The times., 1897-09-05
POONA PAINTING.

New York, Sept. 3.-The newest thing in
fancy work is colorcd PoOnah painting. II
is revived from the days of our great
grandu,athers, with very many differences
and improvements The great advantage
OF the wor K, now as then, is that it requires
neither talent nor experience. It is done
on velvet, satin, silk, cardboard, paper
o- wood Some pieces shown are exceed
ingly ornamental and it is prophesie1 that
it viii take the place of coIored enlbrtt
dery TO a great extent. IL is cheaper, takes
much less time, and is almost, if not quite
as dur able.
Thefirststep to be taken in Poouah pains-
ing is preparing the formulas. These for
mulas are nothing more or less than set
OF cardboard stencils. aud may be made
after any design. Lay piece of tracing
paper owe rthe design you wish to copy and.
with fine pencil, trace every line. show
ing the shape OF the objects. Then number
the different objects being careful co give
every piece the same number that is in
tended for the same piece of cardboard
tits best to have these numbers as far apart
as possible. Then select two small OBJ
jects, nearly opposite each other, as con
ducting points, and be careful to see that
shtS utN Nub lllNO tAtig lOIItuld vi SNeIlNIl.
Unless the design is particularly elaborate,
three pieces OF thin cardboard will he suffi-
cient to make the stencils. Take the first
piece of cardboard, lay over it a piece
of carbonized paper, and over both lay the
tracing, then take an ivory srilletJo, or
some blunt pointed instrument, and go over
every outline marked No. l. Repeat this
process with each succeeding formula.
IT..
in each formula, as it is the only means for
keeping the formula exactly in place The
next step is To cut out with a fine, sharp
knife or scissors, all these traced objects in
theeardhoard. The formulasor stencils are
then complete, aud may be used for paint
ing any number of articles.
The paints used are simple water ooiors,
but great care mUst be taken to have 5h,.m
| mixed perfectly smooth. The brushes,
| which are made expressly for the w-,rk,
are without point, and are to be held per
| pendicularIy. There should be british Tor
| eacheoior, andit shouldb be rnoistened euaaIly
| all over and then applied through the
| opening in the stencil 10 the fabric, which
has been stretched beneath. When every
| opening in the first stencil has been painted
| then the next should be put on, care being
1
are exactly over the first which have al
ready been painted The opening in the
second stencil having been colored, each
succeeding one is put on and gone over
| lii the same manner, until the wholc pic
ture is complete. All touches and lines
! tnat are too fine to be introduced into the
1 stencils must be put in with sable brush,
/ a s the design can only be produced Jpon
| the groundwork by successive shades OF
1 color, the first shade should Away he OF
| the palest tint; with 1t cover the whole
| of the aperture, then work in the darker
| shat ties, one after the other, in their proper
| place, according to the design. when work
ing oil. velvet it is best to finish each OBJ
| iect sis you go Oil, because, after tlse sirst
shade is washed in, the velvet win hest
| take the Succeeding shade while stiIl damp.
In painting leaves, especially large ones,
/ it Is beet to have one-half on one formula
and the other half on the other, by which
means the space is divided so as to ger
the correct line for the middle vesn. Then,
| also, veining paper may also he used, the
| veins in the leaves being traced aud