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

NOteS fOK CnA00 F0l0ttME NOvfCees
Many colors after firing become stronger
or deeper. The reds DO so to slight
degree, but cannines. puppies and
pinks-which must alI be used very eau
tiously, being apt to spoil unless carefully
appHeo-'intensIfy" very much. These latter
colors should not, as q rule. be mixed With any
others and they should always ne manages
Win morn or ivory spatula, or palette knife
ieiloWs are all very strong colorS with ten
dency to kill or absorb other coiorS particularly
me REDS; Greens all grow stronger BY being
nred: They can be mixed with yellows. blues,
ana oroWns, care being taken as 10 effects With
the latter. but they kill the reds. Black and
me proWns are steady Ia their action, undergo
Ing little change except that the blacks become
stronger when vttrefied Blues 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
Oh, winch must be kept in well-snuJ bottle.
mass, is to lightly cross hatch your lI1es as in
wateI-cOior painting. II you let them dry well
t peiore crossing them again: and so on, YOU can
on IN body, and the same holds good Ia ap-
plying 1t with dabber or sponge In painting
Leaos, rouge brun r1che. one OF Lacroix's
as it fires wen. changing very little. The
darker parts should be touched in with orun
fonce, or dark brown. great care being taken to
much easier to paint heads In natural colors
after some practice In monochrome. 10 paint.
ing head In natural colors, negln by
brown mixed with a little purple
and black: then lay on smooth coat Of VAN
IKE brown mixed With little light orange
all over the face, for the flesh tone. While
this is still moist, work q Ssh red into the
cheeks. and wherever else 1t Is required. This
can be best done with the daboer. Tnen take
q, very cry, fine 10, sable brush and paint IN the
Of Ike brown, purple and black for the deeper
tones, using orange and azure for the half
tones. The whole face should be worked up
very mucn In the same manner as highly
finished water color. As q head In natural
cOlors will 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
ana Third hiring they change very little. When,
as sometimes happens, the work Is spoiled by
the coiOrs not having glazed properly, mix lit lie
enamel tlux with the color and use this tainly
Where required. It combines with any color but
req, and when fired forms very good glaze,
Those who dislike the smell OF turpentfne OF
who find fat Oil difficult to manage, may grind
up powder colors, with equal parts Of glycerine
about the firmness Of butter, and paintsng NV with
glycerlne- The disadvantage of this method ia
very triillng, as 1t simply consists In the neces
SHY OF irving your painting In an oven before
retouching lt, as two wet coorS Will run into
ana spoil eech other. The advantage, which
Is very great one, is the slow drying OF the
paints, which allows puzzled beginner time
for more complicated effects 1t also econom-
Cal and sparing trouble TO paint with gig cerine
as the prepared paints, II kept free from dust,
may oe preserved for many weeks. This may be
erected by covering them with glass or bowl.
The pupil should tahe tile and Nat on 1t al row
OF small squares each representing a color as IL
appeared when unbaked, and under 1t the same
as 1t locks after triLg. IL Is very useful to have
In similar manner on tile the results OF the
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
tightly round the point Of a thin brush andle,
useful In removing spots. II too wet
the turpentine will spread and spoil
your work; If 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 q
common oven, at verJ moderate heat, TO dry
the colors. In under glaze. for the shadows OF
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 bun and crimson.
The under glaze reds are poor. The whole face
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 hlues are very deep toned
and fine In color. When the article is fired and
glazed, the over. painting is easy. all the
shadows being prepared. Purple, pinkS and
some light colors, must be left for over glaze