The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1893-08-08


much as possible by practical SUCCESS
tons, We will assume, therefore, that
she has drawing and modelling by
heart, For tho FIRST trial select 0 fiat
surface, which ia much easier to work
upon than n that Is concave or con-
vex. Its permissible, and, indeed, ad-
| viaable to trace the outline on the china
accurately and delicately, as 1t is very
difficult 10 draw on the glazed surface,
and, besides, pencil marks, unless ex-
| tremely light, will not fire out Now,
with your finest brush and india ink,
go over the outline. BY this means it
will be preserved, the india ink show.
ing sharp aud distinct through the
color, and entirely disappearing in the
kiln. Ut 10 advisable to get English
china for figure painting, the glaze boz
ing softer and mort friendly to thin
washes Of color than that OF the French
ware.)
Elizabeth Haisey Haines, in her arti-
Cles on figure painting, now running
through tho cart Amateur" warns be.
! ginners against attempting to paint
Cherubs, under the delusion that it docs
not matter about the expression. She
says: each tiny toe and finger has as
much expression OF its own, distinct
from the other four, as has a mouth or
u nore." In this caution she echoes the
methods ofthe best teachers at Dresden
aud Paris, who would not think OF al
lowing beginners to struggle with
chernbs, AS q first study, o simple
head, say Of a young girl, is recon-
mended, with very few accessories
about it.
The Dresden colors are preferable to
tho French for figure painting, and the
following simple palette is given as
that used by the most celebrated teach
er OF figure painting in Dresden:
Ivory yellow, canary yellow, superior
Pompadour red, purple, carmlne, ochre.
yellow brown, finishing brown, sepia,
black, light blueJdark blue, blue green,
dark green, relief white and relief vel.
low. These, with Dresden thick oil and
Glove oil as mediums, and the ordinary
brushes, palettes. etc., used in china
painting, form u complete outfit.
1t will be far better If the beginner in
figure painting will coutlne frat efforts
to monochrome. For this purpose use
sepia, shading 1t with finishing brown
mixed with sepia. Very beautiful
effects are obtained by these two simple
Colors.
The colors must be rubbed to the
right consistency, on the palette. with
the medium before using, and dipping
the brush n,the mediums while work
ing is to be avoided us much as posi-
bic. Take up the color on one OF the
medium.sized brushes, and lay it del
icately wherever the shadows fall on
the face and neck. Then, with one OF
tho small stipplers, holding it us you
would a pen, stipple lightly toward the
high-lights until all tho parts are COW
cred, taking care to leave the high.
lights on cheeks, chin, nose, forehead
and eyelids we'll defined. Here a word
OF cautiou-never put dry stlppior to
the work. Wet the palm OF the hand
with alcohol and pass the stippler
across it until the hand is dry. If tho
high.lights are not sufficiently sharp,
take a clean brush, moisten II
with turpentine and press it with q
cloth; then dip 1t lightly in the thick
oil, and brush 1t over the palette until
pliable. With this, a little OF the color
may be safely removed. This must be
done with a very deft touch. The
sharp high.llght on the nose may be dc.
fined with a light brush handle sharp
ened to a point. Now proceed with tho
remainder OF the figure, never covering
moro ground than can be blended be-
fore the color dries, and always stop
ming at q point where the color can be
Joined without discovery. After the
whole figure is thus gone over, remove
with q pointed stick the color from
tho eyeballs, and paint the eye,
carefully observing the high.lights,
and adding u touch Of black to the
seuia for tho pupil. Next lay in
tho shadows OF the hair broadly, and
use the stlppler very lightly, but do moi
obliterato entirely tho brush strokes
DeGuo tho eyelashos and eyebrows, but
never draw a limo under the eye; 1t will
glye a hard effect. II there be dra'
peries paint them with a large brush,
In free strokes, gently blending the
half tones with the stippler, but leaving
the shadows and extreme high-lights
we'll defined. Now so back to tho hair,
which will bo by this time sufficiently
dry 70 shade. Do this with 6ue, delicate
lines, breaking them at the high.lights
and following the wayy lines as in
dicated in the study. Garry the lines
beyond tho color laid, to give an ap'
poaranco OF lightness, especially about
the forehead and where there may bS
For tho first study put only a simple
Rhndow behind tho head. 10 do this
law a few broad strokesof coloron ethel
sido OF tho head at a little distance from
tho outline, and stipple up 10 III then
blend outwardly until tho shadow IL
Lost on tho white ground and fades
AWAY toward tho top Of tho hoad.
Az this stage dry tho painting over {
lighted Bancor OF alcohol, and when cole
remove ali rough particles OF pnint mt
any specks OF dust with your needle,
and mass tho eraser laid almost flat
lightly oyOr tho Burfncu. This opera.
ton ID ono requiring great care.
AftefsthO first fro shake q little pow
dared pumice stone ovor tho printing
and rub II gently with tho finger, thu,
reducing any unovenneSs OF paint loft
by tho brush. Dust of oil the grit and
then proceed with tho second painting
in tho same way RB at first, but with
moro delicate touches, and carefully
stFonuthon tho shadows. A mono
chrome figure should DO completed -
two paintings and frinRsi nRlroS II
natural culors will require four, i've Of
ak according to the finish oil tho work