Wheeling register. [volume] (Wheeling, W. Va.) 1878-1935, 1882-08-21
SILK PAINTING.
Something About this Latest Innova-
ton OF Fashionable Artists.
H1y71er,s R0znr

| AOOut tAAS AnnONo
ton OF Fashionable Artists.
| Hd,per's Bazar.
Painting on silk, satin, or other ma
terial of a smooth, even surface is moi
so difficult as the novice may suppose.
Of course the "tyro" in painting must
begin by practicing pencil drawing, and
accustom herself to the use of the paint
brush; but this may be done in the far
away country village, withOuta teacher,
as successfully as in the large city where
a drawing-master is ever at the elbow
of the pupil.
There is one advantage that the self
taught artist is said by cOnnOisseurs TO
possess over the generality of painters
in our modern schools. If she rises TO
eminence in the profession, her designs,
as rule, will show an originality of con-
ception and a holiness in outline for
eign TO the pupil of the conventional
school. Time and perseverance are the
chief requisites TO success in any pur-
suit; and those who have resolved to
practice without a master should bear
this in mind, and not become discOur-
aged, however imperfect first efforts
may appear. No matter how much
material is wasted, repeated trials will
ut length produce the desired end, and
from drawing-plates and engravings the
energetic worker may next take up nat
ural flowers, shrubs, or perhaps bit OF
landscape.
Heavy plain silk is the best material
for beginner to practice on. This
should be tackled smoothly over draw
ing-boarl: then with a fine camePs-
hair or otter brush the design may be
traced on the silk in the colOrs to be
used in painting. Many use lead-pen-
ell in tracing, but this is not good, as it
i difficult TO eradicate or cover up the
pencil marks afterward.
If water-cOlOrs are used i'll preference
to oil, these should be mOistened with
gum water to prevent the paint from
spreading on the silk.
If the material is of dark color, af-
ter tracing the pattern, Chinese white
should be thickly laid on, to form a
smOth, solid ground before painting the
flowers and leaves. This will prevent
the cOlors in the silk from spreading
and running into the delicate cOlOrs of
the flowers, and spelling the effect.
The materials necessary for q begin
ner are as follows: one ounce gum
arabic dissolved in half pint of warm
water, and bottled for future use; one
dozen camel's-hair or otter brushes, as
sorted sizes: one bottle of Chinese
white; one tube of each of the follow
ing colOrs: crimson lake, carmine lake,
Hooker's green no. Il, olive green,
burnt lumber, chrome yellow, ivory
black, new blue, olive lake, indigo blue,
and one stick of India ink.
~ for hnnin-
ners in landscape painting, may he pro-
cured at any place where artists ma
terials are kept. The cOlOrs are gam
boge, yellow Ochre, light red, crimson
lake, Vandyck brown, and indigo.
Very handsome screens of silk or
satin, with landscapes instead of flow
ers, may he painted; but it is considered
better for beginners to let their first eff
forts be flowers or shrubs.
Inpreparing colOrs, variety of shades
may he made by the judiciOuS mixing
of the cOlOrS mentioned above. For in
stance, crimson lake darkened with w.
Dry black will make the light and dark
shades of Jacqueminot roses and buds.
Crimson lake mixed with Chinese white
will form a variety of shades, from the
deep bluSh-rOse to the most delicate
pink; and a variety of shades in car
mine may be created in the same way.
For branches and stems, where different
shades of brown are required, burnt UNI
her with tritle of black will form the
dark brown of the pine or apple tree.
A little Chinese white, in place of the
| black, with lumber, will create lighter
| shade, and u dash of chrome yellow
with umGCr will give the rich brown of
the climbin% rose and woOdbine.
BY carefully observing the cOlors of
flowers and shrubs, the artist can attain
a greater degree of accuracy in prepar-
ing shades than if dependent on cOlors
in chromOS and prints. Nature in this
respect is the best teacher. 1t is also
well to remember that too much bright
ness or glaring color either in flowers or
foliage will destroy the aesthetic effect of
all otherwise fine painting.