Evening star. [volume] (Washington, D.C.) 1854-1972, 1881-04-23

Ne
Many colors after firing become stronger
or deeper. The reds DO so to a slight
degree but cannines. puppies and
pinks-which must all be used very eau
tiously, being apt TO spoil unless carefully
appiied-"lntsnsify" very much. These latter
others. and they should always pc manages
Win norm or ivory spatuia. or palette knife
ieilows are All very strong c0lors with ten
n s 10 XIII or absorb other coors particularly
lne reds Greens all grow stronger by being
nTed: they can be mixed with yell0ws. blues,
ano browns, care being taken IA TO effects with
me latter. but they XIII the reds. Black ana
the bTowns are steady In their action, undergo
Ing little change except that the blacks become
stronger when vitrefied Bues combine with
most colors. Black mixes with all except the
plnKish or PUPPIES. Fat Oil Is easily made By
keeping pint OF turpenttne In an open
BOWL on moderate oven for two or three
days. IN nothing is left but spoonful OF clear
OIL, which must be kept In q well. smut bottle.
A SAFE way 10 get in dense shading OF one
mass. is 70 lightly Cross hatch your li1es as In
wafer water,coior painting. you let them dry well
get more paint on to ire well than II 1t were laid
on in q body, and the same holds good ia ap-
PlJing 1t with dahber or sponge. In painting
ooiors Ia tubes, is very good to commence with,
as IL nfes wen. changing very little. The
darker parts should be touched in with brun
graduate the color properly. 1t will DE found
| much easier to paint heads In natural colors
after some practice In monochrome In paint.
Ing head in natural colors, begln by
making careful outline in vandyke-
| brown mixed with little purple
and black: then lay on smooth coat Of VAN
dyke brown mixed with q little light orange
all over the face. for the flesh tone While
this Is still moist, work flesh red into the
cheeks. and wherever else 1t Is required This
| Can be best done with the dabber. Then take
q very fine sable brush and paint In the
shadows on the face with mixture OF Va3-
Dyke brown, purple and black for the deeper
tones, using orange and az1re for the halt
tones The whole face should be worked up
very much in the same manner as a highly
finished water color AS q head in natural
coloTs VII! always require two or three firings,
the first firing, when it Will be found that tue
colors have changed considerably. The flesh
red Is very liable to burn out After the second
and third firing they change very little When,
as sometimes happens, the work Is spoiled by
the coors not having glazed properly, mix little
enamel fiuX with the color and use this thinly
Where required. IL combines With any color but
req, and when fired forms very good glaze,
Those who dislike the smell OF turpent1ne. OF
who find fat Oil difficult to manage, may grind
up powder colors, with equal parts OF glycerine
ana ninety powdered gum, mixing the color to
ABOUT the hrmness OF butter, and painting with
glycerlne. The disadvantage of this method is
very trll1,ng, as 1t simply consists In the neces.
silly OF drying your painting In an oven before
retouching It. as two wet colors Will run into
and spoil eech other. The advantage, which
IS very great one, is the slow drying OF the
poIHeo, "AiOh diloWS puZLlc0 ccSluueT time
for more complicated effects It's also economi-
cal and sparing trouble to paint with glycerIne.
as the prepared paints II kept free from dust,
may De preserved for many weeks. This may De
e1ected Dy covering them with glass or BOIL.
The pupil should tahe tile and p alnt on 1t row
OF small squares each representing a color as it
appeared when unDaked, and under 1t the Sano
as it looks after friLg It is very useful TO have
In similar manner on a tile the results OF tho
various combinations OF colors, such as purple,
brown and black. green and yellow, etc. AS
some colors when combined disappear almost
entirely In the firing this is almost the only
way to record the result. Always write In each
square, before 1t is fired the names OF the colors
combined. This is done with the end OF an ivory
point or penknife. A piece Of wash-leather tied
and slightly touched with turpentine, is very
useful In removing. spots. II too wet
the turpentlne will spread and spoil
your work; II nearly dry it lifts the
spot, or makes clean removal OF the paint,
exposing the surface. After painting, the
Dresden artists keep their work for day In
the colors. In under glaze. for the shadows OF
flesh good gray is formed by mixing light
blue and green OF equal tones. Paint In broad
strokes following the curves OF the face. AS the
color spreads in firing, leave the strokes rather
open. Crossing or overlapping causes darker
spots. FIJI in with tint OF bufr and crimson.
The under, glaze reds are poor. The whole face
can be painted under. glaze, with the exception
Of the complexion tint and red OF the lips.
Backgrounds and draperieS can be produced
with great richness OF effect and details;
browns, yelloWs and blues are very deep toned
ard fine In color. When the article is fired and
glazed, the over painting is easy. all the
some light colors, must be left for overs glaze
Art amateur.