Cut white writing paper in uniform size—eight in width by ten in
length. Have as many pieces of paper as the number of painters, also
several extra ones, as undoubtedly the butterfly makers would want to
try again and yet again. One palette would suffice for a large company,
for every one likes to watch the development of his neighbor’s work,
almost as much as he does his own. But, of course, more palettes may
be used if desired. Oil paints of divers colors must be placed on
the palette, having a larger amount of the yellow paint than of any
of the others, for not only are there more yellow butterflies, but
yellow often conspicuously appears in almost every butterfly. As many
palette-knives will be required as palettes. Brushes are not needed.
Put one butterfly on one piece of paper only. Fold the paper you use
exactly in half, creasing it the longest way, thus giving it the
appearance of an ordinary sheet of letter paper. This done, take the
palette-knife and on its point and edge gather a little of the paint,
putting the knife into the different portions, and so getting the
colors which you desire. It is better to allow the paint to extend
about half to two-thirds of an inch along the inside edge of the knife.
All the paint you would need would not more than cover a five-cent
nickel.
When the paint is on the palette-knife, open your sheet of paper, and
in the exact centre of the inside crease, put the paint. This is done
by putting the edge of the point of the knife directly in the crease,
and pressing downward, and also a trifle towards the right.
Be satisfied with whatever leaves the knife the first time. Do not
attempt to pick the paint off, or stick more on. Then carefully remove
all paint from the palette-knife. For this you will need a small piece
of soft cotton cloth. Where many people are at work several cloths
should be in readiness.
The palette-knife now being clean, fold the paper over in the crease
first made, being careful that you have folded it even, otherwise,
the wings of the butterfly would be out of proportion, one being
higher than the other. When the paper is folded you will distinctly
see the blotch inside, and in this press heavily with the end of the
palette-knife, starting at the crease and form an upward long arch,
then press again from the centre towards the right, and arch in the
same way, only proportionately shorter. The two arches should meet.
When you have pressed over and over again on the same places, and find
that it is impossible to further spread your paint, open the sheet
of paper, and inside you will see a butterfly delicately tinted and
veined, his wings full spread as if to alight on a white clover, or
other sweet-scented wild flower. In pressing out the paint you can more
fully control the palette-knife, as well as protect the paper, if you
put your fingers close to the paint. Sometimes a perfect butterfly is
thus made the first time, but with a little practice any one may make
butterflies as they will.
Before painting commences, each artist should draw from a receptacle a
small paper, which will bear a number. This paper must be held until
the prize is given, as an inexpensive prize would better be awarded to
the one painting the most natural butterfly.
When the one in charge calls a number, the one having it at once goes
forward and paints a butterfly on a paper bearing the same number as
the one he drew. No matter how many butterflies this individual may
paint, each paper on which the painting is done must bear the number
drawn. As each butterfly is painted it is placed on the top of a large
table. When all are through painting, the judge who has hitherto
not been in the room, examines all of the butterflies, and decides
according to number who is entitled to the prize. Example, No. 23.
Should there be two or more equally well done, those who painted them
must each try again. The best of these is then awarded the prize.