Kensington art work probably, at the present time, is attracting more
attention than the other methods of painting on silk and velvet.
Kensington embroidery had its day, and while it has not altogether
passed out of use, it is nevertheless, like many other methods of art
needle-work, being improved upon, and for the old method of doing the
work with the thread, paint is being substituted, which far exceeds the
more ancient work in splendor and simplicity. The great progress lately
made in this accomplishment, the amount of mechanical and artistical
power, far excels whatever else has formerly been called into use.
Notwithstanding all this, however, the art has not reached that wide
state of perfection which, from the exquisite effects, it is capable of
producing.
Kensington painting, in general appearance, resembles Kensington
embroidery, and as the latter seemed to pass away, the former caught up
the name, the idea being to produce with paint and brush upon cloth, a
_fac simile_ of the raised work of embroidery, to answer a demand of
artists in oil for something new.
=Materials Used.= For doing the work procure the following materials:
The best probably for the purpose would be a brass pen, one that is very
elastic; a goose quill would answer the purpose. Next is a round piece
of steel, or needle, such as is used by milliners, and set in a handle
if you wish. Three sable brushes, Nos. 3, 5, and 7. Cut from brush No. 3
_all_ the bristles, leaving nothing but the abrupt square end of the
metal holder; from No. 7 cut away nearly two-thirds of the hair, leaving
it with a round end, and you have the required tools.
Now arrange the velvet upon which the painting is to be laid, by
stretching it upon pasteboard, and fasten with thumb tacks, so as it may
be kept in place for working upon: after this is done, stamp upon it the
pattern you wish to have painted. This can better be executed at a place
where stamping for embroidery and other work is generally done, and
where designs can be found from which you can select just the pattern
you wish.
If you have a picture you would like to paint, that is not perforated,
you may make a transfer of it to velvet by pricking through with a fine
needle, following carefully and completely the full outlines of the copy
before you, after this is done, and before the picture is moved, press
through the now perforated pattern white powder, with a soft pad, which
will show up the outlines of what you seek, on the velvet beneath, or
you can use the transfer process given on page 28. It is now ready to
receive the painting.
=The Colors used= are Winsor & Newton’s oil colors in tubes, and the
opaque mixture for thinning. Flake white, rose madder, cerulean blue,
vermilion, chrome green Nos. 1 and 2, burnt sienna, orange chrome,
emerald green, mauve lake. For Poppies use Chinese vermilion, a little
chrome yellow and green for the centers; for Pansies use mauve lake,
with green and yellow for the center; for Daisies (white) with yellow
centers, use flake white, with chrome yellow for the center;
Forget-me-nots, use light blue, by mixing white with permanent blue, dot
the centers with yellow; for leaves, use green, with a little Naples
yellow and Chinese vermilion for autumn leaves; for stems of flowers,
use green, and green heightened with white for grasses, and where the
leaves require it; for Wild Rose, use rose madder and white, apply same
as in poppy.
=Applying the Colors.= After the piece has been fastened to the board,
and the flower is stamped thereon, you may begin the painting. Take
first a Forget-me-not. Commence with pencil No. 3. Take upon the brush
all it will hold of cerulean blue, mixed with white lake, lay this upon
the point which you are to place the flower, and with the brush press it
out by rolling the brush from the center to the outline of the petal of
the flower, in such quantities as to show a rolled edge, (resembling the
embroidery), leaving the center with but little of the paint. With the
same brush, or point of the pen, (after cleaning with naphtha), touch
the center with a small particle of chrome yellow, (about the size of a
pin head). Now, with the needle, lay on the stems, using green. In doing
this, cover the whole of the needle with the color, and lay on the
velvet full length, drawing it over the outline, and rolling in the
fingers as you move it. This is also used in making flat grasses and
leaves. In painting the daisy a pen is used. Place the paint first upon
a palette knife, and then take it off from the knife with the pen, which
will be found much more convenient, being particular to get the point
full of the color by laying the pen sideways when taking it up, (using
flake white), press to the outside of the flower, and by bearing heavy
enough you will find it carries the color to the outline of the petal in
rolls, leaving the center almost void of color. The instrument used for
this should be very elastic, and one not easily broken by bending. After
you have gone over each petal, dot the center, by using No. 3 brush,
with chrome yellow and burnt sienna, mixed, using enough of the color to
fit the space of pistil.
In painting the Poppy, use No. 7 brush for outside petals, and No. 5 for
inside, or smaller ones. Press as before directed upon the brush, and
turning it at the same time toward the outline, pressing the paint to
the margin of the petal, and leaving it there in a roll, with the center
of the petal as before mentioned. This being done, take brush No. 3, and
with chrome yellow place in the pistil and stamens (commonly called the
“heart”). For other flowers, follow instructions as previously laid
down.
The outlines of flowers are made with brush No. 3, and the pen. The
needle is again employed for drawing in the veins, using for this light
green, and apply as heretofore directed, by covering with the color, and
draw full length over the outlines endwise.
In making autumn leaves, take No. 5 brush, using for this vermilion,
chrome yellow and burnt sienna, and sometimes a little green. For
durability, this painting will compare favorably with any other method.
* * * * *
N. B.—When the opaque mixture is used no previous preparation or coating
of any kind is necessary. The colors will not spread, run or stain silk
or velvet of the most delicate shade or tint, beyond the outline.
Use the opaque mixer, to thin the paint to its proper consistency before
applying, using no oils, turpentine, or dryer of any kind with the
mixer, as it is of itself a sufficient dryer.
If your silk or material painted shows a dampness beyond the line of
color, let it remain until the color dries, and it will all evaporate
dry, leaving no stain whatever on the material, placing the paint
beautifully in rolls, to imitate what it is intended to, Kensington
embroidery.
[Illustration]
ARRASENE
AND RIBBON EMBROIDERY.
[Illustration]
Ladies are turning away from the more laborious kinds of work, and
seeking that which is artistic, useful, and beautiful. Many who have
heretofore sat idle, are making their leisure hours pleasant, and their
homes resplendent by aid of decorative art. Housekeeping may be classed
among those necessities which, to many, is a “life-long torment,” for
which there is hardly a remedy, although there are those who find charms
therein; they at the same time are almost lost amid the vast multitude
of ordinary indifferent ones. However, nearly all are kept mindful of
the purity of the art of home decoration, and are showing sufficient
interest to do something for its elevation.
Arrasene embroidery is comparatively new, yet its beauty has so
fascinated the women of taste that teachers of the art are sought after
everywhere, and their scarcity has caused the publication of the
following instructions.
There is a wool called wool arrasene, and a silk called silk arrasene;
the arrasene embroidery is simply the working of these in tufts, to form
flowers and other ornaments, such as mottoes, cushions, etc. An owl
worked in grey arrasene is beautiful. Inasmuch as the working of flowers
seem to better satisfy the taste of arrasene art workers, I will give
the instruction.
=How to Make a Wild Rose.= For this you will need two shades of satin or
velvet—either are very pretty. Have the pattern stamped or drawn on
whatever you wish to embroider, plush, felt, satin, or other goods; cut
the satin in shape of the petal of the flower, and be sure to have them
long enough to turn in the edges. Now blindstitch it on the pattern,
being careful to leave fullness enough to form folds in the petals,
gathering them at the center, using the French knot, or seed stitch, and
embroidery silk, yellow and brown for roses. For double rose, cut more
pieces for petals, and lay one over the other. For daisies, use narrow
white ribbon, plaiting the ribbon in the center, filling in with the
French knot stitch, using two shades of yellow and brown.
In making a forget-me-not, use very narrow blue ribbon, for the centers
one knot stitch of yellow and one of red. For green leaves and stems,
and the green around the rose, (calyx), use arrasene wool or silk, or a
part of each. It is much handsomer to use the silk for high lights; for
stems of roses use reddish brown.
Many flowers can be very effectively represented by the ribbon
embroidery, such as dogwoods, sunflowers, pansies, and other varieties.
PORTRAITURE
IN
BLACK CRAYON.
[Illustration]
Crayon portraiture, to one who knows nothing of the method, seems not
only very difficult, but almost unattainable, except after long years of
study and practice. Even then many suppose artists are born, not made.
The writer of this article has been employed in teaching the art for
several years, and could refer to many pupils who, after comparatively
few lessons, were able to execute finished portraits of real merit. Any
one who can learn to write can learn to draw, but a special method is
necessary to enable pupils to work intelligently. Most other branches of
art have been elaborately treated by able pens, but crayon drawing as a
study, has been hitherto neglected. A careful preparation of written
instructions cannot fail to enable one with ordinary ability and taste
to master this most beautiful art. One of the first requisites for
successful work, is to have proper material, and of the best quality.
PAPER. The best and only paper that should be used is Whatman’s
imperial, or double elephant. It should never be used by tacking to a
drawing board, but must be mounted on a stretcher. All Art Stores have a
ready supply of these, but for the sake of economy they can be made in
the following manner. Take a pine frame 20 × 24, or any desired size,
lay a sheet of Whatman’s paper upon a table, face side down, dampen it
with a sponge over the entire surface: lay the frame upon it, and trim
the edges of the paper with a knife, about one inch larger than the
frame. Cut out the corners, then with a small brush put a little flour
paste upon the paper beyond the frame, and also upon the edges of the
frame; turn this paper up on to the edges of the frame, drawing it a
little with the fingers to take out the larger wrinkles, and make it
adhere firmly. Put away in a cool room, to allow the paper to dry, and a
stretcher is ready for use. Do not moisten the paper on the side upon
which the drawing is to be made, as this would occasion spots, which
would spoil the work.
In selecting materials, buy the small paper stomps, which come in
packages of a dozen or more; one soft rolled chamois stomp; (avoid the
hard stiff ones); a stick of square Conte crayon No. 3, a piece of Conte
rubber, which can be sharpened with a knife when it becomes too blunt, a
few sticks of the round glossy Conte crayons, a crayon holder, and a few
sticks of soft charcoal. Take a small block of wood, about 3×5 inches,
paste a piece of fine sand paper carefully over one or both sides, and
let it dry. This block is useful to sharpen and clean the rubber and
paper stomps. Upon another block of the same size, or a little larger,
paste a piece of Whatman’s paper, smoothing it down carefully, allowing
this to dry thoroughly. Take the stick of No. 3 square crayon, rub it
over this block hard, to make the pulverized crayon to be used with
stomps, or use a fine file, and allow the crayon thus pulverized to fall
upon the block. Keep this free from dust when not in use. These are all
the materials necessary to execute a crayon portrait.
The next step will be to make the enlargement of the photograph from
which a copy is to be made, providing a solar print is not used. There
are several ways of doing this. The best method is to have a good
pentagraph, unless one is able to draw the outline enlargement free
hand. In either or all cases make the outline upon a piece of manilla
wrapping paper, cut the size of the stretcher intended. When this
enlargement is made, thoroughly blacken the back with a piece of
charcoal by laying the paper upon a smooth drawing board or table; turn
it over and lay it upon the stretcher, being careful to place it so the
drawing will be in the center of the stretcher, securing it with tacks
or pins at the corners, in order that it may not slip. With a stylus, or
hard lead pencil, trace over all these outlines again, being careful to
follow them accurately, omitting none. Remove the paper with care, and a
definite outline of the picture will be seen upon the stretcher. This
will rub off with the slightest touch, therefore take one of the paper
stomps, rub it on the block of pulverized crayon, holding it in the hand
as a pencil, trace lightly over these outlines in order to prevent
losing them while at work upon the picture. Be careful, however, to do
this very lightly, if not, the lines will show when the picture is
finished, and spoil the effect of the work.
The first step to be taken is to put the crayon on the darkest part of
the features. Rub the paper stomp on the block of pulverized crayon very
hard, turning it around between the fingers in order to get the crayon
on the whole surface of the point and tapering end. Apply this lightly
but firmly, and with a broad stroke to the lines or lids above the eyes,
the nostrils, the line through the center of the mouth, the dark shades
in the ears and the eyebrows, following the outlines already upon the
stretcher. Put in the pupils of the eyes very black and heavy. The stomp
has now cleaned itself somewhat. Next darken the iris of the eye, put on
the shadows under the eye, the curves of the nose from the eyebrows to
the end, and the curves around the nostrils. Next the upper lip, tinting
it lightly. Now define the outlines of the cheeks, working in light
strokes inward, and hatching them, or crossing the strokes at an acute
angle (never at right angles). Work for the expression, and hold it.
Having gone thus far the stomp will be quite free of color. The blending
process comes next in order. Work slightly upward from the lines around
the eyes, borrowing from the color already there for the shadows
desired. The same from all the features above mentioned, watching the
photograph closely and leaving off such shadows gradually.
Tint all the darker shades on the entire face in the same manner, not as
dark at first as they will be required. Leave all the strong high lights
perfectly white until the picture is nearly finished. In putting on
these shadows the hatching process will be found the most effective,
not, however, by making strong lines, but simply have the strokes of the
stomp made in such direction, very soft and indistinct. If any large
white spots seem to remain, thus destroying the evenness of the tone,
touch them over lightly until the tone resembles in quality a wash with
India ink or water color, gradually growing lighter and lighter until
lost in the high lights and half tones. The beauty of the finished
portrait will depend very largely upon this blending, as there must be
no abrupt ending to any shadow. Leave the face for the present, and take
the chamois stomp, rubbing it on the block of crayon until the end is
thoroughly covered. Lay it very flat and lightly on the parts of the
hair which are the darkest, commencing at the deepest part of such
shades, and ending toward the high light. Leave these high lights as in
the face perfectly white for the present.
Try and follow the direction in which the hair is combed, but mass it.
No attempt should be made to show individual hairs. It is simply light
and shade in masses. Next take the clear end of the chamois stomp,
borrow from the darker shades to tint the high lights, making broad
strokes. If this makes them too dark, lighten with the rubber. All
rubber strokes in the hair should also be broad, not fine lines. The
drapery comes next in order. A black silk dress or a broadcloth coat
should be worked in the same manner. With the chamois stomp put in the
darker places in the drapery first, following the same general rule of
hatching only in broad strokes, not lines. Tint the higher lights in the
drapery with the clean end of the same stomp, borrowing from the darker
places as before. The same rule should be observed in ending the drapery
as in the shadows of the face—let it become lighter and lighter, until
lost entirely.
Note carefully the collar and shirt front. Generally there will be seen
light shadows upon them. If so, tint lightly with a clean stomp,
borrowing the color necessary from the drapery, not from the block.
If the drapery now appears spotty it must be cleaned up in the following
manner. Fill up the lighter places with the paper stomp, rubbing lightly
in different directions, while the spots that are too dark can be
cleaned off with the rubber in light strokes. In this manner the drapery
can be worked up very smoothly, and free from spots. The background
should be worked up in the same manner as the drapery, only not as dark.
Do not put a background around the entire head, only from the shoulders
up about half the distance to the forehead. If the subject is a lady,
and lace work is desired, make this with the paper stomp. Do not work
for details, but in an indistinct manner, following the original design
somewhat, but in soft strokes, taking out the high light with the
rubber, if necessary. The drapery, background and hair are now supposed
to be finished, the above directions having been followed carefully.
The finishing of the features must now be attended to. With a paper
stomp, not too black, strengthen all the darkest shades in the face,
borrowing color again, working the shades off upon the high lights,
preserving the half tones and reflected lights. Unless the high lights
are very strong in the original, tint them over slightly with a stomp
fairly clean. It is hardly necessary to say the subject, or original
photograph, must be studied very carefully. If this is done, and the
outlines accurately made, a perfect likeness will be the result.
If the pupils of the eyes, or any very deep shadow, need a little
strengthening, it can be done with the round Conte crayon, sharpened to
a very fine point, and hatched lightly over such shadows.
The finishing touches must be made by using a clean paper stomp, going
over the entire picture, a little beyond all the outlines, to soften
them, thus producing a soft and natural effect. Last of all, take out
the catch light in the eyes, with a sharp pointed knife, scratching it
slightly until it is of the desired shape.
In closing these instructions, the writer wishes to impress upon the
pupil or reader the necessity of working at all times, and upon all
parts of the picture, _very lightly_, if not, a muddy effect will be the
result. The hatching should be tolerably open, but not too much so. This
produces the effect of transparency, which is very desirable.
If the above instructions are carefully studied, and patient labor put
forth, any one may reasonably expect to obtain excellence in
representing life-like and natural portraits.