues and the raw-umber. The regular palette is always kept ready for use. When the day's work is over, the mixed tones in the middle of the palette are wiped off with a rag, but the upper row of colors is left untouched and will keep quite fresh enough to work with the next day, adding fresh color to each little pile where needed, and if necessary, mixing a little oil with those left over.
Before beginning to paint, each day, the colors are prepared in the following manner:
A second row is placed on the palette beneath the first row of colors, and these are mixed with white. A little of each is taken up with the palette knife from the colors already put out. The color is placed about half an inch below the upper row, and a little white is loosely mixed with it, making a series of tones from light to dark ; for instance, a little yellowochre is taken out with the knife, and a little white is added, making a number of shades of yellow from pure ochre to white.
The vermilion is placed next to the yellowochre and mixed in the same way, forming different shades of pink. Next comes the light-red and white, then madder lake. After this place rawumber and white, letting cobalt and white come the other side so that in painting the reds and blues will not run together. The only two other colors thus arranged after cobalt, are bone-brown with white, and ivory-black with white. The object of thus preparing the colors is to facilitate the mixing of tones, as these suggestive tints are at hand ready to be used when needed, and must be used freely. Another advantage is that the upper row of colors are thus kept always clean, as they are only resorted to when the pure color is needed, and it is not necessary to mix one into the other, as might happen were it not for the tones prepared below. The diagram is given to explain exactly the manner of setting the palette and preparing the colors for work as above described.
This should always be done before painting, as a well-set palette is of great assistance in mixing tones and keeping the colors clean. Begin with the upper right hand corner and put out the white first, squeezing from the tube what seems sufficient for the day. Next in the following order conies yellow-ochre, light-red, vermilion, madder-lake, cobalt, antwerp-blue, rawumber, burnt sienna, bone-brown, and ivory-black.
Place these colors almost an inch from the outer edge of the palette and leaving, say an inch and a quarter or more between each color. This is the regular palette for ordinary occasions. If any other colors are needed they are put just above or to one side of these in their proper places. For instance, in painting landscapes we shall need cadmium in addition to yellow-ochre; the cadmium is put directly over or under the yellow-ochre.
If terre verte and zinuber-green are needed, place them between the blues and the raw-umber. The regular palette is always kept ready for use. When the day's work is over, the mixed tones in the middle of the palette are wiped off with a rag, but the upper row of colors is left untouched and will keep quite fresh enough to work with the next day, adding fresh color to each little pile where needed, and if necessary, mixing a little oil with those left over.
Before beginning to paint, each day, the colors are prepared in the following manner:
A second row is placed on the palette beneath the first row of colors, and these are mixed with white. A little of each is taken up with the palette knife from the colors already put out. The color is placed about half an inch below the upper row, and a little white is loosely mixed with it, making a series of tones from light to dark ; for instance, a little yellowochre is taken out with the knife, and a little white is added, making a number of shades of yellow from pure ochre to white.
The vermilion is placed next to the yellowochre and mixed in the same way, forming different shades of pink. Next comes the light-red and white, then madder lake. After this place rawumber and white, letting cobalt and white come the other side so that in painting the reds and blues will not run together. The only two other colors thus arranged after cobalt, are bone-brown with white, and ivory-black with white. The object of thus preparing the colors is to facilitate the mixing of tones, as these suggestive tints are at hand ready to be used when needed, and must be used freely. Another advantage is that the upper row of colors are thus kept always clean, as they are only resorted to when the pure color is needed, and it is not necessary to mix one into the other, as might happen were it not for the tones prepared below. The diagram is given to explain exactly the manner of setting the palette and preparing the colors for work as above described.
The studio light should be properly arranged before painting
Before beginning to work, it is of great importance that the light should be properly arranged. There should be no cross lights in the room, as the light must come from one direction only. As a rule, the north light is preferred, though some artists differ in regard to this. If there are several windows in the room, they should be curtained off on all sides but one.
The light also must fall from above, and if the window is a long one, the lower part should be shut off, so that its light begins about six feet above the floor. A great many artists use a sky-light, and it is well to have one if possible, as this method of illuminating is very picturesque in effect. The high side light, however, is better suited to portraits and ordinary work. If one can have both, so much the better, as one can be shut off with a curtain while the other is in use. The conventional rule while painting, is, that the light should fall over the left shoulder of the artist, coming from behind.
The light also must fall from above, and if the window is a long one, the lower part should be shut off, so that its light begins about six feet above the floor. A great many artists use a sky-light, and it is well to have one if possible, as this method of illuminating is very picturesque in effect. The high side light, however, is better suited to portraits and ordinary work. If one can have both, so much the better, as one can be shut off with a curtain while the other is in use. The conventional rule while painting, is, that the light should fall over the left shoulder of the artist, coming from behind.
There are several different varieties of canvas
There are several different varieties of canvas, both imported and domestic, in manufacture. The best which is brought to this country is Winsor & Newton's make. This comes in what is known as the single primed, the smooth finish, the twilled and the Roman canvas, which is of a very coarse, large texture.
For work of any importance the best canvas should always be used; what particular kind to select is a matter of taste, some artists preferring the twilled, some the smooth, and others the Roman canvas. A good canvas for any kind of painting, which is kept by all dealers, is Winsor & Newton's single primed English canvas. French and German canvases are also good; the canvas must always be of linen, as those prepared on cotton foundations, though apparently as good and much cheaper, will warp and shrink in time, cracking the paint and spoiling the picture.
Some artists prepare their canvases before using, by covering them all over with a tone of light warm gray paint, put on thickly. This is allowed to dry very hard, and is then scraped with a palette knife or scraper until the most prominent roughnesses have disappeared. Before beginning to paint over such a preparation, it must be well oiled out. Other materials used for painting upon are mill board, academy board, and wooden panels. For small, finely finished pictures mill boards are sometimes preferred to canvas. These come in all sizes, from 5x8, costing twenty-five cents, of English make, up to 18x24, at $1.75 each. The large sizes, however, are seldom used, canvas being preferable. The mill boards consist of strong, firm panels, prepared with a fine, smooth surface: they are almost if not quite as solid as wood, and do not warp.
Less expensive are the academy boards, which are of somewhat the same character, but thinner and less firm. These are useful for small sketches, decorated cards, illustrations, etc., but if used in large sizes will bend out of shape. Academy boards come in sheets of different sizes, from 6x9, at io cents each, English make, up to 18x24, costing 40 cents each. The large sheets are the most economical, as they can be cut into any size or shape desired. The German sketching canvas is very cheap, and sufficiently good for ordinary purposes, if economy is the object. If not, we should advise that the best be used under all circumstances. A wise artist never economizes by using cheap materials, as it is more expensive in the end. Always buy the best colors and the best canvas if possible.
For work of any importance the best canvas should always be used; what particular kind to select is a matter of taste, some artists preferring the twilled, some the smooth, and others the Roman canvas. A good canvas for any kind of painting, which is kept by all dealers, is Winsor & Newton's single primed English canvas. French and German canvases are also good; the canvas must always be of linen, as those prepared on cotton foundations, though apparently as good and much cheaper, will warp and shrink in time, cracking the paint and spoiling the picture.
Some artists prepare their canvases before using, by covering them all over with a tone of light warm gray paint, put on thickly. This is allowed to dry very hard, and is then scraped with a palette knife or scraper until the most prominent roughnesses have disappeared. Before beginning to paint over such a preparation, it must be well oiled out. Other materials used for painting upon are mill board, academy board, and wooden panels. For small, finely finished pictures mill boards are sometimes preferred to canvas. These come in all sizes, from 5x8, costing twenty-five cents, of English make, up to 18x24, at $1.75 each. The large sizes, however, are seldom used, canvas being preferable. The mill boards consist of strong, firm panels, prepared with a fine, smooth surface: they are almost if not quite as solid as wood, and do not warp.
Less expensive are the academy boards, which are of somewhat the same character, but thinner and less firm. These are useful for small sketches, decorated cards, illustrations, etc., but if used in large sizes will bend out of shape. Academy boards come in sheets of different sizes, from 6x9, at io cents each, English make, up to 18x24, costing 40 cents each. The large sheets are the most economical, as they can be cut into any size or shape desired. The German sketching canvas is very cheap, and sufficiently good for ordinary purposes, if economy is the object. If not, we should advise that the best be used under all circumstances. A wise artist never economizes by using cheap materials, as it is more expensive in the end. Always buy the best colors and the best canvas if possible.
The question of varnish is one that is much discussed among artists
The question of varnish is one that is much discussed among artists, and though many different kinds arc manufactured and each has its partisans, yet no entirely satisfactory permanent varnish has yet been introduced.
It is a well known fact that a picture newly painted should not be varnished with a permanent varnish until it has been painted at least a year. A temporary varnish therefore is put on to bringout the colors, which otherwise would have a dull and sunken appearance. The best temporary varnish known is the "Soehnee Frere's French Retouching Varnish," which is imported in small bottles ready for use, costing about 25 cents each.
This most excellent preparation is used by many artists in place of any permanent varnish, as when thickly put on, it will last a year or more and can be renewed quite frequently without injuring the picture.
Another valuable quality of this preparation is that it may be painted over or into without bad results, which with other varnishes is not the case.
The varnish is applied in the following manner:
The picture is laid flat upon the floor or a low table; a little varnish is poured out into a saucer and a large flat bristle brush is used.
As this varnish dries almost immediately it must be carefully put on, as it is not possible to go back and retouch the varnish until the whole is entirely dry.
The canvas must first be made perfectly clean by dusting, and is then wiped all over with a soft clean rag clipped in water and squeezed out. When the water is dry the bristle brush is dipped in the saucer and rapidly passed backward and forward over the canvas in long sweeps, beginning at the upper left hand corner and working downward. Look at the canvas against the light, holding it sidewise from time to time so as to be sure no spot is left uncovered; if so, pass the brush full of varnish imme- diately over the place, but do not attempt to go back and spread what is already there. If in varnishing a picture a sort of lather or froth appears, do not be intimidated, as it will disappear when dry.
Another most alarming appearance is when the whole surface of the picture becomes covered with a bluish opaque mist. This is sometimes the result of varnishing the picture before the water is quite dry. To one who is unfamiliar with the effects of varnish the picture appears hopelessly damaged. Time, however, is also the cure for this evil, as if the canvas is put in a dry, light place, and not disturbed, the opaque appearance will gradually fade away, though sometimes it may be a day or two before the paint is perfectly clear again.
It is a well known fact that a picture newly painted should not be varnished with a permanent varnish until it has been painted at least a year. A temporary varnish therefore is put on to bringout the colors, which otherwise would have a dull and sunken appearance. The best temporary varnish known is the "Soehnee Frere's French Retouching Varnish," which is imported in small bottles ready for use, costing about 25 cents each.
This most excellent preparation is used by many artists in place of any permanent varnish, as when thickly put on, it will last a year or more and can be renewed quite frequently without injuring the picture.
Another valuable quality of this preparation is that it may be painted over or into without bad results, which with other varnishes is not the case.
The varnish is applied in the following manner:
The picture is laid flat upon the floor or a low table; a little varnish is poured out into a saucer and a large flat bristle brush is used.
As this varnish dries almost immediately it must be carefully put on, as it is not possible to go back and retouch the varnish until the whole is entirely dry.
The canvas must first be made perfectly clean by dusting, and is then wiped all over with a soft clean rag clipped in water and squeezed out. When the water is dry the bristle brush is dipped in the saucer and rapidly passed backward and forward over the canvas in long sweeps, beginning at the upper left hand corner and working downward. Look at the canvas against the light, holding it sidewise from time to time so as to be sure no spot is left uncovered; if so, pass the brush full of varnish imme- diately over the place, but do not attempt to go back and spread what is already there. If in varnishing a picture a sort of lather or froth appears, do not be intimidated, as it will disappear when dry.
Another most alarming appearance is when the whole surface of the picture becomes covered with a bluish opaque mist. This is sometimes the result of varnishing the picture before the water is quite dry. To one who is unfamiliar with the effects of varnish the picture appears hopelessly damaged. Time, however, is also the cure for this evil, as if the canvas is put in a dry, light place, and not disturbed, the opaque appearance will gradually fade away, though sometimes it may be a day or two before the paint is perfectly clear again.
Siccative or Dryer is the name given to certain preparations which
There are a variety of oils manufactured for the use of artists: linseed oil, nut oil, pale and dark drying oil, poppy oil, etc. For ordinary use the most satisfactory is the poppy oil, which can be obtained from any dealer in artists' materials.
Siccative or Dryer is the name given to certain preparations which, when mixed with paints, cause them to dry quickly. There are a variety of such preparations, among which the best known are Winsor and Newton's drying oils, Megilp, Siccative de Harlem, and Siccative de Courtray. The drying oils are seldom employed now, while Megilp, a sort of jelly which comes in tubes, is almost entirely out of use among artists. Siccative de Harlem is still found in some of the older artists' color boxes, and is used in the proportion of one-half Siccative to one-half oil. The best of all, however, and that most generally in use among French and American artists is the "Siccatif de Courtray." This is a dark brown fluid imported in small square bottles, one of which will last a very long time if kept carefully corked.
The Siccatif de Courtray is used in the proportion of one drop to five of poppy oil. This is a safe allowance, as too much might cause the paint to crack from drying too rapidly. If using transparent colors, such as madder lake or rose madder, siccative should always be mixed with the oil: if one is painting on the same canvas every day, it is well to use the siccative also, but for a painting which is only taken up occasionally and has plenty of time to dry, it is not necessary to use any siccative, the oil in itself being sufficient.
Siccative or Dryer is the name given to certain preparations which, when mixed with paints, cause them to dry quickly. There are a variety of such preparations, among which the best known are Winsor and Newton's drying oils, Megilp, Siccative de Harlem, and Siccative de Courtray. The drying oils are seldom employed now, while Megilp, a sort of jelly which comes in tubes, is almost entirely out of use among artists. Siccative de Harlem is still found in some of the older artists' color boxes, and is used in the proportion of one-half Siccative to one-half oil. The best of all, however, and that most generally in use among French and American artists is the "Siccatif de Courtray." This is a dark brown fluid imported in small square bottles, one of which will last a very long time if kept carefully corked.
The Siccatif de Courtray is used in the proportion of one drop to five of poppy oil. This is a safe allowance, as too much might cause the paint to crack from drying too rapidly. If using transparent colors, such as madder lake or rose madder, siccative should always be mixed with the oil: if one is painting on the same canvas every day, it is well to use the siccative also, but for a painting which is only taken up occasionally and has plenty of time to dry, it is not necessary to use any siccative, the oil in itself being sufficient.
An artist have a good convenient box
To have a good convenient box in which to keep the colors and brushes is indispensable to an artist.
It is better that the box should not be too large and cumbersome, as for sketching out of doors a large, heavy box is inconvenient. A neat black japanned tin box, measuring 13x6 inches, and 2 inches deep, costs about $1.25. This, though small, will hold every thing necessary for a day's sketching. A folding square palette can be bought to fit into the this box, and which should be kept exclusively for sketching; as for home large oval palette is much better. A larger sized box which gives a little more room measuring 13x9 inches, and is 23x4 inches in dep. This costs $1.50, empty, and may be pre by some. Such boxes have places for colors, brushes, oils and turpentine bottles, and palettes.
Some clean soft cotton rags should always be kept in the box to wipe off the brushes from time to time when they become too full of paint; rags are also useful in a variety of other ways, and the want of them is sometimes a serious annoyance to the artist.
It is better that the box should not be too large and cumbersome, as for sketching out of doors a large, heavy box is inconvenient. A neat black japanned tin box, measuring 13x6 inches, and 2 inches deep, costs about $1.25. This, though small, will hold every thing necessary for a day's sketching. A folding square palette can be bought to fit into the this box, and which should be kept exclusively for sketching; as for home large oval palette is much better. A larger sized box which gives a little more room measuring 13x9 inches, and is 23x4 inches in dep. This costs $1.50, empty, and may be pre by some. Such boxes have places for colors, brushes, oils and turpentine bottles, and palettes.
Some clean soft cotton rags should always be kept in the box to wipe off the brushes from time to time when they become too full of paint; rags are also useful in a variety of other ways, and the want of them is sometimes a serious annoyance to the artist.
Subscribe to:
Posts (Atom)