î 's4* •-- 1 £- C ,¡* ' •••' *t- '? * A GUIDE

ÍTÍNG PHOTOGRAPHIC PORTRAITS,

DiiAJPE^IES; BACKGROUNDS, &o.

Ì WATER COLOURS.

I TINTING PAPER, GLASS, & DAGUERREOTYPE PICTURES,

CHRO MO-PHOTOGRAPHY.

BY A, N. RINTOUL.

IN COLI

ED1TÍON.

,', W.

BARNARD & SON, ARTISTS' COLOÜRMEN, 339, OXFORD STREET, LONDON.

BARNARD & SON'S PHOTOGRAPHIC WATER, COLOURS. Attention is respectfully solicited to these colours, wliicli have received the liiirhesl commendation ot' many of the most eminent Photographic Artists. As neither trouble nor expense has been spared in their production, the proprietors believe them n> he altogether unequalled for the purpose. They will he fourni ri,-h and brilliant in lint. Their working properties leave nothing to he desire,-!, and i hey are warranted not to contain anything injurious to the Photograph. They are manufactured in tints, obviating the loss of time and trouble in mixing. •• of the highest value."—Photographic A', tw. " Messrs. Barnard's constant care to render this branch of the art as perfect as possible is undeniable.' " We cannot hut express our estimation of the quality of these colours, feeling satisfied that if any of our readers, by taking our advice, give them a trial, they- will fully appreciate their superiority over all others in existence."— I'll ul 011 in jilt ic licioni. AT Is. EACH CAKE. (ill. HALF CAKE. Flaxen I (.'olden yellow , No. -J. Auburn hair I Pure black Pure bnnvi . hair I i (reen, No. 1 Chinese white. hair I AT EACH CAKE. Is. HALT CAKE. flesh. Xo. ! Flesh shadow. Xo. '2 I Flesh, Xo. '_' Flesh shadow, .No. 3 J Pure Flesh. Xo. 3 Grey hair Italian blue Flesh shadow, No. 1 Í BOXES oK PHOTOGRAPHIC WATER COLOURS. *. No 1.—Sliding Top Boxes, 12 half-cakes, Pencils, &c 10 No. i». „ „ „ 12 whole cakes, Pencils, &c 18 No. 3. . Lock-and-Key Box, 12 half cakes, Pencils, &c. 16 No. I. „ „ „ 12 whole-cakes. Pencils, &c. 21 es i on/,lin the fottneing Colours, "¡.ti tin- /too latter, m addì o i ''ale//,. Wiite, G/ai8, Tube of Moist Ci,in,-si: White, a Bottle of Liquid Carmine ur Megilp. Flesh, No. I Fjaien I (¡olden yellow Flesh. No. 3 I'm e Mack Flesh shallow. No. 1 ( 'rimson Pure brown Flesh shadow No. 3 lui- (¡reen Noi BARNARD & SOX, 339 OXFORD STREET, LONDON.

BOXES OF PHoTuGBAIUlC WAT .Ti COLOURS (confound) £> s No. 5.—Sliding Top Boxes, 21 half-cakes. Pencils, kc. ••• 0 18 6 „ 6. ,. ,, „ 21 whole-cakes. Pencils. &c. 1 12 0 „ 7.—Mahogany Lock-aud-Key Boxes, 31 half-cakes, Penci &c. 1 2 6 ^^^^^^^^^^^^^^^^O J ^ «-21. whole-cakes, , _ .1 , PoiPencils, , &c. 1 17 6 '/At M Baues contain /'lie toll, win,/ Colours, mi' the tut • lati r.tu addition, Ca, mine. P.iUtte, Water lilats, Uns/ Chiuse It hit . svouue.sponge, a Botile oj Liq id and oí.e of H ater Colour Megilp. F.esh, No. 1 Chestnut hair Pure black F.esli, No. 2 Brown hair Pure brown Fiesh, No. 3 Grey hair Green, No. 1 Fle.-h shadow, No. 1 Crimson Green. Xo. 2 Fiesh shadow. No. 2 Scarlet Tube Chinese white F.esh shadow, No. 3 Pure blue Photographic megilp Flaxen hair Italian blue Pencils, i*c. Auburn hair Golden yellow

MR. A. N. R NTOUL'S COMPOSI HON. PHOTOGRAPHIC ARTÍSTS AND AMATETI LIS At.]-: SOLICITED TO TI'.Y MR. A. N. RINTOÜL'á COMPOSITION FOB rUEl'AUI-S'G IP H OTO QR A. F S S, A N ID PRINTS PREVIOUS TO COLOURING. It completely supersedes the use of Size, Gei. t .e, 4c. hardening the i«rVe of the paper, so as to render it capable of as high a degree of finish as ivory. It is ready for use, and is warranted not to injure tue Photograpn. in uouit», lo. öi(., and double izc 2 . 6,/. each. BARNARD A SON'S PHOTOGRAPHIC POWDER COLOURS, y„r Dry-tinting "ositioe 'il,ss, Paper o 'ayiei r, of P>' I'ictn-es. r.in transparent Ihev do not obscure the Photograph, and therefore are very e.,-y of use! , bey adhere with ease to the pic: ore. producing a pleasing and life-like effect. The following is a List of the Coloure-l*. per bottle. 9. Crimson (lips) I 17. Em. Green 25. Horizon !. Flesh 26. Brown flaxen hah) 2. D.. 10. i .nin• e ' 18. Gree.i 3. Do. 11. Solarization 19. Do. 27. Brown 4 G rev I-J. Salin White 20. Scarlet 2ö. Do. :. Do. 13. Distance 21. Plum 29. Backgrounds '.. Bue 11. White for clouds 22. SO. Oo 7 Do. 15. Yellow for do. 23. Lavender it. Do. 6. Do. lu. Yc'lovt,Draperies ach I 12. Do. BARNARD & SOX, 339, OXFORD STREET, LONDON.

BOXES OF PHOTOGRAPHIC POWDER COLOURS No. I.—Mahogany, Polished with Lock-and-Key, Velvet Palette, £ s. d, Brushes, Stumps, and Silver, &c, and 8 Colours 0 10 9 2. Ditto ditto 12 Colours 0 16 0 „ 3. Ditto ditto 18 Colours 110 „ 1. Ditto ditto 24 Colours 1 7 6 5. Ditto ditto 32 Colours 1 15 6

BOXES OF OIL COLOURS. Arranged for Painting Photographs, with Palette. Palette Knife, Brushes, Oils and Varnishes &c, complete. No. 3.—12 Tube Colours £1 1 0 I Xo. 9.—20 Tube Colours £1 6 ., 6.-18 Ditto .. 1 6 0| „ 13.—28 Ditto .. 3 10 0 The two latter boxes are very complete, and contain every implement and material likely to be required. * , * For List of Brushes, &c., see Oil-Colour Catalogue, to be had gratis.

PHOTO-CHROMATIC COLOUR BOXES. By the use of w'dcli, any person, though ignorant of rt and unaeci>stom"1 to Drawing, miy paint Photographs, producing a beautifully enamelled appearance No 1, with 12 Colours, specimens and full instructions, price 10». oil. No. 2. Very Complete, do. 21*.

BRUSHES, MAM FXPRFSSLÍ ron PHOTOGRAPH-V. P,,iiii,l «'am, l-;,iiir, bound with silver wire ... 1*. and li 6 / each. Plat Brushes, in Wood, without metal, 1. 2 3, 4 inches 1*. per inch. lied Sable, mounted in tin ...... 3*. per dozen. Ditto, iu quill ...... "•«• >. ('aule' hair, superfine, assorted sizes ...... 2«. ,, Dusting Brushes ...... ••• 2*. „

Gold Shells, 6d. and S

FRENCH ALBUMS IN GREAT VARIETY.

MOROCHO CASES AND FRAMES OF EVERY SIZE AND PATTERN BARNARD & SON, 339, OXFORD STREET, LONDON.

GLAZED MOUNTS. BEST WHITE OH TINTED, PLAIH OB llorón I liiiiml with Gold or Bla.k Pa] er, Broad M ugin i,n i i: ngs £ s. •i. £ ,, For Pictures 2| in. by 2 in. per do/ o :, 0 caci 0 0 e, „ 81 o i II 0 0 o „ n 0 „ » U „ °i o S li 0 1 0 5 „ i (1 10 li ,, 0 1 -> -. <••>.- o 16 0 ,, 0 1 6 „ a (i ,, H 0 18 0 u 1 '.i „., 140 „ 8 u 1 12 0 0 0 „ 12 „ io 0 6 II „ 10 „ 13 0 8 6

GOLD, GROUND, GLAZED, Bound -with Black Paper, Broad Margin ami Rings £ s. d. £ ». d. For Pictures 2£ in. by 2 in per doz. 0 9 6 eacti 0 1 0 2=5 0 12 0 0 1 .-; V St 3 1 a. 0 15 6 0 1 6 3> JJ 5 , 4 n 0 17 6 0 1 9 ;> j) 6¿ , 4* 1 6 0 0 2 ii » » 84 , 6| 2 0 0 « 0 4 0 » » 10 , 8 0 7 8 » t> 12 , 10 0 10 6

j' jj 16 , 13 35 0 15 0

GLAZED MOUNTS FOR CARTES DE VISITES. 4*. 6(2., 6s. od., 10*. 6s., and 18s. per dozen.

ORNAMENTAL PASSE-PARTOUTS. £ -?. For Pi tures 2!¡ in, by 2 in., with extra large margin each 0 6 »Í », 2'f 0 1 9 0 2 (l 5 „ 4 0 2 6 0 s 0 81 „ 6.J 0 6_ • 10 „ 8 8 C 12 , 10 0 16 0

PHOTOGRAPHIC SCRAP BOOKS AND PORTFOLIOS MADE TO ORIMJI GJ/=ÍQ¿eT/L /y., «A,/Q*Y) dm.

CS'VV

A GUIDE

TO P^AINTUNTGr PHOTOGRAPHIC PORTRAITS, DRAPERIES, BACKGROUNDS, &C. IN WATER COLOURS,

WITH CONCISE IXSTGUCTIONS FOB

TINTING PAPER, GLASS, & DAGUERREOTYPE PICTURES

AND FOB,

PAINTING PHOTOGRAPHS IN OIL COLOURS

AND

PHOTO-CHROMOGRAPHY. BY A. N. RINÏOUL. "WITH TWELVE DIAGRAMS PRINTED IX COLOURS.

SEVENTH WÎ7»' EDITION,

LONDON :

J. BARNARD & SON,

33!), OXFORD STREET. tí e TR 435

1272. CONTENTS.

PAGE PREFACE .... , 5 INTRODUCTION . 9 CHOICE OF PHOTOGRAPHS, ETC. . 17 PREPARATION FOR PHOTOGRAPHS 21 PHOTOGRAPHIC WATER COLOUR MEGILP . 21 TO PREPARE THE PHOTOGRAPH . 22 PHOTOGRAPHIC COLOURS . . 26 COLOURS AND THEIR ADAPTATIONS . 27 CONSTANT WHITE •...... , 28 CHINESE WETTE 28 INDIAN YELLOW ... , 29 INDIAN .YELLOW, INDIGO, AND BUBNT 29 GAMBOGE,INDIGO, AND BURNT SIENNA . 29 CADMIUM YELLOW. 29 GAMBOGE , . - . • 29 EMERALD . 30 LEMON CHROME . • . • 30 CROME. 3» ROMAN OOHBE 31 YELLOW OCHBE •. , 31 31 BURNT SIENNA . . 31 RAW SIENNA 32 PURE SCARLET , 32 ULTRAMARINE . , 32 FRENCH BLUE . . 33 COBALT . . , 34 PRUSSIAN BLUE . , 34 INDIGO 34 INDIGO AND CARMINE 35 CARMINE . . . - 35 INDIGO, GAMBOGB, AND BURNT SIENNA 35 CARMINE- AND VERMILION . 36 ROSE MADDER . • • 36 CRIMSON LAKE . 36 YEBMILION .... 37 LIGHT RED 37 INDIAN RE» . ... 38 BURNT , . . • • C0NTMT8. PAO» VANDYKE BROWN . • 38 ASHHALTÜM . . 38 MADDER BROWN . • 38 ...,.' 3t SEPIA AND INDIOO ... 39 SEPIA, INDIGO, AND LAKE . 39 BLUE BLACK . . . . • • 9 *" LAMP BLACK ... . « • • • » M IVORY BLACK ..,..••••• *9 NEUTRAL TINT i0 CHOICE OF PENCILS 40 COLOURING THE FACE, ETC. 41 FLESH TINTS <* FAIR COMPLEXION 46 MtDDLiNG COMPLEXION DARK COMPLEXION fj SHADOW, GRAY, AND PEARLY T1KTS . . . • 4f FAIR COMPLEXION • *| MIDDLINO COMPLEXION SHADOW . . . . • DARK COMPLEXION SHADOW .••••'••• — HAIR COLOURS 49 FLAXONHAIR. «50 AUBURN HAIR , 51 CHESTNUT HAES 51 . . 51 DARK BROWN HALB . 52 GREYHAIB 52 52 DRAPERIES AND OTHER CLOTH FABRICS ... 53 SILKS, SATINS. ETC 55 EXPLANATION THE COLOURED DIAGRAMS ... 59 BACKGROUNDS . 59 TINTING GLASS, POSITIVES, DAGUERREOTYPE PLATES 63 TO TINT PHOTOGRAPHS SLIGHTLY 65 GUM WATER 68 PREPARED OX-GALt, ¿68 PAINTING PHOTOGRAPHS IN OIL. 69 REQUISITES FOR OIL PAIN PING 62 HOW TO PREPARK THE PHOTOGRAPH .... 70 OIL COLOURS ; 70 IVORY PHOTOGRAPH 70 CHROMO-PHOTOGRAPH 81 CONCLUSION 8< PKEFACE TO FIEST EDITION.

HAVING considerable experience in painting Photographs, I feel the less hesitation in submitting this little work to amateurs and beginners, trusting that it will prove a guide and assistant in leading them into an easy method of colour­ ing. As far as possible, I have endeavoured to render the directions plain and comprehensive, avoiding many tech­ nicalities and terms of art, which are perhaps not very gener­ ally understood, and which not unfrequently confuse and bewilder beginners. If it be found that I have succeeded in clearing the way of a few obstacles to their progress, I shall consider that the time and labour have been well bestowed. Beginners must, however, bear in mind, that the most that Can be accomplished by such a little work as the present is, to point out in as clear a manner as possible, the means to be adopted, and how to employ them. Their ultimate improve­ ment must depend on their own application and assiduity ; remembering that labour, when properly directed, will be crowned with success in the end.

PREFACE TO SEVENTH EDITION.

In offering the seventh edition of this little work to the public, I beg to express my warm acknowledgments for the favourable reception which the former editions have received. This reprint contains a chapter on the process of Painting Photographs in Oil, which, it is hoped, will be serviceable to the amateur. The diagrams are' still further improved ; the local colour, with one or two of its shadows passing over it, so as to show the effect of glazing will materially assist the amateur, who is too apt to shadow with the same colour of which the fabric is composed. This is not a fault of the amateur, only, but of many who style themselves professors, and are —by non-judges—esteemed good colourists. A few instructions in what is styled Photo-Chromo- graphy, are added, and it will be seen, at a glance, how easy and simple is the process ; and how rapidly pleasing effects can be produced In consequence of the increasing demand for photos on ivory, directions, showing the mode of working usually adopted by miniature painters, are inserted in this edition. It is hardly necessary to say that all improvements in colouring which have occurred since the issue of the sixth edition are carefully noted in this. A. N. R.

INCE the first discoveries by Wedg­ wood, in 1802, the progress of photo­ graphy has been wonderful in the ex­ treme, having, perhaps, almost arrived at ^^^^^^^^ perfection. From a paper furnished by him to the Royal Insti­ tution, in June, 1802, entitled, "An account of a Method of Copying Paintings upon Glass, and of Making Profiles by the Agency of Light upon Nitrate of Silver; with Observations by Humphrey Davy," the following extracts have been made ; and, as the first published statements of any attempt to produce images by the decomposing powers of light, are interesting :— " White paper, or white leather, moistened with a solution of nitrate of silver, undergoes no change when kept ir a dark place ; but on being exposed to the day­ light, it speedily changes colour, and after passing through different shades of grey and brown, becomes at length nearly black. The alterations of colour take place more speedily in proportion as the light is more intense. In the direct beams of the sun, two or three INTRODUCTION.

minutes are sufficient to produee the full effect ; in the shade, several hours are required ; and light transmitted through different coloured glasses acts upon it with different degrees of intensity. "When the shadow of any figure is thrown upon the prepared paper, the part concealed by it remains white, and the other parts speedily become dark. For copying paintings on glass, the solution should be applied on leather ; for in this case it is more readily acted on than when paper is used. After the colour has been once fixed on the leather or paper, it cannot be removed by the application of water, or water and soap, and it is in a high degree permanent. The copy of a painting or the profile, immediately after being taken, must be kept in a darkened place; it may, indeed, be examined, in the shade, but in this case the exposure should be only for a few minutes ; by the light of candles or lamps it is not sensibly affected. No attempts that have been made to prevent the uncoloured parts of the copy or profile from being acted upon by light have as yet been suc­ cessful. They have been covered with a thin coating of fine varnish, but this has not destroyed their suscepti­ bility of becoming coloured ; and even, after repeated washings, sufficient of the active particles of the saline matter will still adhere to the white parts of the paper or leather to cause them to become dark when exposed INTRODUCTION. Xt to the rays of the sun. Besides the applications of this- method of copying that have been mentioned, there are- many others ; and it will be useful for making delinea­ tions of all such objects as are possessed of a tex.ure partly opaque and partly transparent,—the woody fibres of leaves, and the wings of insects : in this case it is only necessary to cause the direct solar light to pass through them, and to receive the shadows upwi the prepared leather." Sir Humphrey Davy says "that the images formed by means of the camera obscura have been found to be too faint to produce, in any moderate time, an effect upon the nitrate of silver. To copy these images was the great object of Mr. Wedgwood, in his researches on the subject, and for this purpose he first used the nitrate- of silver; but all his numerous experiments proved un­ successful. In following these processes, I have found that the images of small objects, produced by means of the solar microscope, may be copied without difficulty on prepared paper. This will probably be a useful application of the method ; that it may be employed successfully, however, it is necessary that the paper be placed at only a short distance from the lens. It is also more readily acted upon when moist than when dry a fact long ago known. Nothing but a method of preventing the unshaded parts of delineation from being xn INTRODUCTION.

coloured by exposure to the day is wanting to render this process useful as it is elegant." For a period of twelve years subsequent to Mr. Wedgwood's publication, no important discoveries were heard of; but in 1814, M. Niepcé, and, in 1824, M. Daguèrre, commenced a series of experiments, their object being to fix the images produced by the camera obscura ; the former appears to have discovered the im­ portant property light possesses of altering the solubility of resinous substances. In 1829, M. Niepcé communicated to M. Daguèrre the particulars of the process he employed, and they «ntered into an agreement to pursue, for their mutual benefit, the interesting researches which they had re­ spectively begun. In 1833, M. Daguèrre was deprived of the assistance of his friend, who died suddenly in that year, and he continued his investigations and ex­ periments alone. In 1834, Mr. Henry Fox Talbot commenced his experiments, with the view of rendering permanent the , ". images of the camera obscura ; and on thj 30th of January, 1839, six months prior to M. Daguèrre's pro­ cess being made known, he published a paper, entitled, "Some Account of the Art of Photogenic Drawing; or the Process by which Natural Objects may be made to delineate themselves without the aid of the Artist's INTRODUCTION. XÌ3

Pencil. This was read before the Royal Society ; and on the 21st of February he communicated to the same Society the method of preparing the paper, and the process by which the designs were fixed. In June, 1839, the discovery of the Daguerreotype process was announced, and purchased by the French Government. A Bill was passed, in July of the same year, granting a life pension of 6,000 francs to M. Daguèrre, and 4,000 francs to the son of his deceased friend, M. Niepcé, with reversion of half these sums respectively to their wives. The large and rapid strides which Photography has taken since the discoveries of Daguèrre, remind us of the vast resources of the human mind, and render it matter of speculation whether any satisfactory method Will be discovered of producing, by natural means, the various colours of objects. Now it requires art to supply the great desideratum, colour,—to produce pleasing as well as truthful representations. Some people imagine that the Artist and the Photo« /•apher must be natural enemies, seeing how closely Photography trenches upon the province of the former ; but to a great extent, this is a mistaken notion,—they may and ought to work together very amicably, com­ bining for mutual benefit. When the Photographer has succeeded in obtaining a good likeness, it passes Jav INTRODUCTION.

Into the Artist's hands, who, with skill and colour, gives to it a life-like and natural appearance. Many methods of painting have been tried,—water ilours, oil colours, crayons, and powdered colours ; but me appear to answer the purpose so well as the first- entioned ; by the judicious management of them, photo- raphs can be made to assume the appearance of highly- finished miniatures, possessing all their softness and brilliancy. To any one who cannot draw with some facility, oil colours, on account of their opacity, are totally use­ less ; for, upon the first application of them, the photo­ graph becomes obscured, the shadows and middle tints are lost, and at each step which the beginner takes he finds himself more and more bewildered, and the pro­ bability is that he will throw up the work in disgust. But with water colours there are no such difficulties to- be encountered ; the tints are all transparent, or very nearly so, and, consequently, there are no risks of hiding the outlines and shadows. Powder colours and crayons are so very perishable, and are so easily injured, that it is unlikely they will ever be much used ; besides I the photographic paper is too smooth for a successful application of either, for it requires to have, what is technically called, a " tooth," to make them adhere to the surface. INTRODUCTION. x

To use chalks or crayons successfully, the portrait« ought to be of larger dimensions than are generally taken, and they should be printed upon rough-tinted drawing-paper, which would enable the artist to produce something bold and masterly. The present miniature

J form is not well adapted for a satisfactory application of crayons. But, without doubt, photographic por.

traits, judiciously painted in water colours, is by far the most preferable method, and that which most obtains. At the present time Photography is most extensively used in producing facsimiles of old drawings, and old and rare engravings, medals, coins, &c, while to the natura ist a knowledge of it has become almost indis­ pensable But perhaps the most gratifying of all its uses !s, that, with little labour and cost, likenesses of ones friends may be obtained. How many persons, with relations and friends far away, have to thank Photography for the very truthful resemblances which it has enabled them to leave behind-resemblances which . with common care, will endure, and which can be muí- • tiplied almost ad infinitum! And by its aid, how easy «-' it is to stereotype, as it were, views of old familiar places, which are endeared to us by tender reminiscences of days long passed away ! The time is no doubt approaching when every tourist, XVI INTRODUCTION.

«idy, every traveller, will be found in possession of a camera, and be able to return to his home or fatherland, laden with views of remarkable spots, and copies of still more remarkable costumes.*

" For a confirmation of the above, it is only necessary for the reader to look at the myriads of stereoscopic views with which tho ahops are filled, and which present an almost endless source of gratifi­ cation to the public. A GUIDE

TO

PAINTING PnOTOGRAPniC PORTRAITS,

DBAPEKIES, BACKGROUNDS, ETC., IN v WATER, COLOURS»

«Job of 1|OÍ0CT|8, AND OBSERVATIONS UPON THEM. ¡HOOSE a light photograph for co­ louring in preference to a very dark one, as the former shews up the tints to greater advantage ; and let the general be grey, inclining to black in the shadows, as it is a much better ground for supporting the local colour than the dark choco­ late ones which so much abound. ^^^^^^^^^^^^^|See that it be well defined; that the shadows and middle tints are clear ; that the background be free from blemishes, and black and white spots, for it is indispensable that a beginner should have every facility afforded him in the choice of a good impression. A really c A GUIDE TO PAINTING

good photograph ought to bear a very close resemblance to a fine mezzo-tinto engravÌDg; but for the purpose of colouring, it should not be quite so dark. Photographs of fair persons must of necessity be fight, but it is of less con- , sequence where the complexion is dark or ruddy, as you will expérience in the progress of the work. The heavy dark tints which prevail in some photographs are badly adapted for fair complexions, as considerable diffi­ culty is experienced in working the grey tints over them y indeed, the only way left for the artist is to lighten them up with a little body-colour, than which nothing can be more objectionable, because all grey and pearly tints ought to be purely transparent, so that the flesh colour may be seen under them. When the complexion is dark, the difficulty is consi­ derably lessened; for upon the application of the warm aolours, these heavy photographic tones decrease in depth, and assume a colour which is not badly adapted for finishing the pearly tints upon. Xadies' and children's portraits should always be lighter in the shadows than the masculine head, for the purpose of giving that softness which is their charac­ teristic ; painters usually throw more light upon them than they do upon the male head, which is better suited to a depth of shadow. Heads of aged persons, of both sexes, should likewise be placed in a full light, as it tends to soften and subdue the prominent markings of age. Always have a duplicate copy before you while at work, to refer to and assist in keeping the resemblance ; but, if pos­ sible, get the original of the photograph to give you two or three sittings, so that you may copy the colours from life, for PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 19

it must be evident to every one that a good portrait cannot be produced unless nature be taken for the model. In photography, "colour," as it respects resemblance, is not insisted upon half so much as it ought to be ; the majority of exhibited specimens being painted entirely from descrip­ tion, are therefore portraits of persons whom the artist never saw ; and, although to the uneducated eye they may seem ' Tery pretty, yet, in the estimation of judges, they are of little account, being only a shade or two above coloured prints; whereas a photograph, to be painted secundum artern, ought to approach as near as possible to a miniature, and lose its photographic appearance entirely. It is not merely by giving it a flesh wash, and putting a little colour on the cheeks, lips, hair, &c, &c, that constitute it a coloured picture ; for you will observe that by doing so you have aU the shadows and middle tints under instead of all being upon the flesh. It is therefore evident that you must first paint the flesh, thereby partially obscuring the photographic tones and shadows,, and upon it lay the shadows, grey and pearly tints, as they really do occur in nature,—all, in point of colour, being widely different to the photographic shades. If you have never attempted anything from the life, it will be advisable to procure a photograph from an oil or crayon portrait, and placing it before you, proceed to copy the varions tints as they appear in the picture. It will, perhaps, surprise you to observe how much of a good paint­ ing is made up of shadows, grey and pearly tints, which you will easily detect by moving a piece of white paper about to various parts of the face : you will then observe how much 30 A GUIDE TO PAINTING

these tints prevail, and how far they go towards forming one harmonious whole. If you are an amateur Photographer, I would advise you to place your sitter a little higher than is usually done, as by that means you will give the neck its due length, and con­ sequently add dignity to the head; for it looks exceedingly ungraceful to see the shoulders upon a line with the ears, which is always the case when the sitter is upon a low chair, and the operator is looking down upon him. Portrait and miniature painters invariably place their sitters higher than themselves,—Photographers too frequently the reverse, because their glass rooms do not permit them to obtain that beautiful chastened light which the painter can always command ; for he places his setter some three feet above his own level,—and only permits the light to fall upon the head at a certain angle, so that he has one light, while the photographer has a dozen, unfortunately not one of which comes in the right direction If that cannot now be avoided, perhaps some scientific man may some day correct the great want of a unity of light. If you use a screen to form a background, place it some distance from the sitter—say three feet, or even more—to gain space or atmosphere behind the head ; and if you intro«- duce curtains, take care to keep them away from the portrait, so that they may not appear to be a part of it. Do not be over-anxious to crowd your picture, as many professed Photo­ graphers do, with gaudy bed-furniture, curtains, old-fashioned chairs, vases of artificial flowers, plaster of Paris pillars, &c, &c, &c, and the usual table, placed so conveniently for the sitter to lean upon, and for no other purpose ; making the IHOTOÛRAPHIC PORTRAITS IN WATER C0L0US3 21

head a secondary object entirely. Such "professors" cither know nothing of the rules of composition, or are anxious to give their customers as much as they can for their money. If the composition be good, all these are unnecessary ; and if bad, they will never mend it.

IJrtpntiioit for |jj}tfûpp|s.

THEBE being some difficulty in apportioning the ingredients for size to harden the surface of photographs, and many chemists having urged objections against its use, as tending to injure the photographic tones, I have been, therefore, induced to give the matter a careful consideration, which has resulted in the produc ion of a " Preparation," to be used instead of size. It is to be had at the various artists' colour shops, and is coming into very general use ; and, if size be really injurious to photographs, which I am much inclined to doubt, in this respect the preparation must be harmless, for it does not contain any, nor anything which can injure them.

Pjfjíofjr^ic Mux Colour Kïtjjilp.

THIS Preparation, invented by Messrs. Barnard and Son, is of great utility. A small quantity of it, diluted slightly with water, and washed over a tint, prevents subsequent tints from mixing with the first, or mixed with the first wash of colour it has the same effect. This may be very useful for] mixing with the colours for ivory pictures, 32 A GUIDE TO PAINTING

Co f«pr* % $ïjûiop$.

Dir a flat -hair brush into the preparation, and go gently over the whole surface of the photograph, taking care not to make it too wet. It should be merely brushed slightly over; every part however, must be covered, or the colour will sink into the places which have been missed. When it is dry, wash it with a sponge and cold water, to remove any extraneous matter which may have lodged on it. Gum or paste the backend lay it down on a good thick piece of card-board, and placing a sheet of writing paper on the fece of the photograph, with a silk hankerchief rub it softly, to smooth and flatten it down ; when dry, it is ready to work upon. Some photographic papers are more porous than others, and will therefore require two coats of the preparation, but one is generally enough. Wet a corner of the photograph with colour, and if it washes off, leaving no indication of a stain, it is in a condition to work upon ; but should the colour sink into the paper, it will be necessary to give it another coat. It is essential that the paper be well hardened, as everything depends upon it ; for; if it be not properly prepared, it will not take the colours Kindly,—you will be unable to obtain force or brilliancy, and, in fact, all the labour which you can bestow upon it will be " stale, flat, and unprofitable."

* Starch is now more generally used. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 28

Amateurs experience great difficulty in painting upon the albumenized paper. They complain that the colours do not lie upon the surface, and that they are compelled to use a good deal of gum water to make them flow. Now, when almost all portraits are upon albumenized paper,—it may seem a bold thing for me to say, I hare little doubt of the time arriving when such portraits will be discarded by artists, and that they will only colour upon the salted paper. Photographers will continue to recommend the former, because, what they term "better" and "sharper" portraits are thereby ob­ tained, than what can bo had upon the salted paper. For plain portraits that may be all very well; but when the pic­ ture has to pass into the hands of an artist, it is of less conse­ quence, for it then becomes his province to give the requisite "sharpness," or, more properly speaking, "spirit," with his finishing touches—the original sharpness of the photograph having been obscured by the washes of colour which have been laid over it. Salted impressions likewise appear better adapted for artists to work upon, because the paper has a slight tooth, which receives the colour more kindly than the gloss ana albumen of the others ; and the colour has, besides, a positive hold upon the salted paper, which it has not upon the albumen. I have frequently observed portraits highly-finished on albumenized paper peel off in large flakes, leaving most un­ sightly marks in all directions. This may arise from the albumen decaying, and detaching itself from the paper, which S4 A GUIDE TO PAINTING

it often does, for it is very easily damaged, and even rubbed ' off; and, as a consequence, the portrait comes with it. The photograph is upon, the albumen, not under it. Often the albumen becomes crinkly, rising up in a thousand little ridges ; either because it was badly prepared, or because the card may have been slightly bent inwards, which would be sure to cause the «loumen to crack up. T'rom whatever cause it may arise, the photograph is rendered useless for painting upon; very frequently the work is damaged through the quan­ tity of gum which has been used in the colours. It is quite erroneous to suppose that .much gum is necessary; in fact, it is quite the reverse, and I would advise all amateurs who use it to go to the Boyal Academy Exhibition, and there notice the water colour portraits, either on paper or card­ board, and judge for themselves. Ivory is quite a different thing, and requires gum. I have a photograph at present before me, which was painted about two years ago, by a very clever man, but one who made too free a use of gum, and the consequence is, that the dark parts of the hair, and the shadows of the draperies are nearly obliterated, having come off in large patches, bringing the albumen with them. Such is the almost certain effect of a too indiscriminate use of gum. In a former edition I said that albumenized photographs did not require any size or " preparation," and what I said then holds good now ; but gum water is generally used in the tints to make them he upon the shiny surface, and some- limes, also, when the colouring is finished a glaze of gum- PHOTOGRAPHIC PORTRAITS TN WATER COLOURS. 25

water is passed over the whole picture in the same way that varnish is laid over an oil painting. In the course of time, however the gum loses all its transparency—the picture be­ comes dull and hazy, and eventually the colours chip cff. These consequences may be avoided if you give the photograph a wash of the "preparation," and afterwards cleanse it with a sponge ' and cold water. You will then be able to lay a large and smooth tint as easily as you can upon d rawing paper, and finish off your picture without resorting to gum-water or any kind of megilp. In fact, the less of any "medium," except pure water, which you use in painting, the better will your work appear. The preparation is necessary to give the paper a pleasant surface to work upon, and to prevent the colours going through the albumen. Besides, should it be necessary to wash off a tint, it may be done with impunity, for the "preparation" preserves the photograph intact. Many persons, instead of using the preparation, wet the photograph with their saliva ^ this is very objectionable, because it rots and eats away the albumen, and the picture is rendei ed useless. Should you be unable to obtain the Preparation, take a piece of size, (that made from parchment is. the best,) about as large as a nut, and put it into a cup with three table-spoon­ fuls of warm water, and as much ground alum as will cover a shilling; stir them well tiU the size and alum are dissolved, and apply the mixture in the same way as the " Preparation." 26 A GUIDE TO PAINTING

¡¡jtfoppjjîc iotas.

Fon the convenience of amateurs and others who are but indifferently acquainted with the mode of making-up compound colours, we now have manufactured cakes of tints known as ; "Barnard and Son's Photographic Water Colours," proper 1 or flesh, draperies, hair, backgrounds, &c, &c. They | are extensively patronised, are very serviceable, and in many respects are of their kind, the best photographic colours; the mode of applying them is much the same as the other colours. The flesh tints, numbered respectively 1, 2, and 3, are to be laid on in pale washes ; the and yellows follow­ ing in succession in the usual way, and the shadow, grey, and pearly tints coming last. The hair, drapery, and background colours are handled as the ordinary colours. The amateur must not expect, however, to meet in these tints all the variety that he sees in nature—they must be modified accord­ ing to the work that he is employed upon; indeed, the same remark is applicable to all compound tints mentioned else-

* The generality of tints in nature are not obtained by mixing two or' three colours together; but by alternating virgin tints, that is washing or glazing one colour over another, which gives an effect that could never be got by mixing. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 27

where, for it would be impossible to give the endless variety of nature. All that is sought to be accomplished, is to direct the amateur to a certain class of colours, by the proper management of which he may be enabled to form tints approaching to nature, at the same time being guided by his own judgment. In this place, I would caution all beginners not to strive too much after that "prettiness of colouring" and elaborate finish which so much prevails, and is so much applauded by non-judges. Prettiness is not art, and excessive finish is purely mechanical. The cleverest miniature painters have executed their finest pictures with apparently little labour. Nature, however, is evident throughout the work, and "prettiness" and "excessive finish" are excluded.

Colours anb tkk Captations.

PURE BLACK FLESH, NO. 1 CHESNUT HADÎ PDRE BROWN FLESH, NO. 2 BROWN HAIB GREEN, NO. 1 FLESH, NO. 3 GREY HAIB GREEN, NO. 2 FLESH SHADOW, NO. CRIMSON CHINESE WHITE FLESH SHADOW, NO. SCARLET PURE BLUB BOTTLE OP LIQUID FLESH SHADOW, NO. CARMINE FLAXEN HAIR ITALIAN BLUE AUBÜRN HAD3 GOLDEN YELLOW IF, however, you have a supply of ordinary water colours, and do not wish to incur the expense of the above, or prefer to make your own tints, you must have the following colours : 28 PHOTOGRAPHIC PORTRAITS IN WATER COLOURS.

CARMINE MARS ORANGE J BURNT SIENNA ROSE MADDER INDIAN YELLOW RAW DITTO ROMAN BURNT UMBER VENETIAN n::u GAMBOGE COBALT VANDYKE BROW» TALK ORANGE FRENCH BLUE MADDER BROWN VERMILLION EMERALD CREEN IVORY BLACK BED CHROME INDIGO CHINESE WHITE LEMON CHROME PRUSSIAN BLUB CONSTANT WHITE

CONSTANT WHITE. Is nearly out of use, Chinese white having almost super­ seded it ; the only parts it is adapted for, being the light on the eye, lace, and linen. It possesses little or no body, and is therefore valueless in cloth fabrics.

CHINESE WHITE. This is the most valuable white that a photographic colourist can use; it washes freely, either by itself or in combination with colours, and possesses this advantage over other whites, that it does not change colour in drying, flake white, which was so much used by miniature painters, inva­ riably dried several shades lighter than when first applied to the paper or ivory, and was liable to change. Chinese white must be kept away, as much as possible, from any colour which has iron in its composition, as it has been found to be affected by it. It is used for lights upon cloth, metal, flesh backgrounds, &c. In its pure state it is shadowed with a cold grey, deepening into a black in the darkest places. A GUIDE TO PAINTING 29

INDIAN YELLOW. A most powerful colour, used in flesh and draperies; i« permanent, and works extremely well ; forms, with indigo and burnt sienna, several beautiful , &c. ; shadowed with sepia and purple lake.*

INDIAN YELLOW, INDIGO, AND BUENT SIENNA Are useful for green draperies and backgrounds ; and Burnt Sienna by itself for warming up the strong shadows on dark complexions. Used also as a background colour and cooled down with cobalt or French blue.

GAMBOGE, INDIGO, AND BUKNT SIENNA. Form a good green for draperies and backgrounds. Green is not a good colour to use too freely in portraits, for unless the flesh be very sallow, it spoils it. Subdue it as much as possible, and shadow with lake and sepia, glazing with Vandyke brown.

CADMIUM YELLOW. A very bright colour, and its durability may be relied upon ; it is serviceable in draperies, and in forming orange tints ; but is too powerful for flesh.

GAMBOGE. Not a good colour for flesh, as it is too brassy ; useful, in

* See Diagram on a subsequent page. 30 FHOTOCRAPHIC PORTRAITS IN WATER COLOURS.

its combination with indigo and burnt sienna, in forming a multitude of greens and , EMEEALD. Very useful for the high lights of some bright greens, and stones in jewellery ; when mixed with gamboge and white they form a delicate pale green for ladies' dresses ; the high lights for which have white and lemon chrome added to the local colour. Ail green drapery should be kept away from the flesh as much as possible. Shaded as other greens. LEMON CHEOME Is very useful for high lights on gold ornaments, may be mixed with white when the light is intended to be very bright and sparkling. Useful likewise for lights on curtaius, and other green draperies.

BED CHROME.

There are five different shades of chrome, commencing with a pale primrose, and deepening into a powerful orange ; they are all opaque, are good working colours, and are some­ times used in dark flesh tints, and always for the reflected lights under the chin. With indigo they form a number of different shades of green, which may, occasionally, be used for back ground draperies, when the photograph is heavy and dark. Chrome is likewise used for gold ornaments, although Eoman ochre is to be preferred ; when used in its pure state • it is shaded with burnt umber, and in the darkest parts, burnt umber and lake. High lights, the local colour and Chinese white. - , A GUIDE TO PAINTIN8 31

KOMAN OCHEE.

Useful in draperies, and for strengthening up the yellows in very dark complexions, and is, perhaps, the best yellow for gold ornaments. It serves likewise for all kinds of flaxen hair, either by itself or when combined with sepia, Wt is not often used in draperies.

YELLOW OC11EE. ( "Very useful in backgrounds where a fine warm hue is desired, and mixed with French blue, it produces a variety of greens. Landscape painters (water) use the above green very freely,.

BUENT SIENNA.

Is too foxy a colour for flesh, although in very dark com­ plexions it is sometimes admitted, but generally the Indian yellow or Eoman ochre is to be preferred. If there be an out­ door scene for the background of the portrait, this colour, when combined with indigo and gamboge, will be found very useful for all kinds of foliage; these three colours forming a number of green tints. High lights, chrome i shadows, umber and lakè\f

EAW SIENNA. s A mixture of rose madder and raw sienna form an excellent flesh wash ; and an orange the product of the two, is very useful in warming up the shadows of the face. Eavv sienna and sepia make a good background colour, as they wash freely over each other. The first is well adapted for flaxen hair, more particu­ larly children's. 32 PHOTOGRAPHIC PORTRAITS IN WATER COLOURS.

PUEE SCAELET. A veiy useful colour, with the addition of a little yellow for ihe high lights on officers' coats. May sometimes be used sparingly in strong complexions for the carnations ; but it must be glazed over, either with lake or rose madder. Of service in the lips, &c, &c. It is fugitive.

ULTEAMAEINE. For durability and brilliancy, there is no other blue at all to be compared to ultramarine; and although many substitutes have been offered, yet none have approached it in beauty. Cobalt, which is very generally used instead, sinks into utter insignificance when placed near it. Genuine, it is a very expensive colour ; if you wish to substitute ultramarine for cobalt in the greys, you must be very sparing of it, because it is a very powerful colour—sometimes used for ladies dresses, and the sky in backgrounds. Cobalt and lake make a colour approximating to the above shade as cobalt. High lights, the local colour and Chinese white.

: FEENCH BLUE. Is well adapted for draperies, and occasionally for the sky in backgrounds; but for the latter purpose cobalt is preferable. It is a powerful colour possessing great body, and like all requires subduing with warm browns. By candle-light, i* assumes a dark heavy appearance, almost approaching to black PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 33

a powerful colourpossessing greatbody, and like all blues, requires subduing with warm browns. In the shadows by candle-light, it assumes a dark heavy appearance, almost approaching to black Treated in the lights, and shaded as cobalt, and when the colour is used in great strength, the shadows must be powerful. When used in draperies such as satins, silks and gossamers, the first wash should have some Chinese white in it, but not so much as will hide the shadows or folds, which are all to be shaded with transparent colour. The same remarks apply to cobalt blues and , which are intended to be bright and full of light.

COBALT.

Permanent, and a good working colour; used freely in greys, pearly tints, and shadows—washed or stippled over indigo for blue skies and backgrounds. Blue being a cold colour, is apt to destroy the effect of your picture, unless you subdue or kill it; negative it, therefore, as much as you can, by toning it down with warm colours, keeping your dark shadows of a biownish tint, and leaving your high lights only positive blue. These remarks apply solely to blue draperies. (See SHADOW COLOURS.) Shadow with Prussian blue and a little lake to remove its rawness. The darkest shadows for French blue and cobalt, are generally made of Prussian blue and madder brown ; but the latter must be used in moderation, because the photo shades are to be taken into consideration. If they be heavy, the blue must pre­ dominate over the madder, and the reverse if they be light. High lights, white, blue, and a touch of lake, then white alone. C 84 A GUIDE TO PAINTING

PEUSSIAN BLUE Is not admissible in flesh tints at all, being liable to turn to a greenish hue. It is very useful for blue draperies^and when mixed with gamboge, bright greens are produced. Prussian blue, and lake or carmine, make a number of , violets, lilacs, &c. .

INDIGO. A very dark blue, and a good working colour ; useful with gamboge and burnt sienna, in forming greens and browns of almost every possible shade ; while with carmine, it produces purples and violets, and may sometimes be used, instead of cobalt, for the dark greys of the face. Indigo and Prussian make an excellent colour for blue cloth—add a little lake if you desire to produce a coppery blue, which so frequently occurs. High lights of all blues have a little lake in them. If you would have a blue background of considerable depth, but at the same time not glaring, wash in with indigo, or indigo and lake, and work over with cobalt, tempering with rose madder. Prussian blue, lake, and white, produce the best laven­ der and lilacs. French blue is also used.but it does not work so well.

INDIGO AND CAEMINE. An excellent purple, and better adapted for draperies than Prussian blue and carmine, being less gaudy ; in both instances the carmine used should be dissolved in ammonia, and no gum added. The purple made of indigo and carmine, should have a little white put into the tint which passes over the garment, and then be shaded up with the proper transparent colours. As PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 35

little gum as possible is used in the shadows. Artists' colour- men make up purple carmine,' which is a good workin«- colour, and saves a great deal of trouble.

CAEMINE Is the most brilliant crimson we possess, and, when mixed with vermilion, forms the best colour for officers' coats and background draperies ; but, for the latter purpose, it must be much subdued. Spirit carmine and the blues form many useful purples, &c. (See PRUSSIAN BLUE.) Spirit carmine is made in the following manner .-—Obtain some colour in powder, wet it with a few drops of liquid ammonia, and let it stand till the spirit evaporates, and it is then, with the addition of a little water, fit for use. It is better for draperies than the cake colour, but it must not be used in flesh tints. Should it be­ come dry and unfit for use, put in a little water to moisten it —there is no necessity for a second application of ammonia, unless it dries upon the photograph and comes off in powder.

INDIGO, GAMBOGE, AND BUENT SIENNA. A brown made up of the above three colours is useful in hair, draperies, &c.

CAEMINE AND VEEMILION Is perhaps the very best colour for officers coats, and draperies of a like description ; but it is too bright to use in the back­ ground draperies, unless you subdue it, which may be done with sepia and lake. High lights, pure scarlet and yellow. 36 A GUIDE TO PAINTING

EOSE MADDEE. A most useful colour in flesh and carnations, and when necessary may be strengthened with lake or vermilion; it works well, but possesses little intensity. Rose madder tints are found in youth ; but as your setter approaches middle age, a little lake or vermilion is added to heighten them. Por­ traits of aged persons have more lake than madder ; while in the complexions of children vermilion predominates over the latter colour. Eose madder is a good colour for glazing the lips.

CRIMSON LAKE. For flesh tints and draperies all lakes are exceedingly useful, not only by themselves but in their combinations with other colours. When used as a shadow colour with sepia, it is better to have a purple lake.

VERMILION* Is frequently used in fiesh washes for fair people and children ; but it must be with extreme caution, as it is a very heavy colour. In its pure state it is a good colour for the lips, touches at the corners of the eyes; nostrils, &c. Elemen­ tary works generally give three different vermilions—viz., ver­ milion, scarlet vermilion, and orange vermilion ; but you can

• Messrs. Barnard and Son have recently produced a very fine '' Pale Orange Vermilion," which washes much better, and is more brilliaBt than any of the ordinary Vermilions, and therefore it is almost indis- pensible. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 37

substitute the two last-named, by adding to the first carmine for the scarlet, and gamboge for the orange. Combine with rose madder for children's carnations. (See EOSE MADDER, patte 36.)

LIGHT RED.' A durable colour, and of great use in flesh ; with carmine or vermilion, and a little Indian yellow, it forms a wash, which, when properly modified, will do for almost every complexion. Miniature painters, with this colour, cobalt, rose madder, and raw sienna, make their grey shadows and pearl tints.

VENETIAN RED. Differing but slightly from light red; may be used for precisely the same purposes.

INDIAN RED. Agood colour for strengthening the darkest shadows on the face, but must he used sparingly, being in its nature very powerful ; has great body, and inclines to a purple hue. It is durable and works well, and when used with lake is a »ood colour for the upper lip ; and for defining the eyelids, mouth, ear, nostrils, &C. It is also a very fine colour for red back­ ground draperies, but it must have a fair proportion of lake to take off its extreme heaviness. Shadow with lake, then lake and sepia. High lights, white and the local colour. 38 A GUIDE TO PAINTING

BURNT UMBER. A good working colour, used for hair, draperies, and back­ grounds.

VANDYKE BROWN. So named after the prince of portrait painters, in conse­ quence of the free use of it in his works. It is a fine glazing colour, and is well adapted for strengthening the shadows under the nose, glazing the' darkest shades of green draperies and the hair, and warming up cold backgrounds. It must not be used with white, nor must it come upon the flesh—that is, not-on the light parts, simply used as a glazing colour.

ASPHALTUM.

This is, perhaps, the most beautiful brown that we have, and is used for the same purpose as Vandyke brown. It can only be obtained in a liquid form. As a water colour, it is used for strengthening up backgrounds ; must not be mixed with white.

MADDER BROWN.

A very rich brown, and of great use in draperies ; combined with cobalt, it forms many very excellent greys, suitable either for the face or background. A wash of madder brown taken over the backgrounds of heavy photographs, then worked into with rose madder, and then with raw sienna, will produce most PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 39

pleasing effects when the various colours have been repeatedly washed or broadly hatched over each other. All madders are said to be permanent. (Fide; SHADOW COLOURS.)

SEPIA. Is the most useful brown, no other entering so largely into combination with other colours as this does. With lake, indigo, and gamboge, a pure transparent black is formed, calculated for silks, satins, and black cloth. Sepia and lake, again, make the best colour for giving the sharp touches about the eyes, eye­ brows, &c. ; and for the hair it stands unrivalled by any other brown, being useful not only in the lightest, but also in the very darkest tints.

SEPIA AND INDIGO. A grey formed of the above colours is of use for backgrounds ; may be strengthened in the darker parts with sepia alone, and warmed with Vandyke brown or brown madder.

SEPIA, AND RAW SIENNA. (Fidepp. 31 and 50.)

SEPIA, INDIGO, AND LAKE Form an excellent black, used for silks, satins, and as a shadow-colour for black cloth. With these three colours you may make a black of any required tint. Keep the darkest shadows rather red. Another black is made up of indigo, purple lake, and gamboge, and is equally as good as theïormer, and used for precisely the same purposes. 40 A GUIDE TO PAINTING

BLUE BLACK (TRANSPARENT). A most useful colour for black draperies, shaded with itself and a little lake, then sepia and lake in the dark places.

LAMP BLACK. A strong body colour ; is chiefly used with Chinese white for blac cloths and velvets.

IVORY BLACK. M ueh the same as lamp-black, and is occasionally used in ieu of it. It is, however, a little browner than the former both work freely.

NEUTEAL TINT. Used for the same purpose as blue-black, and treated in'the same way in the shadows.

Cjrafo á f mils. LET the pencils which you select be sable, and of a mid­ dling size; it is very injudicious to use small ones, as they impart to the work 'a harsh, liney appearance, which is by all means to be avoided ; therefore work with a good-sized pencil, the quill being somewhat smaller than a goose or swan pen, and¿ capable of holding a reasonable quantity of colour in fluid. With such a one you will be able to «ive those firm touches which are so much admired by judges. You will, however, sometimes require to use small pencils, in marking in the eyes, nostrils, &c. ; but for all large PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. * - washes they are useless. When purchasing pencils, dip them into water, and bring them to a point on the nail of your thumb. The must be all of a proportionate length, having a fine flue attached to the points, and, when mode­ rately full of water, should, upon being bent, spring back to their original form. See that their be no straggling hairs about them, and that they do not split or divide. A few French camel-hair pencils must also be obtained, for you will find them very useful in laying large washes upou the background where you require smoothness ; but they are not elastic enough for general purposes. Be very particular in getting good pencils, for one cannot work well with bad or indifferent ones. When the sables have been in use for some time, the fine flue which has been mentioned wears off, and then they are unfit for the work. You will also require a flat camel-hair tool wherewith to size the photograph.

AMATEURS, and some of my pupils, have complained of the under tints of the face washing up during the process of hatching over them. This, no doubt, is greatly owing to the amateur's want of experience in handüng, and, as a preven­ tative, I would strongly advise them to use the " Water Colour Megilp," manufactured by Messrs. Barnard and Son ;— it does not shine and works freely with the colours. The whole under 42 A GUIDE TO PAINTING

colouring may be permanently fixed by passing a wash of the Megilp over it, or it may be used in all the tints. (Fide direc­ tions upon the bottle.) Make up a very pale wash of rose madder and raw sienna, just sufficiently powerful to give the photograph a slight tone, and let it be as near the colour of the original as possible. Take a little of it in your brush, and go lightly and regularly over the face and hands, not studying the outline at all ; wherever you run out of bounds the colour is easily removed with a clean brush. Repeat the wash or tint frequently, occasionally leaving uncovered those parts of the face where the high lights fall ; having laid several of these washes, you will find you have obtained a tolerably solid foundation to finish the complexion upon. If your repeated washes are too pinky, or the reverse, you can modify the tint to bring it up to the required tone. The colour is not to be strengthened, but used throughout thin, as at the first. Be careful to keep the tints smooth, as this will save you a great deal of trouble in finishing. Next take a little pale rose madder in your brush, and lay in the carnations as near as you can to the form they present in nature, avoiding all hard outlines ; gradually strengthen them up with the pale madder until they are about up to the original ; make an orange tint of rose madder and raw sienna, and lay in the shadows of the face. The carnation, it should have been observed, must be laid on the bridge of the nose, and on the chin. The fore­ head, likewise has some pure on it ; but this is an after- concern. Keep all your shadows warm and tolerably strong ; with the shadow-colour mark in the whole drawing of the photograph. Put a little colour now on each Up ; the upper one, which is PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 43

almost always in shadow, may be laid in with lake and vermilion, and the under one with carmine and vermilion, the latter pre­ dominating if the subject be juvenile. Give the background a wash, and proceed with the draperies. Heighten the carnations, -and lay on the yellows, which are preceptible in almost all faces, but more particularly aged ones, about the temples, eyes, and mouth. Strengthen up the eyes, nostrils, and mouth with lake, and do the like to the hair with the proper shadow-colours, work­ ing in the direction of the curls, or in a wavy manner, just as it may be adjusted ; and glaze over the under-lip with lake or rose madder, in accordance with the natural tint. The white of the eye, as it is commonly called, varies in colour as age advances —in childhood and youth it is nearly a positive blue : gradually it loses that tint, and merges into a pearly tone, while in old age it becomes nearly yellow. For the pearly tone, you will use a like colour to the pearly tints of the nice, increasing the blue as you approach to childhood ; while for aged sitters a pale wash of yellow may be taken. The iris must be laid in with trans­ parent colour, then shaded, and afterwards finished with Chi­ nese white. The pupil is always touched in with a dark colour, and the speck of white is laid on at the last. If the eye be black or brown, the lights are, light red and Chinese white for the former, and neutral or purple tint and white for the latter. It is a practice for some miniature painters, in heightening the complexion, to lay the colours in little square forms, working their pencil in various directions, and leaving the interstices to be filled up afterwards by stippling. This method gives what is called a fatty appearance to the work, and renders it bold and masterly. Others, again, finish off with hatches, and the cross­ ings of the pencil somewhat resemble the lines in a fine line- 44 , A GUIDE TO PAINTING

engraving of the face, being woiked as much as possible in the direction of the muscles. But this should not be resorted to till near the end of the work ; for if you begin too early, you will never be able to gain depth, and the more'you labour, the more wiry, harsh, and dry will the character of your performance be. M\ hen the flesh colour has been sufficiently heightened, and is as near to the original as you think you'.'canrget it, then begin with the pearly grey and shadow tints, keeping them as pure and transparent as possible, working with a light hand, for fear of disturbing the under-colour, which must not^ be suffered to mix with them, or they will become muddy, and consequently lose all their transparency. Pearly tints are not intended to hide the local colour, but only to be passed over it as a glaze. In colouring photographs of ladies, you cannot fail observing that their necks are always much lighter in colour than their faces, and that the peaily tints are seen in them to advantage : use the flesh-wash much lighter for the former than the latter. Note, that the delicate blending of these pearly tints into the flesh and shadows gives softness and rotundity to the work ; for if the shadows be left hard against the lights, not being duly graduated into them with the pearly tint, your picture will appear crude and harsh, wanting that connecting link which they form.* The palms of the hands and tips of the fingers are generally of a pinky hue, and the backs are much the same in tone as the neck. In your anxiety, however, to make them appeal delicate be careful not to keep them too white, as that will mar your picture. But in many instances this caution is unnecessary ; for,

* Very few photographic colourera ever use pearly tints ; and the con- setp-ience is that their work looks like a very prettily coloured print, PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 45

unfortunately, photographs generally are heavy and dark, so that you will be necessitated to brighten them up considerably. To­ wards the end of the work, and when you are stippling or hatching it up, you may turn the face upside-down and fill up the inter­ stices while it is in that position. A greater amount of finish is thus obtained than you can get by keeping the face in the direct position. The amateur who intends to gain a living by photo- colouring will meet with more success if his work is very smooth and bright in colour. Little does it matter to the pnblic whether the complexion be true to nature, so long as it is pleasing ; the public is always gratified to look well. If very high fiuish be desired, the photograph at this stage may be laid with its face upon a piece of thick plate glass, and rubbed on the back with an ivory burnisher. This rubbing closes the pores of the paper, and gives it a harder face. Take care not to rub a hole in your picture, when you are about this. It may now be presumed that the face is nearly finished, all remaining to be done being to give the sharp, spirited touches which occur about the eyes, mouth, and nostrils, and impart life and intelligence to the whole countenance. If the original of the photograph be dark, you will use sepia and purple lake in nearly equal proportions for that purpose ; but if the sitter be fair, you must discard the greater part of the sepia. I ought to have remarked before, that the shadow which almost always occurs under the nose may be glazed with Vandyke brown : but be careful not to make it heavy. which, in fact, it is ; but Artists take up a photographic head, and treat it exactly as a minature paintin0. 46 A GUIDE TO PAINTING

The background, hair, and draperies, will next claim your attention ; but ere you finish the hair, it will be necessary to complete the background, so that the hair may not be interfered with by the background-colour coming up to or over it ; but let the hair be brought over and finished upon the background in a light, feathery manner. When the background is complete (see BACKGROUND COLOURS), give the last touches tp the shadowed parts of the hair, and lay on the high-lights. (See HAIR COLOURS.) No mention has yet been made of gum, which is iu request with some photographic colourists, but which had better not be resorted to at all, if you can possibly do without it. However, if your work appears dull and spiritless in those 'places where it should be otherwise, a little gum may be used for the eyes, shadows, parting of the lips, hair, and eyebrows. You may either mix it in the colour for the last touches, or use it by itself, as a glaze ; but do not use much on the picture, for it gives a disagreeable appearance.

Jflcslr Cittts.

No 1.—FAIR COMPLEXION.

Rose madder and raw sienna; be very careful in using the latter, for the reasons before specified. In the flesh tints of very fair children use a little vermilion. Carnations, rose madder, and, if the face be full of colour, add a little vermilion to it. Another very delicate flesh colour is made of orange vermilion and a little Chinese white, which imparts to it a very solid PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 47

appearance, and a good effect is produced by finishing upon the wash with transparent colours,—i.e., colours having no white in them. Be careful with the white in the face wash, only put a little into it, for if you put too much, your wash will obscure the shadows and half-shadows of the photograph. The best greys for the above flesh colour had better be made of rose madder, raw sienna, and cobalt ; and the shadows may be heightened and improved by a colour made of rose madder and raw sienna, approximating to an orange, the darkest parts heightened with burnt sienna, or, if they be very dark and heavy, work a little lake into them.

No. 2.—MIDDLING COMPLEXION. Much the same as No. 1, saving that the raw sienna must be in excess over the other colours—carnations, rose madder, and lake.

No. 3.—DAEK COMPLEXION. Light red and raw sienna, or light red and Eoman ochre, and if the complexion be generally ruddy, you may add a little Indian red, but it must be sparingly used, as it is a powerful colour, and likely to impart a purple tone to the flesh. Carnations, chiefly lake ; but if the complexion be warm, lake and a little yellow hatched over it. The carnations for children's portraits are rose madder and vermilion, inclining more to the former tint. A°-ed persons have rose madder and a little cobalt, to give a cold appearance to the colour in their cheeks and lips. 48 A GUIDE TO PAINTING

These tints, Nos. 1, 2, and 3, are indispensable, as general washes for the purpose of receiving the other colours, which ale to be worked over them, to bring up the complexion to the life. Uncoloured photographic portraits vary so much in tone, that the beginner will, perhaps, find some difficulty in mixing up the tints for the washes. He must note that the warm-toned photographs do not require so much yellow as the cold ones do.

SHADOW, GEEY, AND PEAELY TINTS. Cobalt, rose madder, and raw sienna, will produce every variety, from the most delicate pearl up to the strongest shadow colour, and are suitable for every complexion. It must be borne in mind that the greys should be kept cool, and the shadows warm, and that in laying them ou particular care must be taken that the under tints are not disturbed, otherwise you will muddle the greys, &c, and make them opaque, which is always to be avoided, as it is intended to show the flesh-colour under them. These tints appear to differ in different complexions, but the difference is caused more through the local colour that they go over than any great alteration in themselves ; when the flesh, however, is very powerful in colour, the greys, &,c, must be stronger than when it is delicate. This pearly tint is exceedingly useful for shadowing white fabrics, muslin, cambrics, linen, &c. Shadow tints are the same in substance—that is, they are all made of raw sienna and rose madder ; but for dark complexions they are heightened with burnt sienna or lake. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 49

gair Colours. IN colouring hair, never shadow it with the local colour; all the shadows must be somewhat different, and the same may be said of the high lights. Upon brown hair they par­ take of a purple tinge, and the shadows are in general formed with sepia, or sepia and lake ; and upon some particular kind of flaxen they incline to a greenish colour, which is produced by sepia. Burnt umber is most useful in brown and auburn hair, and here again the sepia and lake form the best shadow colours. A good mixture for black hair is composed of sepia, indigo, and lake, or lake, indigo, and gamboge ; the lights slightly inclining to a purple tint, the blue predomina­ ting. But black hair is of so many different that it is impossible to give one general tint which will do for all kinds; you must be guided by nature, endeavouring to match the colours to the best of your ability. Put in the general wash broadly, and bring it into form with the shadow colour—then lay on the high lights and reflects with the proper tints, mixed with Chinese white. Upon flaxen hair, you will sometimes be able to preserve them ; but in consequence of the photographs being dark and heavy, you will generally have to put them on. Be very particular in keeping the hair in masses, and to assist in doing so, use a good-sized pencil to work with, and never fritter it away into little pieces, as if you had determined to show " each par­ ticular hair" 50 A GUIDE TO PAINTING

Against the background let it be a little feathery, as it appears in nature, and do not permit it to cut into the face, as if it were glued up on it. For the purpose of assisting the beginner, a few local washes are given.

FLAXEN HAIE.

The wash for flaxen hair is Roman ochre, yellow ochre, raw sienna, or carmine, and any of the yellows, which may be modified with sepia to suit the various shades; all being shaded with Roman ochre and sepia. The high lights for the former are made of Chinese white, mixed with a delicate purple; but if the hair be of a sunny colour, then use Roman ochre and white only. Always lay in the shadows first, and then put in the high lights, taking care to keep them thin, working with a bare pencil, so that the colour of the hair may appear through ' them; and in shadowing, also use the tints thin, for the same reason. Never put any white in the shadows : they must always be transparent. Gum is added to the shadow colour, to bring it out; but as it gives a meretricious effect to the work, it is better to avoid it as much as possible. Raw sierma and sepia make a very beautiful flaxen colour, the sienna being less op.ique than the Roman ochre. Shadow with the same, sepia preponderating ; and if the photograph be bright and clear, you may dispense with the high lights mentioned above, permitting the local colour to represent them. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 51

AUBURN HAIB. Local colour, burnt umber, and sometimes burnt umber and lake, according to the particular shade. When the auburn is very warm, add a little burnt sienna to the umber and lake, shadow with burnt umber and lake, and glaze in the darkest parts with a cold purple. High lights, neutral tint and Carmine white. When auburn hair inclines very much to a red or golden hue, may be laid in with burnt sienna ; but it must be carefully cooled down in the shadows, or it will appear too foxy. Lights as above.

CHESTNUT HAIB. The lights much the same as for auburn hair. Local tint, burnt umber, sepia, and lake. Shadow with sepia, lake, and indigo ; in the darkest shadows let the indigo and lake predominate.

BED HAIB. Very red hair is a colour which does not often occur, and when met with, subdue or kill it as much as possible, for few people are ambitious of possessing it. Venetian red and lake, with a little sepia to cool them, form a very good mixture for the local tint ; if it be too red, add a little gamboge or Romon ochre. Should a lady rejoice in this coloured hair, keep all blues as far from it as you can, because their presence only helps ^exaggerate its fiery appearance. Shadow with lake and burnt umber; very darkest parts must be kept cool. High lights, a delicate purple and Chinese white. A GUIDE TO PAINTING

DARK BROWN HAIE. Sepia alone, or sepia and lake, or sepia and burnt umber. Lights inclining to purple, shadow with a purple brown.

GREY HAIR. Sepia and cobalt, or sepia and indigo, made into a pale wash; indeed, any of the greys may be used, provided they are in accordance with the colour intended to be represented, Grey hair is sometimes of a warm hue, and sepia is a close approximation to it. Shadow with sepia. Iron-grey is just a pale-black, shaded with the same High lights white..

BLACK HAIR. The best colour for black hair is composed of sepia, indigo, and lake, or lake, indigo and gamboge, making the red or blue predominate, as it may appear in nature. Keep the shadows of a warm brown tint, and the lights cold, inclining to neutral tint, and sometimes, when the hair is exceedingly black and heavy, the lights are laid in with light red and Chinese white, being exactly the same as the lights for black cloth. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. .8

§mphf AND OTHEB CLOTH FABBICS.

IN painting cloth fabrics, it will be advantageous to use the local colour at first much lighter than you desire it to appear when finished, as it will permit the folds of the drapery to be discernible under it; but to render the matter as clear as possible, proceed as follows :—Take for example a black coat ; begin by laying in a weak local wash as directed, and when it is dry, go over the folds with a thin shadow colour, which will prevent them being obscured by the next local wash; for you will not fail to observe that the photographic shadows do become obscured by the black passing over them. Having repeated this process two or three times, you will most likely find the coat to be as dark as necessary, but the shadows will be too poor and feeble. You will then proceed to strengthen them up with the local colour, gradually increasing it in depth and redness in the darkest places. Now lay oa the high lights with light red and Chinese white, always remembering to use a bare pencil and a gentle hand for that purpose, for if you work your pencil about and press heavily upon it, you will inevitably disturb the local colour, and mix it with the lights, thereby marring your work. These repeated shadowings after each wash would be quite unnecessary did they not serve to retain the photo­ graphic fids intact, for if you laid on the local colour at oice,*and as powerful as you desired, you would be almost certain of hiding them, and having them to draw in from 54' A GUIDB TO PAINTING

your duplicate copy. By laying in the washes one over the other as directed, you gain texture and evenness of tint which 'otherwise you could not obtain. If the photograph he bold in the shadows, and bright in the lights there will be no necessity for going over the former after each wash, because it may be presumed that they will be sufficiently discernible under the local colour. All cloth fabrics may be handled after the same manner. You must take care that these under-shadowings do not become heavy; they are only meant to save you the trouble of copying, should the local colour hide them ; for, as a matter of course, aU shadows must be painted upon, and not under, the colour on which they are projected. Another way : Lay on the local colour a once, and in sufficient strength, then, when it is dry, it may be gently rubbed with a piece of soft silk, until the surface shines, and brings up the shadow and half shadows tolerably distinct, which it is sure to effect; but still they will require to be further strengthened with the shade, but with gum in it. This rubbing will be of no avail where the draperies are opaque. TJie lights, are put on in the usual way. A good black for gentlemen's drapery is made of indigo ake and gamboge, or indigo, spirit carmine, and gamboge. When you require a blue black, first make a blue purple and then add the gamboge till the tint is changed into a black. A red black must be made of a red purple, or in­ clining that way. Miniature-painters generally use lamp or ivory bkek for cloth drapery ; but as both of these are body colours, they will hide the shadows of the photograph, which must bo kept perfectly transparent, and finished upon with hlack,sepia,& lake. The shadow tint must, in all cases, be used PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 55

rather thin, as it is intended only partially to obscure the local colour, not to hide it, which it would do if it were made powerful, besides imparting a hard, patchy appearance to the work. In shadowing, never work across the folds, but always carry your pencil in the direction that they run, and from, not to, the outline. Your own judgment must guide you in apportioning the sepia and lake for shadows; some blacks require them to be much redder than others. A camel-hair pencil is better adapted for laying in the draperies than a sable one, because the colour flows from it more freely, and the markings of the tool are not preceptible.

SILKS, SATINS, &c, &c The tints for the above are made up precisely the same way as for cloth fabrics, and must be painted in broadly, keeping the lights bright, and the shadows transparent. "White is admitted sometimes into the local colour, for the purpose of brightening it, and sometimes to give it a body. It frequently occurs that a lady who has been photographed in a black dress is desirous to have it painted a bright blue. Now the blues being mostly transparent colours, would not show over the black photograph ; therefore a quantity of white is added to the blue, and passed over the whole garment. It is rather troublesome to accomplished, but a few attempts will soon overcome the difficulty. It must be clearly understood that the tint must be laid very flat. The shadows will be very much obscured, but they can be regained by copying them from a duplicate photo. Shadow as usual. High Hghts nearly white. 56 A GUIDE TO PAINTING

CBLMSON. Crimson is made of pure liquid carmine, modified with lake for the shadows, and sepia and lake, without the car­ mine, are used in the deepest shades. The high lights are vermilion glazed over with the local colour.

SCARLET. Scarlet vermilion and carmine make the best opaque scarlet for officers' coats, &c, &c, shadowed with carmine and lake, and in the darkest shades, lake and a little sepia, without the carmine. A transparent scarlet for silks, &c, is made of carmine and gamboge, or carmine and Indian yellow, with gamboge, is preferable, shadowed as the opaque scarlet. An officer's coat is usually laid in with vermilion, and a little carmine with a good deal of gum—the vermilion having a dead, chalky appearance without it. The folds are therefore necessarily obscured, vermilion being a body colour. You will therefore have to draw in the folds, from your duplicate copy, first with carmine—next carmine and lake, then lake alone ; and the sharp cuts with lake and sepia—gum is used freely in the shades. The coat may be laid in with vermilion alone. Get it as flat as possible, and towards that end, cover over buttons, &c. They are easily laid on with opaque yellow after the shading. Then take a good-sized brush and diluted gum-water, and pass over all the fabric. This will fasten the colour, and prevent its coming up while the shadowing is going on ; all the shadows, after this, must have a little gum in them, or they will look dead upon the brighter surface. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 57

PINK. Pink is simply carmine or lake reduced with water and Chinese white, delicately shadowed with lake. High lights, Chinese white and the local colour. Rose and Pink madder frequently represent this colour, shadowed as the last; add white if the photo is dark.

YELLOWS. Are shadowed with the local colour, modified with umber ; but some pale yellows have a cold grey tint coming against the lights. The lights upon all yellows are composed of the local colour and Chinese white.

ORANGE. The brightest is Mars orange. A good colour is formed with Indian yellow and carmine, or carmine and gamboge. A very good orange is produced by the union of red chrome with gamboge ; but it is too heavy for silks.

GREEN. Indigo and gamboge form an excellent colour for cloth draperies, shadowed with the same and a little burnt umber ; the darkest shades have lake and umber, or lake and sepia. High lights, the local colour and lemon chrome, or the latter alone on the local colour and Chinese white. If the green be very yellow, the lemon chrome is the best adapted for the lights ; but if it be a cold colour, then use Chinese white. Ladies' bright green dresses are made of emerald, with a little yellow chrome or white, as the tint may require, shaded with a tint made of Prussian blue and gamboge ; in the darkeät places add a little sepia to the shadow colour. Hi"h lights, lemon chrome or the same and white. B8 .A GUIDE TO PAINTING

PURPLE. Purple tints are formed of blues and lakes, or blues and spirit carmine, and lilacs the same. The purples receive a warm shadow, composed of the local colour and brown madder; and if they are very heavy, the dark shadows are brown madder and purple lake. Lilacs have similar shadows, but much lighter. High lights, the local colour and Chinese white.—N.B. Lilacs and lavenders must have white in the local colour.

BLUES. Blues of every tint are shadowed with the local colour and a little brown madder, and in the darkest places, brown madder is only used, or lake and sepia. High lights, local colour, lake. Light blue is made of any of the blues and Chinese white, and, as before remarked, must he laid very flat. Do not put so much white with the blue as to render it chalky and hide the focus. It is easier to scumble a lighter colour over the lights, if the fabric has been made too dark—that is, not having a sufficient quantity of white in it—than to make it darker if there has been more blue then necessary. Some colourers lay on the strong shadows first, as a means of preserving them ; and then they put in the local colours. The folds are certainly more easily discerned by adopting this plan; but, there is also more diffi­ culty in getting the local colour flat, and, besides, the shadows are often disturbed, and get mixed up with the colour of the fabric, and injure its purity. FL E S H.

Bosr. MADDER AM) BAW BIKNNA.

I 2 3

GREY.

ROSE MADDER, COBALT, AND RAW 8IRSKA.

I 2 3

DARK GREY.

SAME A3 ABOVF, COBALT IN' EXCESS.

I 2 3

BLUE. (COBALT.)

SUADOWS—COBALT AND BROWN MADDHR.

YELLOW. SHADOWS—LOCAL COLOUlt AND OMBER.

BROWN. (LIGHT RED, GAMBOGE, & INDIGO.)

SHADOWS—BUKNT DMBEB AND LAKE.

VERMILION & CARMINE. BBADOWU- LAKE AND SEMA AND LAKE.

GREEN. (INDIGO & INDIAN YELLOW.)

SHADOWS—LOCAL COLOUB AND LAKE; DEEP SHADOWS—CMBEB AND LAKE.

PURPLE. (INDIGO & CARMINE.)

«HAI OWS LOCAL COLOCB AM) SEPIA.

PINK, (LOCAL COLOUR, LAKE)

SHADOWS—SEPIA AND LAKE.

/

1

BLUE. (INDIGO.)

SHADOWS— LAKE AND SEPIA.

BLACK. (INDIGO, LAKE, & GAMBOGE.)

SHADOWS—SEPIA AKD LAKE.

PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 59

EXPLANATION OF THE COLOURED DIAGRAMS.

A A A 7 B B / ï; 1 G / L A A A—Local Colour. B B—First Shadow over the Local Colour. c—Second Shadow over the first. Inner Angle—Colour of first shadow over white. Outer Angle—Colour of second shadow over white.

SIR JOSHUA REYNOLDS observes, " That the management of the background requires the greatest skill and most com­ prehensive knowledge of the art. It must be in unison with the figure, so as not to have the appearance of being inlaid, like Holbein's portraits, which are often on a bright green or blue ground. To prevent this effect, the ground must partake of the colour of the figure, or receive all the treasures of the palette."* The background regulates, likewise where and in what part, the figure is to be relieved. "When the form* is beautiful, it is to be seen distinctly : when, on the * By " treasures of the palette," Sir Joshua means, the various Colours which have been used on the face, &c. ; they are to be gathered or amalgamated into one, and applied as a background colour. 60 A GUIDE TO PAINTlN»

contrary, it is uncouth or too angular, it may be lost in the ground. " Sometimes a light is introduced, in order to join and extend the light on the figure, and the dark side of the figure is lost in a still darker backgronnd ; * for the fewer the outlines arc, which cut against the ground, the richer will be the effect, as the contrary produces what is called the dry manner. If a colour predominates in the figure &c. it should also be dispersed or broken into the background." The best colours for fair people and children, are blues purples, (not bright, but negative,) and greys. Dark com­ plexions may have dark grounds, inclining to red or warm brown; and where the flesh tint is sallow, use wanner colours—greens approaching to oh ve, to throw up the reds in the face, to advantage. If the usual curtain be allowed to creep into the picture, make it a connecting colour with some other analogous to it in the figure or accessories. Never paint a bright blue ground and crimson curtain, but keep everything quiet and subdued, so that the eye may take all in at one glance, having no light patches of colour spread over the picture to dazzle and distract the gaze from the head, but let every colour blend and harmonise. The following are a few background colours which will assist the beginner in his work :— Stone is represented by a tint formed of carmine, indigo and yellow ochre; and the more distant you wish to make • It has become very prevalent of late to paint light backgrounds lighter than the figure, for the purpose, I presume, of bringing it fully and boldly out. No part of the background should be darker than tha darkest part of the hair, t* FHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 61

it appear, the more must the indigo prevail. If the photo­ graph be a very white one, it will be necessary to lay a foun­ dation of neutral tint, to support other colours. Greys : cold and warm greys of many different hues are made with sepia and indigo. The greys which are used in the flesh will also answer the same purpose. A background capable of many modifications is made of cobalt, burnt sienna, and a little rose madder worked into it. Madder brown and cobalt are well adapted for the same purpose, and form good grounds for fair subjects—may be strengthened in the darkest places with the addition of a little indigo. Indigo and madder brown produce a duller grey than the former, and of more depth. A purple, cloudy ground is made of indigo and liquid carmine, or lake ; be very careful not to paint it too bright. An opaque ground, of a colour, is composed of lamp black and Indian red, and may be lightened by Chinese white being hatched over it. Burnt umber, chrome yellow, and Chinese white, produce a lighter ground than the last named. Opaque backgrounds are far from being artistic, and are but seldom used; if very dark, they give the head and figure the appearance of having been cut out and pasted down upon coloured paper. If you resort to them you will require to soften around the outline to take off that effect, and that can only be done by adding a little white to the colour. If the background of the photograph be very dark, and you are desirous to make it lighter, lay on the transparent colour, and A GUIDE TO PAINTING

lighten it up by stripping,* or hatching some white mixed __, the local tint over it, which will have the effect of relieving ft head, and whatever parts of the figure you want to brino-"

Very dark grounds may also be lightened by dustino-°80 photographic powder colours over them, and they may some­ times be used on the draperies—but they are not permanent. In all backgrounds, the colours which predominate over the rest of the picture should find a place. Backgrounds ought to have plenty of light in them, therefore, light brown ones are perhaps the best; the colour of the carpet, draperies, and acces­ sories, will best determine what you are to do with the back­ ground. Photographers, are, however, getting into the way of producing pictures with backgrounds entirely white, and consequently ready to receive whatever shade of colour may be desired, and are infinitely better calculated for artistic display than those heavy grounds which require discernment on the part of the artist, to understand where the outline of the hair terminates

and the background commences. Paint curtains, &c.s &c. over the background, and put on the lights with body colours. When white spots appear on the background, stipple them in with a colour that assimilates to it, and then proceed as usual. When the spots are black, you must stipple white over them.

* STIPPLING.—Towards the end of the work you will observe a number of inequalities in the tints, caused by the square patches of colour which you have laid on, durine the progress of heightening the carna­ tions, greys, &c. These require to be filled up by the point of the pencil with an assimilating colour; and that filling up is termed " Stippling." Be careful not to begin doing so till the work is finished • for if you commence too early, you will most assuredly impart a woolly appearance to it, which is by all means to be avoided. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 63

SWnrs disss foifa Japtroofapt f laits, ETC. PHOTOSBAPHIC Powder Colours* are most frequently used for the above purpose, and they are applied to the picture in a dry state with sable pencils bringing the work into form and character. Begin by breathing lightly upon the surface of the por­ trait, and dip your pencil into the bottle containing the flesh colour, and work in a circular direction, pressing gently upon the glass, to cause the colour to adhere—the breathing is for the same purpose; then blow off the superfluous powder with an India-rubber bottle. As the colour approaches the out­ line soften it off with grey, and be careful to preserve the roundness of the cheeks and forehead which is observable in nature, by keeping the high lights in the centre, and gradua­ ting the flesh tints into the greys and shadows. Next put in the darkest parts of the draperies and- hair. When en­ gaged upon the latter, cause your pencil to move in a wavy manner, as the hair flows. The lights are to be laid in last with the colours provided for that purpose, and be particular not to soil them with the shadow tints, keeping them as bright as possible. Proceed in the same way with all the other colours, and if the tints contained in the bottles be too

* I have before me a box of these colours, of twenty-four different hues, (contained in bottles fixed in the box) applicable for either por­ trait or landscape painting. Each bottle is labelled with the name and use of its individual colour. When the box is out of use and shut upt the cover forms a general stopper for all the bottle». 64 A GUIDE 10 PAINTING

powerful for your picture, you can reduce them with white which bears the same relationship to powder colours that water does to the ordinary cakes. When at work, have a piece of black cloth or velvet on the reverse side, which will show up the head to advantage. The same process as the above is applicable to Daguerreotype portraits and paper pic­ tures, the breathing on the plate, and the varnishing, alone excepted. Hitherto, glass positives have only been tinted in the manner described, and which the veriest tyro in the arts may with ease accomplish. Artists have given very little attention to the subject at all, believing that glass pictures would never be much esteemed by the public, because they are taken upon such a brittle material ; but in consequence of the increasing demand for them, and the low prices for which they can be obtained, it has been deemed advisable to say something upon the subject; and experience shows that more can be done with them now than formerly, as they are capable of receiving a considerable amount of finish. Having put in the general tints with powder colours, assimilating them as much as possible to the complexion, you may finish them up with ca'ke colours, by marking out the eyes, eyebrows, mouth, nostrils, &c., taking care, however, not to run the water colours Into the greys or carnations, as they must be kept intact. These various touchings produce a sharp and spirited effect, and will give to the portrait a most decided and artistic appearance. If ornaments of gold or silver occur they may be put in with metal. 'If glass positives are varnished, which is the work of the PnOTOGRAl'IIIC PORTRAITS IN WATER COLOURS. 65

photographer, you may use water colours upon them almost as freely as on paper ; but, in general, all that is done to them is merely to apply a little powder colour for the flesh, a touch of carnation in the cheeks, and a tint upon the hair, eyes and eyebrows. On colouring glass positives entirely in water colours, no more need be said than what has already been urged in the case of paper pictures, the manner of working being exactly the same, the chief difficulty which presents itself being that of getting the colours to flow smoothly; but that is easily overcome by the addition of a small quantity of ox-gall. Oil colour.« may also be successfully used upon glass, provided the amateur has a competent knowledge of drawing to carry him through the work; the same objections pre­ senting themselves here as upon paper. (Sec p. xiv. in Intro­ duction.)

8* Cini llotep^s siigli?. THE following easy method of tinting photographs is well adapted for persons who have little leisure for the other and more artistic manner. Having prepared the photograph in the usual way, take a little pink madder or carmine, or whatever colour most resembles the carnation ; lay it on the cheek with a clean pencil, soften it carefully all round the edges, blending the tint into the face. Kepeat the process once and again, till you have obtained nearly as much colour as neces­ sary :—I say, nearly a» much, because you have to pass the ï 66 A GUIDE TO PAINTING

general flesh WJBÜ over it, which has the effect of darkening it considerably. For the purpose of softening, it will be^as well tò have two pencils on one holder. It might appear that putting on the colour of the cheek at once, and soften­ ing it, would suffice; but you will get it far softer by doing it with a very pale tint two or three times, than you possibly can by making it at once as powerful as nectary ; besides, it is impossible to soften a strong colour so weil as a pale tint. When the colour is quite dry, go over the whole of the face with the flesh tint, then put in the hair, eyes, eye­ brows, and lips; round off the forehead with a grey, and apply the same to those parts of the face where you observe it to be in nature. If your photograph be a very dark one you will not require so much grey in it as if it were a light impression ; next wash in the background, and proceed with the draperies, &c. Beturn now to the face, strengthen the carnations, greys and shadows, by hatching* delicate tints over them ; put the light in the eye, and the spirited touches about it and the eyebrows, mouth, &c, and finish off the hair. In dark photographs you will require to lay the lights on the hair with body colour, as it is generally much darker than it appears in nature. Make out the linen with a grey, deepen­ ing it in the darkest parts, and lay on the high lights with Constant or Chinese white. Proceed next to shadow the

* HATCHING; ¡a that effect which is produced by the crossings of the pencil, after you have given to the head all the larger washes ; and must be done in the maimer described above. To an inexperienced eye, hatching assumas the appearance of a series of dots. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 67

drapery; and when you have obtained the required depth, scumble in the high lights, using a bare pencil and a very gentle hand, as before directed. Give the background another wash, if requisite, and your photograph is finished ; or make up a tint of orange vermilion and- white according to the complexion, and lay it smoothly over the face and hands, then put on the carnations with rose madder, and shadow up the face with orange tint, and proceed as above to finish. Or, lay in the carnations with a pale wash of carmine, then, take the same colour and gamboge, mix to­ gether to form an orange tint, with which lay in all the shadows ; next make a flesh wash (pale) of the same colours, and cover over all the face, taking care not to work up the shadows. And finish off as above. The generality of cheap work is done in this way ; the public like it, because it looks clear and pretty, but it soon fades, for carmine is very fugitive. If the back­ grounds and draperies appear dead, you may take a piece of very soft washing silk and rub them up a little, which will have the same effect as if they had been hot-pressed. Whenever body colour has been used, the rubbing will be ineffective. Neither rubbing, nor hot-pressing will give a shine to any but trans­ parent tints. If there be metal buttons, chains, or epaulettes, they must be laid over the dress with body colours ; a very good ground for them is red chrome and gamboge, shadowed with burnt umber, and heightened on the lights wich lemon chrome and Chinese white. By the foregoing methods it will be unnecessary to hatch or stipple a great deal ; for you will find that the face will come out very soft and round without it, but the effect is far inferior to that produced by the other process. 68 A GUIDE TO PAINTING

GUM WATER.

PREPARE it as Mows:'get»some of the best white gum arable, dissolve it in pure water, keeping it well covered to prevent the dust getting in. Make it rather thicker than cream, and to a table-spoonful add about half a teaspoonful of whiskey or gin, and a small lump of loaf-sugar, about the size of a horse- bean. The spirit assists in dissolving the gum ; and the sugar pre­ vents it cracking. Do not make a great deal at once, as it is better to have it fresh; if it becomes too thick for use, thin it with spirit.

PREPARED OX-GALL. IT is necessary to have a little of this preparation, but bo sparing in your use of it. Too much of it in the colours will cause them to sink into the paper, and there is no possibility of getting them out again, nor can you wash over the parts to any advan- tage. Ox-gall can only be of use in the first colouring, to kill the grease; after the photograph has been fairly covered all over, there can be little to apprehend on that point. When the paper is greasy, and you find a difficulty in getting a tint to run smoothly, rub the point of your pencil on the gall, and mix it up in the colour. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 69

fainting f ^0PÉ0 *n ®&

To meet the wishes of those who are anxious to obtain an insight into the process of painting photographs in* oil, the following directions are offered. Care has been taken to render them plain, concise, and as general in their application as possible. But it must be remembered that the art of painting is not to be acquired even from the best treatises, by the most accomplished masters ; while in this trifling sketch, all that is sought to be conveyed, is to initiate the tyro into a method. A few lessons by an experienced hand, and assiduous study on the student's part, will, in a short time, do more than twenty books could accomplish.

REQUISITES FOR OIL PAINTING, A BOX OF TUBE COLOURS, CONTAINING— WHITE CRIMSON LAKE IVORY BLACK NAPLES YELLOW ROSE MADDER PALETTE AND KNIT- YELLOW OCHRE ULTRAMARINE SABLES EEOWN OCHRE COBALT SOFTNERS BAW SIENNA PRUSSIAN BLUE PALE DRYING OIL BURNT SIENNA PURPLE MADDER MASTIC LIGHT RED RAW UMBER MEOILP VENETIAN BED BURNT UMBER TÜRPENTINK VERMILION VANDYKE BROWN POPPY OIL INDIAN BED TERRE VERTE PURPLE LAKE EMERALD GREEN 70 A GUIDE TO PAINTING gota io frenar* % $|ufffpn!¿. GET some patent size, and melt it in a pipkin over a slow fire ; when it is dissolved, strain it though flannel into a soup plate, and immerse the photograph in it. When it is sufficiently saturated with the Bize, take it out and let it dry, then paste it down on card-board, and it is ready for use. Another method : — Dip a flat camel-hair tool into the size, and go over both sides of the photograph. If it be insufficiently prepared, tho colours will sink in those parts where there is a paucity of size, and you must give it another coat. Many life-size portraits are now done in oils, but the majority are exceedingly hard, and anything hut artistic. Many of the enlargements are traced upon canvas and then paint­ ed; others are glued to the canvas, and painted "according to order," and from the photographer's " directions." The features may resemble the original, but the painting cannot do so. No man can paint flesh unless he has an original before him, and art is displayed in painting, not in the drawing, which is mecha­ nical. • (Dil items. THE following is a table of tints in very general use with professors ; but it must, however, be clearly understood that they are capable of many modifications to meet almost every variety of colour observable in nature. Portraits of ladies, but children more especially, require the tints for the first and subsequent paintings to be kept exceedingly delicate and pearly ; for the adult male head the colours must be more powerful. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 71 TABLE OF TINTS FOR THE FIRST PAINTING. FLESH. White and Light Red Deep Shades. White, Naples Yellow, Vermilion White and Naples Yellow Light Red and Raw Umber White, Vermilion, and Light Red Indian Red, Lake, and Black Grey, Pearly, and Half Tints. Carnations. White, Vermilion, and Black White and Indian Red (powerful White and Terre Verte colour) White, Black, Indian Red, and White and Rose Mnddpr Raw Umber White and Lake HAIR. Light Hair. Dark Brou>?i 'lair. White and Yellow Ochre White and Roman Ochre Raw and Burnt Umber White and Vandyke Brown—for the dark parts White and Raw Umber White and Raw Umber for the dark parts White and Vandyke Brown

FIRST PAINTING. Lay out the palette in the following order ;—Place the lightest flesh tints nearest the right hand ; next in succession those having more colour in them ; then the middle and shade tints ; and lastly, the pure colours. Use megilp* as a vehicle, if you wish to paint thinly, and add a little turpentine to it. Begin by laying on the high lights, gradually descending into the more florid parts, till you arrive at the middle tones which, in their turn, descend into the shadows. Lay the colour on the lights of some consistency, but let the shadows be thin. * Megilp is composed or drying-oil and mastic varnish; stir gently together till they incorporate, and let the mixture remain until it becomes thick. Copal, megilp, and the above, are both made up, and •old by the publisher : and may be depended upon. 72 A GUIDE TO PAINTING

Be careful not to work the lights about with your brush, but lay them on boldly and full. Put in a grey tint for the white of the eye, and paint the iris and pupil upon it. Take a warm shade colour and mark out the features, and lay in the lips with a tint considerably ^iUel than nature- il »« necessary to force up the whole of the colouring to allow for it sinking in drying. Proceed to the hair and eyebrows ; lay in the shades, and after them the lights, define the draperies in the like way, and rub in the background, begining with the lightest part. When you have got on thus far, take a Boftner—a badger's hair tool—and go gently over the whole of the face to round it, and make the various tints blend into and unito with each other.

SECOND PAINTING. Having allowed the picture ten or twelve hours to dry, the next operation will be preparing it for the second painting. Take a sponge* moderately charged with water, and go gently over all the work ; when it is dry, dip a brush in poppy-oil, and again go over the surface; then wipe off the superfluous oil with a piece of soft silk as gently as you applied it. This is termed " oiling out," and is done that the subsequent paintings may unite with the first. Never­ theless, it is frequently omitted; but washing with the sponge cannot he dispensed with, for without it the glazes will not lie, but curdle on the picture. c * Breathe upon the surface of the picture : if it becomes dull or misty, you may safely use ihe sponge : but if the breath does not affect it, do not go on—it is not dry tnough. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 73

TABLE OF TINTS FOR THE SECOND AND THIRD PAINTING.* HIGH LIGHTS. White and Naples yellow. CARNATIONS. Rose madder and white. Indian red, rose madder, and white. GREEN TINrS. White and ultramarine, with any of the yellows. White and terre verte, with the addition of a little raw umber. The above green tints may be converted into green greys. GREY TINTS. Ultramarine, light red, and white. Indian red, lake, black and white. White, ultramarine, Indian Red, and raw umber.

PURPLE TINTS. Any of the lakes, or red madders, with ultramarine and white. POWERFUL SHADOW TINTS. Indian red, purple lake, and black. Indian red, raw umber, and black. STRONG GLAZING COLOURS Light red and lake. Brown madder. Vandyke brown, Indian red and lake asphaltum.

SECOND PAINTING, Proceed now to improve the lights, yellows, and florid tones, with tints that approach your model ; then glaze the •hadows where they are wanting in depth and colour. The alterations, which at this stage are necessary, should be made with the shade tint, your own judgment guiding you to the requisite depth of colour for that purpose. Look carefully over all the photograph, and put in some of the spirited touches about the eyes, mouth, &c. Then improve

• These, and the following tints, might be increased nlmost ad infinitum, but it is better to present only a few to the learner, as a great number would only serve to bewilder him. 74 A GUIDE TO PAINTING

the grey and pearly tints (those about the mouth and eyes «quire very delicate handling), and blend them into their proximate colours with a softener. Next look to the reflexes, which are to be painted, if possible, without any white in them. Soften the outline of the head with the background, so as to take off every appearance of hardness, remembering that there should be no such thing as a sharp outline in the face ; a glance at a plain photograph will at once evidenco this to you, The lines of the eyes, mouth, and nostrils, must also be carefuly blended; but they must not be ren­ dered too soft, or they will impart an air of insipidity to the coun'^enance.

THIRD PAINTING. Having proceeded thus far, it will be again necessary to sponge the picture. Scumble over the lights again where necessary, improve still farther the luminous tints, and look to the glazing and reflexes. In finishing the carnations as little white as possible should enter into their composition ; and they, together with the lights, should be laid on with a fine pencil, and a quick and decided touch, keeping them pure from the preceding colours. Soften all the parts which appear crude or hard, and finish off the background and draperies. The hands require a flesh tint similar to the face, and the same grey and pearly tints are used for them. If extreme finish be aimed at, you may re-touch your work several times, allowing it to dry between every re­ touching. DRAPERIES. The scale of colours is nearly the same as for water ; but PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 76

instead of gamboge, yellow ochre and ochre yellows are used, and Prussian blue is taken for indigo. The shades being laid in, are met by half tones and lights, and are blended with a softener. The shadows are then finished by glazing, and the lights by scumbling over them.

BACKGROUND COLOURS.

PEARLY. STONE. White, Vermilion, and blue. Raw umber and yellow. Black, White, Vermilion, and black. white, and raw umber.

White and black. SKY. GBEY. French blue and white. French White, Venetian red, and blue, vermilion, and white. black. EDGES OF CLOUDS. YELLOW. Yellow ochre and white.

Yellow ochre and white. CLOUDS.

OLIVE. Indian red, lake, black, and Yellow ochre, terra verte, and white. Brown madder, French umber. blue, and white.

IF a very good ivory photograph be obtained, it may be coloured up to slightly resemble an ivory miniature ; but, never can compete with it ; for with all the labour bestowed on it, it will still remain a coloured photo. A paper photograph and an ivory one are essentially the same. Miniature painters use the lancet very freely to take out lights and half-lights ; but if the same be attempted upon an ivory photograph, not only will 76 A GUIDE TO PAINTING

the lights and half-lights be taken off, but the photo will come away with them, leaving a hiatus in the picture. There appears little or no advantage to be gained by having a photo taken on ivory ; because the painting is not really upon the ivory, but upon the film or photo, which entirely covers it. Nor can a photograph on ivory be more highly finished than on paper. The colours do not come out more brilliantly or clearer, because the bases of shadows, middle tints, flesh, and carnations, are all photographic work. Whereas on a legitimate ivory picture all that work is obtained by drawing and pure colouring upon a pure and transparent surface, which a photograph cannot give. If the reader would compare some of the prettiest ivory photo­ graphs with any of the miniatures exhibited at the Royal Academy or elsewhere,he would see at once the "great gulf" there is between them. Before he begins to paint on ivory, the artist roughens it up with pummice-stone powder to obtain a slight tooth, but if that were attempted on a photo-ivory head it would inevitably bring it off, which would be, of course, in­ flicting capital punishment. It, however, appears, the public like ivory photographs (at least that part of the public who fancy a thing must be good because it is expensive). Therefore, by all mean let the public have ivory photographs. There is no need for any preparation to be applied to the ivory photograph. The colourest may beg n at once, and much in the same way as he goes on with a paper picture ; but, if he is ambitious of giving to his work more of an ivory appearance, he may, after the first washes have been applied, mix all his colours with diluted gum-water. He must not put any white in his flesh-tints,whit e is often done on PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 77

paper photos when they are dark and heavy. Make up a flesh- tint of light red and yellow ochre for dark faces, light red alone for middling ones, and light-red and vermilion for fair complex­ ions. It will be better if he can put in the flesh at once and nearly as strong as required. After this he will lay on slightly the carnations and yellow tints; then put in the eyes, mouth nose, &c, and the hair. On the latter the colour must be a pale wash, for the purpose of preserving the lights and shadows. Give the background a wash of any warm colour, not too dark, but just dark enough to relieve the head. Next lay in the draperies. By this time the surface will be generally covered with colour, ready to receive the secondary, tertiary, and finish­ ing tints. The colours used after this must be mixed with the diluted gum. Make up a warm shadow-colour of lake aDd a little sepia, or lake and yellow, or rose madder and yellow, according to the tone of the flesh, for it must be evident that the shadows of all complexions cannot be alike. With any of the above shadov.'-colours, make out all the drawing of the face, marking in the nose, mouth, eyes, &c, and only the darkest shadows. The parts where they are softened into the flesh must be afterwards manipulated with pearly greys. It may be noticed at once, that all shadows on the flesh, as they approach the light, are to be softened with cool greys. The carnations are next laid on the cheeks, as nearly as possible of the shape they assume. They must be laid in with a pale tint, to be afterwards strengthened by hatches, and finished by stippling. Go over the background again, and break various colours into it, so that it may not appear of one uniform tint. Shadow up the draperies and hair, always using transparent colours for 78 A GUIDE TO PAINTING

these purposes. Now improve the eyes with the proper colours. The pupil is generally indicated with lampblack, no matter

what colour the iris may be. The white of the eye, as it i8 usually called, is to be covered over with a pearly tint, (vide colours at the end). Improve the reds and yellows to the com­ plexion, and brighten up the lip by passing a tint of rose madder or lake over them. The under-lip is generally laid in with vermilion or lake, just in accordance with the age and hue of the sitter; and the upper one is made out with lake alone, unless it requires a little vermilion to take off the too frequent blackness of the photograph. Lake and a little Indian red mixed together, are used to further define the features, and to mark out the fingers if there be hands in the picture. When the face has been so far covered, then hatch or stipple the carnations, which aie distinguishable through it, and brings them more into their natural form. Not unfre- quently the whole forehead requires a delicate pink rose madder hatched over it, and these hatchings must be in a circular form, to indicate the shape of the frontal bone. Then do the like to the cheeks, as near as possible in the direction of the muscles, the chin, bridge of the nose, and nostrils. If there be any yellow bits about the face, they must be stippled or hatched in also. In old heads there are a good many yellow pieces about the face. If there be any open spots about the face, they must be filled in by dotting or stippling with the point of a miniature sable. But, as a rule, never use small brushes, except for such work ; for they always give the picture a harsh, wirey appear­ ance, showing evidently that it has been done by an amateur. When the flesh colour and shadows have been brought into PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 70

form, by hatching and stippling, make up a delicate pearly tint, composed of cobalt, rose madder, and raw sienna, for fair com­ plexions ; but for dark ones make it of French blue, lake, and raw sienna. According to the complexion, take either of the above tints and round or soften the shadows into the local colour. On the off side of the face, and where partly in shadow, the pearly tint may be passed completely over it. Not, however, to hide the flesh, but simply as a half tint to round the face and make it slide into the background. The hair is also to he softened into the forehead with this tint, and the forehead rounded at the same time. This same tint is also found around, and under the eye, nose, and about the mouth and chin ; and, as before mentioned, every shadow on flesh must be softened, and cooled by it. The rule is to keep the shadows warm, and the greys cool ; but it may so happen that the shadows are too hot ; in that case they are to be cooled down a little with the pearly tint. Photographic colourers rarely trouble themselves about the pearly tint, confining themselves to flesh-colour, and making it appear as pretty as possible. But if a head is to be painted, and painted in an artistic way, pearly tints cannot be ignored. By keeping the photographic shades warm, and not entirely covering them, but leaving them bare as they near the lights, an effect of a pearly tint is sometimes obtained, but after all it is only the photographic shade, which cannot approximate in beauty to the pearly hue. The eye is a feature which claims a little further notice. The white part is to be rounded with the above tint, then the iris or coloured part is put in, and then the pupil. On the iris there 80 A GUIDE TO PAINTING

appear rays of light proceeding from the centre to the boundary- line ; these must be carefully indicated, so that a brown, grey, or blue eye shall not appear a flat piece of colour. There is n little bit of red apparently swimming in liquid, at the corner of the eye, and sometimes a white speck in it. All these little matters must be attended to, for they give life and spirit to the head. The white speck, sometimes on the iris, and sometimes on the pupil, is the last touch the eye receives. There are a few spirited touches about the upper eye-lid, just over the pupil. The reader will note that all the features must be blended into the face; there must be no hard cutting lines to define the nose, lips, &c, but every part must be soft and round. When finishing the background, the work may either be done in bold masterly hatches, or it may be laid ou in square bits, which by working in all directions, become, as it were, dove­ tailed into each other, and produce a fat and sinewy appearance. Strive as much as possible to get a semblance of atmosphere around the head and figure ; never allow either to cut into the background. The head and figure are round objects, and can­ not therefore present a sharp outline, such as a flat object gives. If the reader be anxious to render his photograph still more like an ivory miniature, he may reject all the photo shadows of coats, &c, and paint over them, using body colour; but he will find some difficulty in recovering the folds, and unless he can draw a little, he had better finish all off as in photographic colouring. See "Draperies." The same rules given for colouring photographs on paper, are applicable for ivory ; but it has been thought advisable to give the above tints for photo-ivory portraits, because a nearer PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 81

approach to legitimate painting may be obtained. If a very light photograph on ivory can be had, the flesh, carnations, and pearly tints will come out infinitely better and more transparent than upon a dark print, but the painting will be attended with more trouble. If the reader, however, possesses some know­ ledge of drawing and painting, the difficulty will be easily over­ come. It appears, and certainly is the case, that the majority of photographers have got almost all the colouring into their own hands ; and as few of them have been brought up to the arts, they consequently know very little about painting, and are equally ignorant of composition, as nine out of ten photographs will show. But if a man of artistic acquirements were topóse his sitter, obtain a good light on the head, get a pale impression, and then paint it from the life, a work of art would be the result, not unless. The gum-water for ivory, must be very much diluted, first with water, and then with whiskey or gin. A piece of lump- sugar may be put in, to prevent cracking.

Cíjrom0-^^oÍ0gra|í^ Is so simple, that any one ignorant of art may easily prac­ tise it. The colours, &c, are not expensive, and the work is per­ manent. The smallest miniature, and the life-size portrait can be done with little trouble and cost. The articles required are to be had at the publisher's, with the necessary directions, &c. The photograph is not to be mounted on cardboard, but G 82 A GUIDE TO PAINTING

hrown into warm water, to soak out as as much of the size as possible. Afterwards it is to be thoroughly dried, and laid on a sheet of glass, face downwards. It then receives a coat of the varnish, or several coats, until it be perfectly transparent. When the varnish is quite dry, proceed to colour the photograph, always working on the back. You may, if you like, lay on the varnish before you put the photograph on the glass ; but which­

ever way you adopt, it will be necessary to place a slip 0f gummed paper over the edges of the photograph, so that it may remain steadfast on the glass while you are at work. The photograph to be painted must, by all means, be a good sharp impression ; if it be not, you should make it up with water colour before you varnish it, and after it has been soaked. Indian ink and lake, or lake and sepia, mixed to the colour of the photo­ graph, must be used. Enlargements—that is, copies of small photographs brought up to life-size—are generally very rotten and feeble in the shadows, and they must be made good ere you apply any local colour to them. You will observe that it—the local colour—is seen under the photograph, so if the latter be not tolerably sharp and decided, your labour will be thrown away; for all the colour you put on the photograph will not make good any imperfections in it. Indeed, it is advisable to sharpen up the generality of photo­ graphs with sepia and lake, ere you lay on the flesh and carna­ tions, because these colours materially reduce the strength of the photograph, and after they are laid on it is too late to sharpen up. It is therefore advisable to put in a few spirited touches in the eyes, eyebrows, nostrils, mouth, and hair at first before you proceed to— PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 83

THE COLOURING. We suppose your picture to be transparent and quite dry, and ready therefore for the application of the colours. Unscrew the cap, and squeeze from the bottom of the tube a small quantity of the tints you require on to the palette, and mix with them a little of the Medium; of the latter use only sufficient to make them work agreeably, for they must not be too thin ; do not mix much more than you require, for the colours, after some hours, will dry and become useless. For the sake of clearness we shall suppose that it is a portrait of moderate size you propose to colour. First apply the appropriate colour (pink) to the lips and cheeks very sparingly, softening the latter with a dry brush. In order to see the effect of your work reverse the picture, without removing it from the glas3, and place a piece of white paper behind it ; if not sufficiently softened at the edges of the colour, use the dry brush again. Next will come the high lights, small touches of white to the eyes, and to the prominent parts of the objects (particularly coloured ones) upon which the light strikes. Then paint in the brightest coloured objects, such as gold, flowers, ribbons, and any other small bright object that may be prominent in your picture. Allow the colours on the face, &c, to dry, then paint over them the flesh tint, which will give solidity, and so far finish your work. You may, however, after applying the pink or scarlet on the cheeks, &c, work the flesh-tint into the carnations while wet. This a quicker method, and sometimes better ; the plan you prefer, when you have tried both, you will adopt. Where a bright rosy tint is desired, the flesh-tint must not be worked much into the pink or scarlet. It is, too, important that each colour be kept within its proper boundary. 84 A GUIDE TO PAINTING

In ordinary painting there is frequently, in amateur work, too much brightness of colour. In this process no such risk is run, for the painting is seen through the photograph, which softens and blends the colours. We are consequently obliged to use the brightest pigments that can be obtained, to avoid a dull and unpleasant result :—thus bright scarlet used upon a dark photo­ graph produces almost a brick colour, or if very dark and warm, a ; while if the photograph is very pale, it remains scarlet. Again, bright yellow, seen through the photograph, is the appropriate colour for flaxen hair. Except the cheeks and lips, as a rule, paint brighter than the required tint. A little judgment and practice will soon enable you to hit upon the ap­ propriate colours. You may, when you doubt the effect of a colour, try it upon your picture (keeping it as far as possible from the ether colours); and if it does not satisfy you, take a piece of linen, damped with the spirit, and remove, it, and try again. The colours may be mixed with each other, and it will be frequently necessary to add white to them,—thus, for the sky, the blue must be mixed with the white ; for water, blue, green, and white; and so on. Besides the colours sold in the boxes, any others you desire may be obtained separately. Wheu the colouring is finished and perfectly dry, pass a pen­ knife round the edges and remove it from the glass, and mount with clear glue, or some similar cement, upou cardboard. In the event of the Diaphanous Varnish getting upon the face of the picture, it is sometimes desirable to pass a coating of varnish over the whole, after the painting is finished. Clean your brushes in rectified spirits, ere putting away. PHOTOGRAPHIC PORTRAITS IN WATER COLOURS. 85

Cûitilusiait.

THE process of colouring photographs is by no means so difficult a matter as you might at first have apprehended ; there are certainly some obstacles to he encountered, but they will soon be overcome, provided you will sit down with a deter­ mination to surmount them. Begin your work systematically, and go gradually on, endeavouring to improve it at every step you take, keeping the tints of the face and background light, gaining colour and depth by continually working over them. The effect thereby produced will be infinitely superior, and far more artistic, than if you had at once laid in the colour as strong as required. Avoid, as much as possible, all washing out of tints, because the surface of the photographic paper is of too delicate a nature to bear rubbing. You must not feel disappointed if your first efforts do not turn out altogether so pleasing as you hoped for ; do not despair, but go on copying from good pictures, till you become better acquainted with colour. In the National Gallery may be seen specimens by Titian, Rubens, Vandyke, &c. ; and, by careful observation, the grey tints, which have been mentioned so often, render themselves apparent even to an uneducated eye. Be particular iu obtaining good photographs to work upon, and good colours and pencils to work with,—for your success will, in a great measure, depend upon all three ; and do not be 86 A GUIDE TO PAINTING PHOTOGRAPHIC PORTRAITS.

over-anxious to give very high finish to your work, which, after all, does not constitute excellence ; for a good picture may be almost without it, while a very bad one may have it in excess. Sir Joshua Reynolds, in one of his Discourses, says : " The highest finish is labour in vain, unless, at the same time, there be preserved a breadth of light and shadow."

LONDOK: CHARLES rjUtSKKICK ADAMS, F1INTEK, 32, ÄART110LOMHW CLOS!, it