From all the different styles of modern painting, we select this as the
most admired, and seemingly the most sought after by ladies of taste,
fashion, or wealth; for nothing will aid more in beautifying the dress
than a beautiful flower or butterfly painted upon the little satin or
silk scarf which surrounds the neck, the collar or cuffs; your monogram
on one corner the pocket handkerchief, or any other portion of the dress
desired by the lady artist and lady of taste.
=Transferring.= First get the outlines of the picture you wish to paint,
by use of transfer paper, or in the following manner: Lay the picture
upon the silk to receive the painting, and with a needle-point prick
through the picture, following closely the outlines, until you have
passed over the whole, holding it to its place with one hand—with the
other rub over the perforated part a black powder or fine crayon. For
this purpose use a piece of velvet, rubbing it sufficiently to pass the
powder through the holes. On raising the picture you have the outlines
of it left on the silk, which is now ready to receive the paints. This
method is merely given to aid the beginner in getting started; those
more familiar with painting can commence at once upon the silk, without
the aid of transferring.
=The Painting.= Stretch your silk upon a board, and lay the board flat.
After you have the outlines, proceed with fine pointed brush, the same
as other fine painting. Do not place a brush full of paint upon the work
at once, but use paint lightly at first, otherwise it may crack and harm
the picture.
In painting on velvet, with oil, place such colors as are intended to be
used, on blotting paper for a couple of days, until the paper absorbs
the oil. This will leave the colors in better condition for this kind of
work. Use colors lightly—a great deal of stippling is needed. For raised
work, or what is sometimes called Kensington painting, use sugar of
lead, with the colors as a medium.
* * * * *
N. B. Use for this painting the _English Oil Colors_, and mix with gold
size or opaque mixture.
After the work is completed, if it looks dull, you can bring it out
again by using the sicatif gently upon the surface.
[Illustration]
STAINING WOOD
AND IVORY.
[Illustration]
YELLOW. Diluted nitric acid will produce a fine yellow on wood;
sometimes it makes a brown, and if used strong, it will be nearly black.
MAHOGANY COLOR Is produced by a mixture of madder, Brazil wood, and
logwood, dissolved in water and put on hot. The proportions must be
varied, according to the tint required.
BLACK. Brush the wood several times over with a hot decoction of
logwood, and then with an iron lacquer; or, if this cannot be had, a
strong solution of nut-galls.
RED can be made by a solution of dragon’s blood in spirits of wine. This
stain is to be laid on the wood boiling hot, and before it dries it
should be laid over with alum water.
BLUE. Ivory may be stained blue thus: Soak the ivory in a solution of
verdigris and nitric acid, which will make it green, then dip it into a
solution of pearlash boiling hot, and it will turn blue.
To stain ivory, black, the same process as for wood may be employed.
Purple may be produced by soaking the ivory in a solution of
sal-ammoniac and four times its weight of nitrous acid.
TO PRODUCE A CRYSTALLINE SURFACE
_ON PAPER, WOOD AND GLASS_.
[Illustration]
A concentrated solution of salt, acetate of soda, Epsom salt, etc.,
mixed with Dextrine in the cold, and laid on thinly as possible, with a
broad, soft brush, and allowed to dry. The paper must be sized first,
otherwise the formation of crystals will be irregular, on account of the
absorption of the liquid. The coating on glass is rendered adhesive by
brushing it with a solution of shellac in alcohol.
Colored glass arranged in this way makes a pretty transparency.
A beautiful adhesive coating of pearly lustre upon paper produces a very
handsome card.
[Illustration]
[Illustration: “Out of Art Culture grows Refinement.”]