Year: 1874




Transparency painting on muslin is one
Of the arts much overlooked by amateurs,
aud therefore seldom practlced in perfec-
ton. We are apt to judge of it by the
familiar illumination made for public oc-
easions, where rough designs coursely ex-'
ecuted are all that are required. But
tits is no reason for treating the whole
subject with disrespeet or neglect, as it IS
really deserving of high place among
the arts, and the grandest dioramie effects
and lovliest illusions may be produced by
the practical student in this department
of art .l .g .ss.a ... .5a-a


The first thing in beginning transpar-
ency is to prepare the muslin, which
should be of smooth and even texture.
1t is to be strained or stretched in frame
made of four deal bars, to which stout
strip of webbing has been tackled. These
bars should be pierced with holes so that
they can be fastened with iron pins, and
tightened as occasion may require To
these strips of webbing the edges of the
muslin should be sewed, and the whole
tightened, when it will be ready for sizing.


The size may be prepared by dissolving
gelatiDe until it is of the proper strength,
which will be best determined by expert
Ment; or, if more convenient, though
more expensive, use gold size. Lay on
au even coating and, when dry, if the
muslin hangs loosely in the frame, tighten
it by mooviug the pins at the corners.
Then another coat of size is to be gwen,
and, if needed, second tightening take
the precaution, at tie same tine, 10 pre-
pare small piece of the muslin to be
used in trying the colors, and if Oh apply
ing them to this piece, they are found 10
sink into il in spots or stains. it will be
Lest to apply third coating of the size,


When the last sizing is perfectly dry,
and the muslin quite tight, it must be
rubbed carefully but thoroughly with fine
pumice stone. which will give it u smooth
surface. upon which the coors will work
as well as upon paper.


The muslin being thus prepared to re.
ceivc the design, it may be traced or
transferred in several ways. One method
will be to draw the entire outline design
upon stiff papcr,with black lead pencil
Or with ink, and then by placing it under
the transparent muslin the same may be
easily traced or in this way any engrav-
ed design may be copied. ... .-..l Z


Another plan is by means of stencils,
which are especially useful in floral de-
signs. as the same leaf and hoTer shapes
can be repeated by merely placing them
in different places or positions, aad pass
ing across them with stiff brush very
sparingly charged with color. This will
leave the solid shape distinctly upon the
muslin. the details to be added afterward.


A third method, and the one generally
preferred, is called pouDcing. Any draw
lug or design may be prepared for the
purpose by following the outlines closely
with a needle, prickiug holes through in
every part, to indicatethe veins Of leaves,
the stamens of flowers, and all the minute
details of the most elaborate pattern.
Then by placing this upon the muslin, and
holding it securely SO that it cannot move,
dust the whole design well with pounce
bag made of thin muslin filed with pow
dered charcoal Theu remove the paper
with the greatest care, aud the outlines
will be marked distinctly upon the white
surface by rows of small dots, and can
be traced more permanently with pencil
or pen. v a.. .a. ..at Ia.sa.


One or two of these pounce patterns
may be used to produce great variety
of objects, For instance, suppose the
design of group Of varieus colored buds.
Then, by selecting pretty and gracefully
shaped bird on the wing, and another
with wings closed, and prlckipg the out
lines OF wings, feet and allan
appearance of large variety may be OBJ
tanned by pouncipg the same IN reversed
and different positions, according to the
taste of the artist. afterward painting
them in various colors. BY these simple
means a gay and pleasing picture will be
produced with very little trouble. In the
same way flowers, leaves, butterflies, etc.,
may be traced.


Having now prepared the muslin. and
pounced and drawn the design, let us pro-
ceed to the painting. 1t would he inn
possible within the limits Of this paper to
give complete list of the colors to be
used We shall presume that the reader
is something of au artist already, and
will understand our meaning when we say
that all transparent or seml-transparent
colors viii he available for this work, but
none others. Use oil-colors in tubes, aud
mix with magilp or wtite varnish until
the proper consistency is required. For
laying on the paint use the ordinary brush
es adopted to oil-painting. and in certain
broad parts where great delicacy or rich
ness of tone is required, pieces Of sponge
will be found valuable helps in applying
the colors. Wncre very delicate tints
are desired. such as are seen In skies, the
slightest quantity Of color will be sufi-
cient to tint the vehicle employed, while
in fairgrounds and masses of foliage q
deep rich one will be needed. In laying
Oh these masses we should proceed pre-.
ciselv as with other painting, giving the
deeper shadows by second painting, and
here and there scattering off the saperfu-
Gus color where it may bc desired TO in.
crease the lights or hightep the contrasts.


1t will be well to keep the trial piece
always at hand, and to test every new
tint before applying it on the cloth. BY
this precaution We shall avoid oil risk OF
spelling our pictures.- and experiment will
give the most pleasing combinations Of