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Tous les autres exemplalres orlginaux sont filmte en commenqant par la premiere page qui comporte une empreinte d'Impresslon ou d'illustration et en terminant par la derniire page qui comporte une telle empreinte. Un des symboles suivants apparattra sur la dernidre image de cheque microfiche, selon le cas: le symbols — ^ signlfie "A SUIVRE ", le symbols V signlfie "FIN ". Les cartes, planches, tableaux, etc., peuvent §tre filmAs A des taux de reduction diffdrents. Lorsque le document est trop grand pour dtre reproduit en un seul clich6. 11 est film6 A partir de Tangle sup^rleur gauche, de gauche A drolte, et de haut en has, en prenant le nombre d'images n^cessaire. Les diagrammes suivants illustrent la m6thode. 1 2 3 4 5 6 <} ■*f^^ "I ? v^ N" THE 1 = (WITHOUT A TEACHER) Ii2 Briipely I^ew JVle(jl20d ef SelF-InslsFuefeiei^ oi^ ^Modern .^r-bs, sl^ewn .^ l?l2eiF Bnogpessive ifeages ©i^ Gomplefciei^ J. H, RAYCROFT ^ MINNIE CRON WHEELER : <^n interesting ant) Enstiuctibc (gssag ON THS Jnfluence andJTigher^'^m of_j\rt : : BY J, YOUNG : : : : 'ss PROFUSELY Illustrated ^-. )VlTH ^A^GE pOLOI^ED ^TUDIES OF f LOWEI^S AND |-AN OSC.APES.^AC-^IMILES OF ReAL Pi L PaINTINC EACH OF WHICH IS ACCOMPANIED BY puTLINE PrAWINGS; ALSO fJuMEF^OUS pNGF^AVlNG,- fuLL ^IZE }VoRK.iNG Patterns and pesiG.Ns for f>jEW .Methods of Needle-)Voi^k, in WHICH ALL. THE ^TITCHES USED IN yWAKINQ AF^ JlLUSTI^ATED. "3"- S. TOTTTSTOr & CO., PTTBLISHBiaa TORONTO, ONT. A ST. JOHN, N.a IHHH. N\\\N^-.WNV%%S .>!<► \\%%XX\\\\\\* ^^vtv*x»v^\^-.VX^* »^wv\\\^s%\v NV^X%X^N«k^M\\\\-WW\XWVv\X\\V\.%-.\S\\^V%X' Entered, according to Act of Parliament of Canada, in the year eighteen hundred and eighty-eight, by Jacob Young, in the office of the Minister of Agriculture. .^ -^^^ ^^^^^x^^^vx^^ V * v\^v^^.Nv^^. ^ ^^■^■■^■»-^^■'^^^.^.\^.■^.*.^^\■v^^^^\^ III', reason for the; appearand; nC this book may be said lo be three-fold: /--/rs/. The absence of any such worli that .'mljraces within its scope, in a plain methodical manner, the nrotrressivc 1^ stajrcs of Art instructions, commencing at the first principles and ifp carrying the reader forward, step by step, to a degree of ])erfection. 1 * I (~y -j---..^^....,,, SecoMt/.—Om- of the most noticeable and interesting features of our times is the increasing tendency of the people toward the study and practice of the artistic, and the ardent desire, expresseii by many for a reasonable system of self-instruction. T/iin/.—Tn still further I stimulate and encourage that tendency among the peojjle, the foster- ing of which must have a decided refining effect. These reasons, togt^ther with the numerous encouragemeiws we have received, h.ive Induced us to undertake the e.\pensive task of publication. The work is original in its scope and methoils <^< progressive instructions; and we congratulate ourselves that we have been able to call to our aid the very best Art specialists in the country. Artists whose paintings and ••xplicit methods of imparting their knowledge to others have been receixed uith unbounded favor and delight throughout Canada ami the I'nifd Stales. Printed in.structions by .such prominent Art teachers, given in a progressive plan, cannot but possess nearly every advantage of personal instructions. It may be unnecessary to add that the longer artists labor as specialists in any branch of Art, the more cognizant .iri: they of the difficulties that Ix^stt a beginner, and the more mature are their minds and the beit.T (lualified are they to impart tlieir instructions. Possibly at no tim.; will their enterprising efforts be more appreciated than .it the present time, when the discouragements of wrong methods have be<;n fi'lt by many. \\\- -.m, free to confess that ue ^^^^.>^^.^' .x .\v«.i.\>.\'%.vwvvm. ^^■■^NN.^\v\wv\.\-vv .4. -*><► W%%%%W%SS%^*%%%^\SN\%*\%WXV^\\\N%%%%^\\\\* ^ ^nizzz liiuc IK) sym|)iitl)\ with those whose |)ni(lice is to impiitieiitly take tlie brush tVoin the l)i;^iiiner and do tlie iiaiiuin;^ thenisel\-es, tliroui^h a false fear tliat an iiiiperleii piece of work 1)\ a Ije^inner would di'siro) their reputation as teachers; iunorin^ the fait tliat all lie^inners will proiliice iniiierfeit work at at the start. \or are the teaciiers alone to hianie for this iiernic ious system. Man\ people an so ea^ir to ha\ c a l)eaiitiful painiin- to show friends or parents, that tiiis habit of tiaiiur-\\.ii-do-thc-a>oi k sssteni reci-ives (•ncouragi-inent from those who pa\ for sui h instructions. I'annts have a riifht anil ;i duty in ascertaining the character of the instructions given their ilaughtcrs, and insisting that the\ be taught ilie rutlinients hrst, and tliat the progressive stages be mastered one aft<'r the other. ("he ixistence (it mistaken ideas sometimes make it difficult to induce the. ini ■"■ling pupil to begin and continue ,1 course of instructions in a proper manner. But a few )eais have ela|)seil sinci: tlic^ stud)' of "Art ' vva^ ( onsideri d to be suitable and desirable for tin; wealth)- euK , and as a iiieans of amusement for idl<^ persons. Hut now we ar.: pleasi'd to note that these dark tlays are past and that the morning sun of a new iT.i is ujion us, and the masscrs in general are cl.iiming it as a birth- right that was alw.iys intended to be as free as th ■ air. anil designed to brighten the homes, increase perce])tions of iMautiis in nature, and retine and cheer the hearts of rich ami poor. As a result few homes can be found which have not attaini'd some degree of artistic beaut): and still fewer pi'rsons an; found who are sufhcientlv' selhsh to plac(; an imderrated \alue upon .Art work because others ol more moderate means are having access to these l)(;nerils and pleasures as well as the). It has long bc^en our ambition to su|)pl)' such a work to the Art-loving jieople of ,\merica, antl we trust we have not made a misconception of the tendencv- of the times, and that to the thousands of hom(;s into which the book ma) enter, it will bring something of the steadfast- ness of purp(jse, cheerfulness, and loft)- asijira'ions of the artists. The work h.is been explicitl)- vvritti n and c;irefullv executed, and every jjossible means of descriptive and colored illustrative power has been utilized in order to make it what the titk; pag(; iiulicates, a true "Proorcssivc Art Guide." J. 15. V. & Cu. I I f J ft ■•>^^ >. ■WSN'VNN.NNN ■Xi-V.'W.-S.'*.'^'*. \,N %. \ V^WNpN. VW. W ^ r< ■i»»i. !> ^^^■^■^^V\^>.'V\V\V\\v\\\\ $fxc Infhicnce an« gitghct ^im of Avt. Its intlupnoo in tho liomo.— In nioul.ling nml dovelopii.g individual oliaractor.— Indolil,!.- in its nature. No person so solitarily situated, or rnnslitutcd in their natinvs, as to Ije utterly devoid of surl, iiiduences.— Tho works of nature und art continually liefore im, ns "friendly guides," inviting us to a higher |,lane of life.— The eye nn„t »)e trained in order to a>MMn late suoh teaching. -The gateways leading to tho artistic storeliouso open to all.— -The gold of that land is good.' -Our eyes Mind to many sublime joys, through lack of cultivation of the senses. Functions of art, as contributing to our siij.port, happiness, und retineniint. A stuilv that nui^t be pr.ymmiv in its adv.uiceinent, iiml which should be undertaken with sinular objects of purpo.se as other' branches of e,l ,,riw;,,l-H should b,- thoroughly mastered. -Li.st of materials for oil painting, with explanations of each. — A .superior method of classifying paints. — Brushes.— The palette.— Rest stick.-How to make an easel.-f.se ..f the palette knife. -Refined spirits of turpen- tine —Drying preparation.s.-[Iow to varnish pictures.- l^itest materials upon which to paint.— Kow to prepare canvas from ordinary linen l,s 2."i »ow to mix l?uliits -.xwCL Avv.mgc the »alcttc. :\rixing paints to produce ,lesire.l tints, not so dilHcult as generally supposed. -The "three pri- nmries.' The relation of all other tints to these primaries, and liov they are pro.luced.— Ilow the a.hlition of a llunl or fourth color destroys the brilliancy or crudeness of a tint.- Kxperimental lessons on producing the greatest variety of tints 'fn.in a limite.l number of -*|* "*§*■" .'*>.NN\\SNS ^1* K-*- *-^ \VS\%\%%%%VW%^X%%%S\^,^'*^S%%\^%.\\\\S^XVN\^X«.%\\VVXN^%^%%V%\\X\X\^.\V\\\\\^%\\\\\\%V\-k\\*t.vV\Wi\niing the ri'sourceg Bncl |irn|MTtii'i> of your paints. -CJopying tlie ihnnt fiihricH ; Kttmi'M anil rcnki nx(M-lli-iit suhjcrtH for tliis pnicticc. Tiililo for mixing painlH ; /iroporliimt k'v<"' '""■ *" tint8, (louiTii, lnndiica{iCH, pditniitH, und niiKuelliineoux ciiloni." Moilifyin« Bll'ect* of I'olom wlit'n pliu'fd side liy side. - ('iniplenientH of colors. — How to arnuiKe the colom on the piiU'tto, — AdvimtageH of Hiirli an arnuiK<'iiiPnt. - The illuHtrntpd "palette koy-lMjai-d." — First |p88on in painting similar to the first Ii-khoii in niiiHiu, namely, learning the Iceylioard . 20-33 fvcUmtnavu JIugsesttons. Additional suggeationi. and encouragements.— Sp«>cial genius not neeessary in order to learn jiaint- ing. — Our bucccks in learning dc)»-nds u|>on our patience, perseverance, determination, and the earneHtness of our dehires. .lolin RuHkin's opinion on this suliject. — The most talented have to study and work, aii to Ifatnt Sht*n- liv .T. II. K.^YCROKT. Diversified views of our own country lieing leceived with greater favor than foreign scenes. — Our national scenery. — Ijin(lsca)M's a favorite with aiiiateufs; not so difficult as figure painting. - Drawing in outline as a groundwork for painting. -The accompanying outline sketches of the views, and easy iiietluMls of tran.sferriiig them to the canvas. — The "pantograph," or how to enlarge an;/ picture in ntnj size. - Free-hand drawing and coinporative measure- ment. - How to indicate and lay in the shadows. - I )et»iled instructions for painting " Ijes Chats Rapids." — The Iwautifully colored study an exact guide in coloring. New discover- ies in landscape painting. -Explanations of art terms, "high lights," "to warm," "coldness of a tint," "blending," "oiling out," etc. --The prugressivo stages of the painting fully ex- plained, instructions for mixing and applying paints for each oliject seen in the study. — Finishing touches, etc. ........... 39-48 instvttcttons tot S^atnting Hancouuev Vieiu. The magnificent mountain scenery of British Columbia and the Pacific coast Incoming a favorit« sketching resort. — The charming colored study of "Vancouver View," as seen from the gov- ernor's residence, depicts one of the nmny Wautiful mountain scenes that meet the eye in that country.— Sketching in or transfciiing the outlines from the accompanying pencil sketch.- Applying the paints for sky, clouds, mountains, rocks, foliage, water, etc. — How to represent reflections or shatlows as bring binder the water. -Another lesson on "the knack of handling the brush."— Mounting the colored studies. — How to make varnish for the col- ored mounted studies. — How to frame and hang pictures. — Additional hints concerning oil paintings and engravings ......... . 49-5fi .^ i 4 I i \^\\^\\^»^■^\^\\\^^\^^^iX^^.\\\vv^vvv*r\*\\^v\^\\^\^^\^^,^ ^^^^^^^>'^\\V\\\\\\\\\\\\\\V\\\\V\\V\ ^•■vs\\%\\\\\v\\\\\\\s\\«r\^x\%\^ i \ f DilolcfUln ilcluct, ov Jlhiidoiu yaintlng nV MI.NXIK OHOy WIIKKLKK. A ilit,v for tlio Krent.'st v,iii,.ty of ,|,..c. lativo pui-poKflH: piincls. l.racKet drupes, strips for sofu eusliioiis, plii(|ucs, -■t. . -.Mtttoriajs. Paints, tiliissilio.! list of l.rusiioa, etc. -flow to make patterns, and stamp the outlines, from the acrampanyin« sketches.— Tracing the outlines with paint. -How to trim the hrushes (ilhttraledj.—Thv names of tiio diUercnt parts of (lowers. -Uyin^ in the shiulows.-Dire.- tions for applying paint for the coh)re(l study of "Itoses, pansies, and calla lilies."- Instruc- tions for the colored study of "Tea ros.38, Easter lilies, and fuchsias. —Instructions for "Hliie- lii'll study." — Instructions for "Pansy study" ..... -,- i;i) Superior advantages of representing the work in progressive 8tag,is of completion—Advantages ,.f having it teught l,y the aid of /u/l-sized working patterns, in which the stitches used in working each design are illustrated.— The frroynimce plan possesses every advantage of per- sonal instructions from the artist. -Reasons why other meth«N of book instructions h.ue failed. -Their methods failed to show how and where to utilize the stitches, and their pat- terns were too small to Ik^ of practical use. -How to make perforated patterns ans ^^^^^^^.^^ / . 1 *f* %^%« >.> *\« t •A^«.*v««\%.<.\*.>.^\* .«.^\\^^\^•A\^\\^\^v^\%\v*\^." w^ • vx..«\*\\\\\\««\\\\*\«". .\\\^V«A\***\%*\\\V'.\\\\\\^*W •.VVK\\v\\%%^NV LIST OF (L'oloicb ifttutiics, ycmil ii^kctilKa. (Outline JJattcing .inb i^iigiaUiugi. I'lIK I'lUHlUKSSIVK AKTIST (KrouUspi.oe, on covcrl. TlIK I'AI.KITK KKYBOAHl) .'11 liKI.ATIVK I'OSITION (IK ((tl'Y TO Tin: I'AINTIM;, . . »7 I'KN'CII. SKKTllI (>!■ •l.KS ( HATS UAI'IUS," VJ I'OLORl'.D si UUY u.' "UKS CHATS RAI'lllS," 4« I'KNCII. SKI:T('II (iK "VANCOUVKI! VIKW," .V/ (•()I.(IKKI) STLIiV III'' "VANCOrVKlt VIKW," W IILTI.INK I'AlTKItN (»K STUDY (IK "I'ANSIKS, IALI.\ UMKS AMI KOSKS," . . . . M TlIK TUIMMKIt liHl-.>ll I* (ill.tlKKIi SllDV (IK "I'ANSIKS, CAIJ.A I.II.IKS AMI lUWKS, • (W> Ol'TLINK I'ATTKKN KOI! STIHV liK ■• KASTKI! I.II.IKS, IICIISIAS AXU KOI{( IKT MK NdTS," CVLOKKIi STl'llV (IK "KASTKK I.II.IK^ Kl( IISIAS AM) K(ll;(iKT mi; .\(»TS," .... ti;i •STinV (IK "liLUI'.HKI.LS A.Mi TKA iidSRS," «.-. STL'llV (IK "I'ANSIKS,' n7 Kl"M. SC'.K \V(I|!KI\(; I'ATTKKX UK Slim II THISTI.K. ' WITH STITCIIKS 1 1.1.1 STKATKI). :.-> KCI.I, SI/i: UOKKl.Ni; I'ATTKKN (IK •IKIiaVdOli KI.OWKKS." 7!! Kfl.l, SIZK WdUKI.NC l'ATTi:il\ OK "KKIi KdlM'lKS.' WITH ll.I.rsTllATKD STITCIIK.S USKH, M TlIK I'dlM'V IIKSKiX, "SdKA crsllldN, ■ KiXlSllKll. 8.1 Kl'I.L SIZK WdliKINd I'ATTKKN (IK ' KUC IISIAS," W Kill SITICIIK-i ll.l.l'STKATKIi, . . SK ! NiWVV'\V\\\-\*>,\ w^^^-\«,-i-.\\\\\\,v^\vv. ->|v •I i ^*^^^^''*^^^^^^''^»■^^^^^^^^^^^^^^^\^^^\^\\^.^x^^^\\\^^^^^^^^^^^,x^' ^^*^^\\^\ \^^^\^^^^^,^^^.^^^^.^,x^^v^\\v\\■^.^.^^^^^v^\^^\^■^ .• •VK* *T ^,,iUumc .1Mb ii/y/ -^^ of -art. 'n^^S Br .1, YorNa II F.N properly dircctcil. llic inllucnci; i-xcrli tl 1))' tin suidy of Art in tin: !\(-iin; is prohalilv ir 1-. greater tliiin at first yl.iiKf uoiilil ..iipcar. J'lic grandest and iKibiLst niDlives that can stir J the human heart an; fr<(|iicnt!y tliosc awaixLind I.) a il ou^hlfiil gaze upon an iil( al painting. 'llie kindlin;; of these ('motions arc t!ie liala.wid Imnds tiiat umonscionslv s';eni to sustain us and liind ns lo a hiu;liir ami nohlcr nature. \\\- are so situatcil in our surroundings, and constiuitid in our natures, that we arc continuall)- ojun to man) ; ubtle inlluciices, which !v 1,> to inaki: or mar us. The various phases of nature, ami nature invested liy an, with In r higher and truer meanings, are continual!)- helijre us, at our nie.ils, during our leisure hours, and when at work, inviliUg us lovingly to a higlur plane of lilc, and nobleness of char.icter, that nature's (iod would have us oicujiy a: 1 enjoy. Art, in this connection, acts as a friemlly guitle to draw u ^ away from the dissipations and deceptions of the workl ; from the deceit antl ailuremeius I of our own hearts, to naturi;'s courts .'uiil gardens, where we ma)- 'ind subjecis for healthful thought, and strength to come back to the bustle of every d,i\- life, as giants refreshed with new wine. Very few persons are so solitarily siit.-itetl in this country, that visions ot unspeakable beauty, messages from a workl above matter are ilenied theni ; x\^'v^w\\>w\xv\xMi\wv^xv'VNx^v\\>. VN.NV-^%\\VXN%N-V\-V\N ^VXV^/^.,^^.^ -V^-/- ^J*^ ^vN^xwvx ^^.x■vx^^%^ v \v\ \ ^.vN^^^\^.^'^^■^v lO The progressive o/V^ diuide. but the eye must be made clear by observation and culture to enable us to see the visions, and drink in and assimilate its teachings. But we are glad to know that the gateways leading to the infinite knowledge, pleasure and beauties of the whole universe are open to all, and that the latch-string is always outside and accessible to the humblest person as well as the highest, and all who will may enter the artistic and intellectual storehouse, and find treasures of intrinsic value. There is truly a land of Havilah open to us, of which it is literally true, "The gold of that I.ind is good." Yet, how many of us are cheated out of the best enjoyments afforded us by these avenues through lack of cultiva- tion of the senses ; or by being too closely occupied with trifles and fashions, or, perhaps, by thinking that the only source of happiness lies in a heated race for wealth, and hence, our eyes become dim, our senses numbed, and the avenues of our thoughts become closed to all those sublimer joys placed within our reach and which are the heaven-appointed birthrights of our common humanity. We have but to surrender ourselves to these friendly elements and place our- selves beneath the radiating influence of art, and all nature is for us. But how best to assimilate these friendly elements of nature, and benign infliiences, benefits and functions of art to our support, refinement, enjoyment and culture, is the great object. To this we say, only by obser. ation and properly directed study, which begins at the first principles, and advances, naturally and progres- sively, from stage to stage ; but not by mere injudicious grinding, which of itself will produce nothing but dust. If our object is to obtain flour, we must have wlieat first, and that coine♦^^•> The i;aflw;^:c a-d 2 fisher ^^;^T^ :f o^(ri. 1 1 anil atterward the full corn in the ear, " and lastly comes the grinding. Tlie study of Art should be undertaken with a view to the furtherance of the grave purposes of life, with similar objects of purpose as other branches of education, and not simply as a means of graceful recreation for leisure hours, but with this great fact ever in view, that all great arts have for thdr higher aim either to contribute to the support of life or its exaltation and enablement of character. Art influence in the home can only be estimated from the immense force of its impressions. Its prerogative is, to make those impressions upon our nature, and give that nature the first direction onward and upward in the moral channels of all that is good and beautiful. These influences are indelible and lasting as life, and have a tendency to sweeten the whole cup of life ; .and its restraining and elevating influence is so lasting that it cannot be easily shaken off; nor, indeed, is its happy recipient anxious to discard such sin agreeable companion, that walks with us in youth, follows us all through the journey of life, clings to us in death, and fits us fo: the enjoyment of the beauties of heaven. From this we may infer the character of Art influ- ence. It is like the mighty St. Lawrenci;, calm and deep, yet moves on in silent overwhelming power. It is great, silent, irresistible, and lasting, and amid the most trying storms of life, it infuses a softening spell into our hearts; even when the cruel world is closing up the sources of sympathy and love. Who does not feel this influence ui)on ;ill the diversificil habits of life ? The young hearts are gladdened l)y it with the hope that tl jy, ere long, will be enabled to accomplish much that is , -;iutiful. And tho.se in the prime of life will tell us that many "f those reliable principles and noble accomplish- ments that en. ch their souls ,in: those begat by the influence of Art in their earlier d lys. The aged, as they dote in second infancy, feel its in- fluence, and look with mingled i)ride and pleasure upon some article of their own handiwork. It will cling to us like the scent of the poet's vase: "You may break, you imiy shatter the va.se if you will, But the scent of the niies will cling round it still." .v^■NN■vv^v^^v^\^^^^.^.v^.■v■v^V*^.xvx I I I A^%^.^iV^.^.w■v%^.^.v^.x^,■^.\\^.^.WV^X^Wx\'WkfcV . a.\xvn\\ ^„^.^^x\^\N%^l^N^^vxv\^\ ^.^.vvx■v^^v^^x^^'*^^^^^^^WN"».%^^ -v^^- ^Y^ The influence anil study of Art cnaljle us to (brin some idea, not only of what we are yoini^ to lie in the world, liut also of wliat wi; are going :o do therein. Its influence in moulding and developing the individu.il charact;?r a'oiig intellectual and moral lines, cannot he easily overestimated : "Ingenious Art with lirr oxjiressive fivce Stc|« fiirtli to fiisliiiin iiiul roline tht! race." Oh, beautiful Art ! so luMicticial in its influence, and tJiat places such glorious possibilities within our re:ich, what i.-. tliL-re not in tlu(- ? An abK; writer has very truthfully said, "It is good not to have been born earlier than the nineteenth century," w'len we can at least enjoy the d iwning inflLi- <;iue of Art. Hut UKUiy of us, no doubt, could have rested C(3ntint until the twentN-first, by which time we have reason to believe that it siiall have '•eached the climax of noonday. Lut us hojie, howev<-r, that with its present onward m.irch this glorious heritage may be OLirs. .\nd ours it may be. in a degree at least, if we do not content ourselves with a rutliment.iry knovv- h'llge only, or feeding upon husks while a little farther on is w /aist of true bread. Believing, as we do, that the higher our aims are and t''.e greater our exertions, the more ai)t are we to reach that "noonday" anil bask beneath its radiating and refining inlluence. The influence of .Xrt, in the hands of really good and clear-headi-d men, has been made to play an important p.irt in the portra\al of scriptural truth .ind in the [promulgation of religious thought and teachings. Thii Sabbath-school teacher of an infant class, who is able by a few strokes of the cra\i)n or [xMicil to coiney, through the eye, to the mind true conceptions of the teachings of ('iod''s Word, possesses superior power of imparting knov.ledge to his pupils than the one who lacks this power of delineating or disregards the advantages of such an object lesson .system. .And, thus again, the missionary finds th.it tiie heathen catches the meaning of his teachings, .-ind ln'lievcs more rc.idily, whim they are pictured out and brought \ividly before his <•)('. While we recognize this powerful .ind admir.ible function of ,\rt, we sincerely regret the fact ttiat it has. in -. \ \i VK'W V \ Ni VN Ni-^N NiS. N^NN \ ■\.*W\ ■VN*!, -^: L. 'T**' '^ '"' , »r>",. *.a ^ ,| .y|<.. tli<; h.-mds (.r tlv promoters of Usr ivli-ions. wroii-ht harm, an.! been iua.lc use of. in ', lir;-.iiau and ii,:ath<'n lan.ls, i-, in,iillin-- talsc tcafhi:i-s and wroiiL;- conceptions of tin- Peitv. I li(' Hiiryeon, ahoiiL lo perlorni an inlric.ite operaii.in, who i-, ahle ii call to his aid sLit'ticient lorinalive Arl-i^ower as will enahh; him to make a model of thai particnlar portion of the l.odv in putty, ..r similar siihstance, and /oi.i/i- the art<-ri.s in the same, and sindi-s upon this model how he may avoid a possible .Lmo-r, will, l,y th.' ai I o!' such means, materially lessen the dan,L,a'rs, and perform it with assur.mces of ultimate sii -cess. If space I'ermitted, we mi.oiit enumerate- the l.enefiis ,uid inlluences of ,-\rt ,im()n,,r all professions ;ind trades, and in ,ill the \arious w.ilks of lif, . Man\- of t!ie most prominent si.itesmen, distin-nish.' 1 or.itors, and lluent preachers owe then- success larLrely to their vivid imaginations a;i.l remarkable powers of oliserva- tion and description, which wer<: deve!oi«:d l,n-,u^ely durin- those ijcriods in which they freely used the pencil ,ni 1 the" brush. We observe, also, tii.it l.ulies who have a knowledge ol Art m.ik., the best housekeepers. .\ youn- l.idy who has been t lu-ht accuracy by a course in drawin.i; and who h.is had her eves enli-Iuened b\- the studv and pr.uuice of paintinl,^ will m.ike her home the rich^■r and b.-iter ordered throu-h the advanta.i^es of such a trainin, X%V\\N\\N^XX%N' 14 ^he ^rogrcccive si/\ri (aaide. cr One of the most common mistakes of tlie present clay is the failure to utilize to the fullest extent that which we have learned. But the higher function of all true Art is to untold to us the fullest extent of ascertainable truth con- cerning visible things, and to reach and develope our finer emotions and moral feelings. The artist who addresses his work to the intellect alone, no matter by what clever sophistries he may defend it, is evidently confining himself to the lower range of his functions. Art has no mission to imitate nature, but has a higher aim and range of meaning ; and if it employs con- ventional terms and commonplace subjects, it does so only as an aid, and not as an end. If an exact imitation of nature were all that was desired in a picture, then an ordinary photograph would possess superior worth to that of the most brilliant painting. But the painting is valued pre-eminently because it has warmth, life, expression, and richness. It touches the emotions more than the reality, because it possesses that which the reality has not, namely, individuality, depth, and suggestiveness. The true aim is not a servile imitation of nature, but an investment of natural forms, realities, with a new and richer meaning, and thus it becomes something niore than a mere photo- graphic representation. Art, in t' is higher sense of the term, has a meaning, a purpose of its own, a lesson to teach, a m ssion to fulfil. Its mission may be defined in various ways, but its true aim is always .something more than an appeal to outward sensibilities. Its mission is to cultivate the higher emotions, to draw out and develop the nobler and better part of man. It is fair to judge all phases of Art as we would all forms of books, namely, by the impressions they give, the lessons they teach, and their possible future influence on conduct. With those who believe that life is something more t'-an a measurement between the cradle and the grave, t!iat character has a relation to destiny which is not dissolved by death, and that the results of conduct are carried over beyond the bounds of this earthly exist- ence, no Art, no learning of any sort, can be considered ajjart from its moral purpose and results upon character. It is a fair test of a piece of Art work to ask, Does it teach purity, goodness and generosity ? Docs it draw the gazer away from the mere consitlerations of self? Does it carry the mind V\'V\\\X\V\^^%N%VNW%^N.\\\,\V ^.N■w^^\^\^1.\v■^^^.^\-v%^^\v%^\■ \\%\'VNN^%\V\WVV%'W\-\\%-V^.%%\^% ->|<" A<- •\\W\.\\W .\-\-\. .-^S Wk-\-VV\^\\\'S\-W\\y,;w,.\\ '~m _;r.T.uc :c :^r.; into new cliannels of n:tiiiinjr tli,„ij,r|it, ur ljrin.L,r a hit of natiirt' iVuin tli(.- fields that furnishes an aid to siilf-ciilture ? Docs it indicate a noi)lc thouLfht, or depict an heroic act ? Has it a tendency to refine, to make us nobler and braver? When these are tiie j^redotTiinant motives, mistakes and Ijlemisiics in execution may well he overlooked and excused; hut when tht:s(- motives are lacking, no grace of expression, no superior touch can alone for them. Art cannot he admired for Art's sake alone; that is, Art ahstract(;d from its deei)er meanings, higher aims, and moral teachings. We must jud;re a piece of Art work, not so much by the simple quality of its construction, as we would by the suggestions it affords, the emotions it arouses and the lessons it teaches. No painting that does not answer these, or similar questions of motive, purpose, and meaning, is worthy of the appellatit)n of x>r.i/, oood, or beautiful. And no painting that is impure in its suggestions, cr derogatory in its teachings— no matter how near a moch^I of perfection it may be in coloring or e.xecution— is fit to find its w.iy into any home. Another mission true Art is to furnish; high ideals of civilization, advanced examples of noble- ness of character, which register the high water mark of civilization. One of the highest things that Art can do, and do sLiccessfully, is to set before us a true representation of a noble human being. Much of the march of progress from barbarism to our present state of civilization is due to the prominence given directly, or indirectly, to the great ideals of ch iracter in every age. Especially is this true concerning the Ideal of the Christian religion. Let us not become too desirous of painting life as it is in its fallen or reduced state ; but rather to furnish ideals of virtue, beauty, l(nliness, and goodness. The words of Alice Gary have a forcible ai)plication in this direction : "You, sir, know That you on tlin canvas are to repeat Tilings tliat are fairest, things most sweet, Woods and cornfields, and mulberry tree; The mother, the lads, with their nest, at hi'r kneo. But, oh, that look of reproachful woe ! High as the hcavfuis your name I'll shout Tf you paint me the picture and li'avo that out." ^ >(Xk *"'^'^^'^'^'^'^'^^^^^^^^^^^^ t ■■^■*■'^^>■^.^.^^x■,.^^^^.^^.^,^.v^.^. «^^ ^ I f. ^' 3 ail ^- .N\^v^,^^V^l^.x•v^^w^.VN^.^.^v■^^l^l^,■^\l%^l^v^v^^v^x\w^^l^lV\x^^ ^NNNV\\W\\X^%NX^\.K\VV\\\^rNX\%.\K\> •■VVN.X^V^.WW^N^'VW^.X^AWA.^A^'V^NW'VNifXN^^ -V^^- ^f* i6 TKc "^rcsrcccivc o/lri iSiuidc. It is in tiiis direction tin: fovcr. of iinpaissions of true An, j^iven almost unconsciously, will make itself felt almost rcsistiessly. Tlicrei is no scarcity of pictures of unworthy persons; l)ut Imw few tliere are of the truly best men, or their noble actions. What an ini|)ortant factor would have been contributed to the history of Kuro[)i! if it had been tlie object of the people to discern, and of their artists to honor and Ixar record of the great ilreds of their wortiiiest men, and thus bear record of human acts that invoked (iod's blessing, and given less piominence to those whose actions were such as deserved His anger. Had the Cireeks given us accurate representations of their great philosophers, or portaits of the heroes of the battles of Marathon and .Salamis, or drawings of the battles them.selves, they would have rendered us, by such iiistoric pictures, and tiieir country a more signal service tiian they diil Iw all the va.se-paintings, on which tlie numerous representations of wiiat tiiey fancied to be the figure of the gods are painted. And so in our own .ige and country prominence shoulc be given to [jortraits of really good men and women ; persf)ns who have made the country wiser and better for their having lived in it. The picture of a great man increases our interest in him, and leads us to enquire into the secret of his greatness, or nobleness of character ; and as we gaze up;)n his life-like features upon the canvas, and know something of his life, it would almost seem as though he were speaking to us, i ncouraging us to follow his virtues, or perchance admon- ishing us to avoid the errors that prevented him from reaching a higher degree of perfection. In view of this, does it not behoove the Canadian artist of to-day not only to give to future generations faithful representations of our natural scenery as it now e.xists, but also to leave upon canvas portraits of the great and good men ami women of the present age, as true and salutary indexes of the moral purity of our thoughts, the loftini'ss of our emotions, and the intellectual state of our minds. And if tile higher aim of Art is to be attained by us, we must study, drink in and assimilate it, so that its nourishment becomes part of our nature, invigorating our life with its inspiration, enjoyments and wisdom. We must not rem.iin on the outside of the great Milan Cathedral if we would enjoy the grandeur of the jiicture produced inside by t'le morning sunlight streaming V \% V\,\ >. ■V\,%'\'V ^%'W'\.'\.*w VX X J ^. i 4^ ^^^^^^^x^^^xxv^v^^■v^^%%x-.xxx^^^^.^^^x^x^^^N' NN^N^-N^^WNWW^VWWXXS -^ '.no. influence ana, ^(igher J^'\n\ cf ^•(,-;. through the beautiful stained-glass windows. .\s we go inside what a magnificent sight meets our eyes! So if we would bask in the sunshine ot Art, we- must direct our steps towards, and endeavor by steady advancement and close application to re.ich and enter into, its endearing and ennobling shrine. Art must be studied to be fully appreciated. And in view of the increased attention, the marked strides ci Art advancement, and the present increasing refining influence upon the hearts of the people, we predict, through the budding of Art, many new joys, happier homes, and jjurer lives— as Words- worth says of nature : — '"Tis her privilege, Through all thu yreirs of this our life, to lead From joy to joy ; for she can so iiiforni The niiiid that is within us, so impress With <|uietni!.ss and ln'iinty, and so feed With lofty thoughts, that neither evil tongues, Kiish judgments, nor sneers of seltish men, Nor greetings where no kindness is, nor all The dreary intercoui'se of daily life, •Shall e'er prevail against us, or disturl) Our cheertul faith, tliat all which we behold Ts full of blessings." *P\Yf^* ^i^.v^.■^%v^.^^^.^.^,^,^.x S\\\\\\>.NN A ■v^.x^^v^.^.^ v-..^ A^>.%\\\ .VX ♦>!<► r "^ >V^wwvvx^/vwx% X X ' xw .vxx\xwxv\^\^^^^^x\\Nx\v^^xxv%\\^,%^A^\^XN^\x\xx' ^ |8 ■^hc "progressive ^'^^rl Suide. ->>'*'>^Vt>^!^<«- N these days there are few persons who are not influenced I more or less by the cliarms of oil paintings. The great variety of suhjects, supplied in almost every phase of nature, in flowers, 'landscapes, animals, portraits, historic scenes, etc., which are capablt of the most accurate representation through this medium, all tend to make it a most interesting and fascinating branch of art, ami justly commands for it a foremost place. The rapidity with wliich we are able by this means to convey through the eye to the mind the numerous lessons and beauties of nature is one of its greatest charms. Subjects that would take a considerable time to depict in water color can be executed most expeditiously by oil painting, and the most brilliant effects obtained. There is proljably nothing that tends more to the refinement and development of the better nature of men and women than the study of nature through art. To a person whose mind has been directed to and follows the higher teachings of art, the beauties of nature will speak to him in a language formerly unknown. The most common things will possess a peculiar charm; the beautiful sunset will no longer pass unnoticed ; the natural woods will furnish food for healthful reflection, and become something more than a mere hunting ground, in which ^ V\%VVN^^>Art.^rt»^^' .WWN.^^W^^A*^VX%XVVX■V^^V V%'WV%%X\%%.WN%V%%'VXXWVVW%>iX^\ -^ ^^^^.■.^^^^^^x^^^^xxx^^x^^x^^^^x^x^.^^^^^^^^^^^^^^^>,^^^^^^^^^ ^\X-«.V\\%\\^Nvv^^^^V\VX\NNXV,.vv\^v AV.V.V-^^ 11) to k,ll and destroy, in fact a hunter thus inHL.enc.d will take man- pleauu-e in slu/ying the merits and habits of a hannlcss bird, than in shooting it • and th. heretofore thoughtless youth will take delight in straightening up a ,,artlv broken lily, rather than ruthlessly striking it to the ground with his cane y\s we prosecute <,ur studies in art. let us endeavor to keep its real henefus, higher teachnigs and pleasures in view, and remember that the true enjoyment is not to come from a mere perusal of the rudiments of instructions. These are the essential means to an end, but not the end itself. And as the first principles and a thorough knowledge of the various processes of painting is absolutely necessary to its full understanding and complete enjoyment, we will endeavor to ft,rnish a reasonable and easily explained system of instruction, and omit nothing that will aid the youngest beginner, knowing that if the end is kept in view, and the reasons xvhy certain preliminaries should be carefully studied are given, the reader will be materially encouraged to prosecute his studies patiently and progressively. We will begin by giving and explaining the full gt«t of piatttiaU fo« ®U IPatnttttfl. I'AINTS. It is necessary at the commencement to have a complete assortment of paints. We do not mean that the reader is to supply himself with the numerous ready made tints often reco:r,mended by careless dealers ; but have a limited number of reliable, well selected colors, and by learning the resources of these paints, by mixing them one's self, we get sufficient variety of tints for any purpose—flowers, landscapes or portraits. The following classified colors will be found reliable and suitable for all subjects : WHITES: Silver White, or Flake White. YELLOWS : Yellow Ochre, Light Cadmium, Medium Cadmium, Orange Cadmium. REDS : Vermilion, Light Red. Indian Red, Burnt Sienna, Madder Lake. ^ ■>■^^.^.^.^.\'^^. \ ■x.'vA.x-x.i. \ >. V NV\VX-WV-«.>.>.v^^-^VX\.^VNVX%%%WV%>. ^ ^7r .\\'\\t.\\\\\\\\\\\\\\\\\W\\\\\\\\\\\^'^\\\\WS,\\\\\\\\\\\\\\\\Wi\\\Kt^^i f 20 'Kc "progrcccivc si^^rl Suiae. BLUES. Pemuuieot Blue, Antwerp Blue, Cobalt Blue. GREENS: Terre Verte, Light Ziaober Green. BROWNS and BLACKS: Raw Umber, Bone Brown, Vandyke kkt>wn, Bitumen, Wary Black. The cheaper yellows which arc used instead of the cadmiums are the chromes, which come in three yrades, namely : liyht, medium and orange ; but as these are fugitive colors, and will in time turn black, they arc not generally recommended for any painting intended to stand the test of time Other colors may be added to the list na ned, but they are not absolutely necessary, as almost any desired tint may Ix; made by mi.xing the above named colors. But as tlifferent artists have their favorite colors, and fheir own way of going to work, these will be given with each study, by the artist who painted it. BRUSHES). When purchasing brushes for oil paintings, note that there are two kinds used, those made of bristle and those made of red sable. We recommend the Jltii bristle brushes in preference to the round ones. Select brushes in which the bristles are s/wr/, rather than the long ones. It is a good idea to have a good assortment of brushes. About six or eight flat bristle brushes, from one-eighth to an inch in width. Two or tliree English or French sable brushes, having flat points, numbers 5, 8, and 11, will be needed. It is not necessary to buy a special blender, as a clean, dry, flat bristle brush will answer for all the blending of the skies and dragging together of the edges of tones that are necessary. PALETTE, EASEL, AND MAUI. STICK. A good size palette should be selected, so as to have plenty of room to mix the paints, and keep each plat apart from the others. The palette should be from eight to ten inches in width at its narrowest part, and about sixteen inches in length. Obtain one that is unvarnished, made of cedar, (or similar I ' 1 ,:| '•>^v '^**^^^^*^*^*'^**^*^*^^^\%^^^^\^^^\^^^w.v%^%\^\\^\\\v\\%^\^^\\\^^%\\\^\\\\\^^^^s' '*^^^N'«VV\\N\\\V'^\V^\\\\VVVV^%.VWW^%.VS.\\- ^. ->f^ ^ytaterials hr ©il "painliag. 31 wooil) and of oval .shape Ik-fore iisin>(, it should In; well oiled with linseed or poppy oil, applying the oil thickly and Kitting it soak into tin; wood. Tho easel may l)e cheap, or as elaborate as suits the readt;rs purse, (3ne lor ordinary use may be maile from three straight bars of pine wood, of about six feet in length; each bar being one and a half inches wide by three- fourths of an inch thick. A number of holes an: made at e(|ual distances in two of the bars. These two bars are then .st.-urely fastenetl at the top. The third bar is al.so attached at the top, by means of a hinge, which permits the easel to be raised or lowered as desired. Two wooden pegs to hold the painting in plac(' upon the easel, complete this necessary article. (See illustration of ea.sel in chapter "Preliminary Suggestions.") Th(' mahl stick is used lo steady tiie hand wiiile painting. It, as well as the palette, is held in the left hand, while the knob is resteil against the painting, thus affording a good support to the right hand while painting. It is not an absolute necessity to tiie list of materials, as one of the brushes held in the left hand in the same manner will in most cases answer equally as well. The other articles necessary may be summed up briefly: a bottle of .Soehnee's French Retouching Varnish, a few sticks of charcoid for sketching in the outlines, a bottle of linseed or poppy oil, a bottle of refined spirits of turpentine, and a PALETTE KNIKK. This is used for mixing paints before they are applied to the canvas. It is also used in applying paint to repre.sent objects requiring a thick appli- cation of paint, such as stone, mason-work, rocks, rough, rocky roads, etc. The npplication of paints with a palette knife should not, however, be attempted by a novice until he has had considerable experience with the brush. It may not be amiss to mention the use of REFINED SPIRITS OF TURPENTINE. It is simply mixed with the paints for the /irsi coating, only to make them dry quickly, and to clean the brushes while painting. ,N-.',V>.V ^%-.\* .I.-, .,-v^.-*»s\x■w*»•v^.^^^^.^,\,^.s.■. 'V^S'W^ k\ \NVW\ \ s% > \ x\X% V. f^VW^%V\^W«%«\%VW\V\\^N%^^V\%SVWS\\%\\%\\X\XXWV%\\X\\^%V\%V^VNA>^\S\V\N^\\\\\\\\\%\%\\^W^%^M ■'4* 32 - "^he "Progressive ^[d Guide. - SICCATIVE 111-; (Ol'RTKAV ANh Sl( ( ATIVK HE IIARI.KM. These are drying preparations (either of which may be used), which when mixed with the paints, cause them to dry quickly. "Siccative de Harlem" is mixed in e^ita/ parts with boiled linseed oil, or poppy oil. Either of these preparations are good, bu» "Siccative de Courtray" is a favorite with many, and should be used in the proportion of one drop of siccative 'o Jive of oil. Be careful not to use too much siccative, as the painting is apt to crack if dried too quickly. It should alunys be mixed with oil, when one wishes to finish up a picture rapidly ; but when each coating of paint is given plenty of time to dry before resuming work, poppy oil is sufficient without the siccative. varnisiiim; paintings. It is generally known that a painting should not be permanently varnished until it has been painted a year or so ; but as the paints become dull when dry, a temporary varnish called "Soehnee's French Retouching Vainisii," is a|jplied, which brings the colors back to their former brilliancy, and wil last .i a year or so, when the painting may be given another coating withou' iioing it an injury. Before varnishing a picture, be careful to remove all dust, and wipe it well with a thoroughly-damped, clean, soft cloth ; as soon as it drys, lay the painting Jial upon a low table. Now clip a large flat bristle brush into tlie saucer containing the varnish, and pass it back and forth over the painting in long sweeps, commencing at the top, and work towards the bottom. This must be done quickly, as the varnish dries very rapidly ; ami must be done carefully, so that no spots are left uncovered, as it is necessary to completely cover it as you go. One can ascertain if there be any parts not covered by holding the painting up to the light frequently while applying the varnish ; should such occur, immediately pass a brush, full of varnish, over the part before proceeding with the rest. Do not be alarmed if a froth, or bluish mist, shows on the painting when varnishing, as this will disappear when dry. 'jtti^' *""' -- — -- -- - -- '^(M* *^^**^***^*^^^^^^^^^*^\^^^\^^\\\\^^\^\\\\\. *^*^^^^*X\%.\%S\\\%%\%\%NS^S. ^\\\\%>^\X%NS^AK^\VN,^N.V^VS^^SS^X\%\< A^^^^\\\\^^^v^.vx^.^,^A.^^ «>(rk^4 }(taUrials for Sil "painling. 2,^ CANVAS, Mil. I, llii.AKhs, ACADKMV IIO.VKIIS, KIC. Of late years there has been such an increase nf materials upon which to paint, that we will not at'empt t.. cnuincrate them all, hut Ix; content with notinj,' a few of them, and offer a f.w brief suj,rjr,,.stions rej,r;,r.iin« them that may b.- profitable to the new b<:iri"ner. Aj^ain we say, ,4-,/ ^'""^ materials in selecting,' your canvas, etc. With jrood tools ,uui jr„„,| materials you can do K"<«1. lasting work. It is ,1 cie.ir case of " false (tccnomy " to use cheap cotton canvas for a painting' of any importance. (iet th.it made of Jim^n. as the cheaper kind made of cotton will shrink in time and cr,i> k th-: p.iinting. The canvases manufactured by Windsor & Newton are amon^r the best made, and may be bought by the yard, or stretche.I in wooden fr,un.-.s. of different sizes. This comes in four different vaneties, vi/.. the um^le primed, the smooth finish, the taul/ed, and ///.- Roman canvas. Th(; List name-d is ver\' coarse in texture. It is purely a matter of taste as to which is chos.-n. But the sin-le primed is a ,irood canvas for all kiiuls of paintiny, and is kept l)y all dealers, and may be paint.d upon without anymore preparation, although some artists furtlKT prepare it by paiiuin^ it thickly all over with a liKdu gray tint. When this is doi..; it must be allow,,.d to dry .\ ■^\w\\\v Y V%WN%%X\\N.\\V\\\\\.%V\' !«■ ^^V\^^.VXXXVX^\^X\^^^x^iV^.^^.^^■vv^.^^^.^^ \vvv^^^\^^^^•»•*^\\^^»\^'*^x^^*^.^N^w^^^\x^^^^\^^\^\^^\^^^^^\^^^^\^^\^.x^^ i\xv%\\\\>>.\\\N'v>x\'\\w ^ 24 - The "?roores2ivc si^^rl Suide. foundation equally as firm as wooil, and will not warp. They also possess a fine smooth surface upon which to paint. But for large paintings, the canvas is always used. When possible procure the canvas ready stretched upon wooden frames of different sizes, as the cost is moderate. But for the benefit of those who may live a distance from towns and cities, and find it sometimes difficult to procure the canvas in frames of the size wanted, we will endeavor to explain the method of stretching, and describe how to make that simple little article called THE CANVAS FRAME OR STRETCHER. Those who buy canvas i)y the yard must necessarily cut it, and ha^re the stretcher made to correspond with the size and shape desired for the painting. Procure four bars of pine wood, measuring an inch and a half in width by three-quarters of an inch in thickness. The length of the bars of course depend upon the size of the subject to be painted. The upper side of the bars over which the canvas is stretched should lie planed perfectly smooth, and slightly beveled towards the inside. They are then mortised together, in the same way as a slate frame, and are made oblong or square, as desired. The mortises are to be made so as to fit neatly, as no pegs or glue must be used. Four small wooden wedges to be used in tightening up the canvas after it has been tacked upon the stretcher, will complete thf frame. Now cut the canvas three-fourths of an inch larger a// around than the stretcher, so that the canvas will be large enough to permit it to be tacked to the outside edges of the stretcher. The canvas is attached to the stretcher in the following manner : Place the stretcher upon the canvas, leaving a margin of equal width all around. Now catch the canvas in the middle of one end, and turn it over the outside edge of the stretcher, and drive a tack there ; then take a pair of pincers and catch the canvas in the middle of the end opposite, drawing the canvas tightly ; insert another tack. Next, jjut a tack in the middle of each side, ;i!ways tacking the canvas to the outside edge of the stretcher, and uot on the fiat side. Be sure that you get the canvas on evenly — not pulled crooked or bias — before going further. If such should occur, carefully draw ♦ >W< « '•'■'■^^^- ^^■ ^>.%'\.\\N%V^X^ . x^%%%N%%^^ % w^N■VN^^v ^v»■%v^■.^^^.^.*^.^,^■^,* '.■^.■* ■».•».■».■ ,■.^.^.^.v%■^.^•, VNV^N^-VVW-" r^,u:iicris.lc fcr Si', '-ciir^iins out the tack (using -.'. hi.oJ), ami stra.Vhten before proceeding further. Now drive tacks a\ the corners and middle dis ances, using the pincers to draw the canvas over the cutsi.le cdg^ «f the stretcher, cac/i time a tack is inserted, and then put the tacks an incii and a half apart all round. You now in.ert one of the wooden wedges (mentioned above) at the >//r msic/e corners of the stretcher. A slight stroke of the hammer on each of these will spring the jo nts apart and stretch the canvas to its full limit. This is called /(rj'fM^ up the canvas, and is cpn'te necessary to remo\-e wrinkles. PREPARING C.\NVAS IKOM dKDINARV r.Mll.K.UIlKlJ l.l.VKV. I here are numerous vva> s of preparing canvas for painting in oil, but mo.st people prefer that vhich comes ready prepared by e.xperienced manufac- turers, as paintings executed upon sucii janvas w II not crack or peel off, and can be had in different shades. Some of our read.rs, living at a distance from art stores, may wish to prepare their own canvas from linen, and thus econo- mize in this direction. The method usually adopted is as follows : Procure a piece of good, strong, unbleached linen, the desired size, and see that it is evenly woven ; the edges .should be hemmed to prevent fraying out. It is then fastened to the stretclier, in the manner described in the foregoing paragraph. Key it lip sufficient to tighten it fairly well. You now make a preparation of thin liquid glue, and spread it all over the linen, as evenly as possible. This must be allowed to dry thoroughly, when you then give it a coating of light gray paint, made by mixing silver white and a little ivory black, made ciuite thin l)y adding tur])entine. This makes what is called the sinok prhncd canvas, and is preferred by many without any further preparati'-n, a-ul furnishes a very agreeable surface upon which to paint, the threads ot the linen show- ing through. The smooth-jhiiJi canvas is the result of still another coat of paint, thinned this time with linseed oil instead of turpentine. '-f*- ^.l.%v^%^^^.v^xv^\^^v^N'k^^x^.^.^^.^.^^^.^^.•^^^^x^NNN^.^ 26 ■iHe "progrcjci"."'? c^^rt (iiuidc. EBBEEEEEEEEEEEEClECilgEKEEKagEgKBEEEEBE ' 'V^;: ^//^ u LIEELCLZEEa _ m . _,_ f'^y:^ HE problem of combining difft.Tcnt colors in order to produce a desired lint, and know just how much of each color to use, is per- haps one of the most formidable difficulties that meets the new ^^^^^^S^ beginner. It will be found, however, with a little properly directed study and practice, not to be so difficult as would first appear. Strictly speaking, there are but three colors in nature, these are red, yello~u\ and biiic. These are known as the " Three Prima- ^ ries." Orange, green, purple, and all other tints, are simply composed fi-n!;i those primaries. When regarding a color in nature, or in a j colored study, if it be not one of the ijrimaries, the reader has then to consider in what de-gree it is composetl of them. For instance, if orange is the color under consideration, tlu' proper quantities of red and yellow must be determined by mixing a little of each, and then adding a little of one or the other, until the desired sliade of orange is oljtained. If green is desired, mi.x the yellow and blue together, adding a very little red, to subdue the brilliancy of the green ; thus, again, with purple, which is made by mixing red and blue, di<; addition of a little yellow destroys its purity. In the case of orange, a little blue mixed with the red and yellow will subdue its brilliancy. It is impossilile to say just how much of each pamt is to be used, as this will depend upon the tint desired. The reader must learn by practice, how to I* » >--*-'->--■•■>««■- ■•--*»»«-»- *^tt>K' j* ^. .^^^^^x^^^^v^^^^^.^^^^^^v^^^^^^^^^^^^^^^^,^^^v^^^,^^^^^^^^^^^^^^^^„^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >,,JjciRg"?:iin:£ and. J'[rr^r.^.r.^ ih: mix paints in their proper proportion, and it will soon l)ecome almost a matu-r of instinct, to feel just what color is needed to produce i\ certain tint, or to counteract too much of something else. It is a good practice for a beginner to -exijeriment, and see how many different tints he can make, out of the paints he has at hand, and thus dis- cover their properties, and learn their combinations. For instance, take a piec; ol mill board, rule it off into numerous ecjual .scjuares. Commence witii the pure paints, as they come from tiie tuijes, taking Antwerp blue, light cad- mmm, and wliite ; and by mixing them in diffet-cnl pioportions, see how many different shades of green you can make, and fill a square with each shade. Now take madder lake, cobalt blue, and white, and see how many differ- ent tints of purple and violet you can make, in another row of squares. It will be apparent (even to the untrainetl eye) that the different colors, as seen in the various sc[uares, lack something , altlujiigh they look quite pretty, and we feel that so>nc//iin^ vurc is needed, to gi\(; the green the pro- per quality. So we again mix Antwerp blue, light cadmium, and white ; but tins time we add a little ivory black, and vermilion, and notice that the freens lose their crudeness, and we have before us the right shade of green to rejjre- sentthe greent^ seen in leaves and foliage. Now mark off some more squares, anil by mixing these Jive colors, varying their pro|)ortions, see how many shades of green can be made. It will prove interesting to compare these shades with those squares of green having no black or vermilion in them. This is the way all colors are mixed t'or painting ; but do not mix them too much ; just enough to make them combine nicely, as too much mixing has a tendency to make the tints dull. Remember, also, that no color is used alone (except in moleskin velvet painting), but must be mixed with those that have a (pialifying effect A little ivory black may be safelv used with everything ; and white is almost ;dways mixed with other paints, sometimes in very small (piantiiies. .Another practice, in mixing paints, is, to place dilfurent materi.ds of cK P beside the easel, and co[)y the shades on experimenting, mixing one color with anotl.er, antl ail mil bo.u-d. It wil llllU require a of ll lelli litll. a little us anil a little of that T 4 -r us IS an excellent practice for a bcinner collection 1)1 ^>|<. \.'^xw^x-\\%-v >. 1. >.\.'\.\^\ \\ W -vvvv s. ■ ^ ■*>• ♦ <*■ * *f<- .^.v^%^,■V%^^.■wv^%^W^.%%^%'V^.N^.^x■\^N^.^.^.x^^^.^.^.^.^^. ■^^,^x^.^.■^.^.%v^^^.^%^.^^.^.^^.^.^ .v^,^.wx\v%\\xv^.%%\\%v^.^.vvvx'wwv^.x^.^<^m^• 28 TKe "Progressive ^Irt Siuiic. small stones of different colors, pieces of rock, are also desirable subjects for this practice. We append a table for mixinjr paints, from which the reader may gain some points of value. MUcellaarons t'olon. Brown.. . . Green Purple. . . . Crimson. . . Veimilioi) . Lavender . Buff. VAins. Ivory Black. Emerald (ireeii. Straw Fire Gold Silver, Steel, or Glass. Marble Black Clear White PrnsBlan Blue. Vermilion. 3 8 IS I Light Cailiuiuin or Yellow. White. Porlrall Colon.* Flesh Color Sallow Color . . . Lips and Cheeks White of Eyes. . Hair. Black .. Golden . Light . . Auburn. Grey. . . . Brown . Lanilienpe. Deep Foliage. ... Light Foliage . . . River Water .... Ocean Water . . . Sky at Noonday. .Sunset Mahogany Oak I 10 20 50 50 50 I 10 Eyra. Ha/el I I 4 Kliip ' I I I 5 Brown 3 6 6 I 2 •For Portraits, Blue B'ack, Lljfht Red, Rue Madder and Yellow Ochre are all mod, proportioning them I8 hent iu:ta thj luhjoot. ■\^^.^^.%^^^.' %nn\ ^.v\vv^..v^v^ vx^ » .^V%\>.*^VV\\X'*\ .N •\>W' ■ '^fflV * xv^^^^,^^%^K^^^^^.^,^^,^^.v^.^^.v^.^^^^.^^,^,^^^^.v^v^,^v^^■^.v I^-/[i2ciRg Ipainlc ar.d. ^-(iTaagirvg the "palclic, ^9 MODIFVINO KKFK.IT OK TINTS, WFIKN PLACED SIDK MY SIliK. It would be well for the reader, nt this juncture, to note how different colors modify each other by being placed close to, or side by side with another. It will be found, for instance, that a dull grey will look much more blue than was expected when a bright orange is put beside it. A dull color will look still more dull, and a liright color increased apparently in briHiancy, if the two be brought together. It is by exi.erience only that we learn how to take advantage of this, or to avoid it when the effect is not wanted. This har- mony is, moreover, a study of great importance to the amateur, and may be pursued with interest by all, as it is common to all kinds of painting. Complementary colors generally agree well together, whether placed side by side, or round about as in backgrounds, when one of them is darker or deeper in tone than its neighbor. Here we give a list of these colors according to tl.e natural order of the solar spectrum : The complement of red is green. The complement of yillow is violet. The complement of blue is orange. The complement of violet is lemon yellow. The complement of orange is blue. The complement of green is red. The complement of indigo is ochre. The complement of black is white. To the artist tl-.e wortl completncntary signifies that if you place, for exam- ple, some r(;d on white ground, that red produces on the eye an influence which casts a green tinge on all that surrounds it, or that is in its immediate vicinity ; and, vice versa, green throws a red tinge. Red has a greater intensity by its neighborhood to green, and green is strengthened in brilliancy by being near red. 1 -■WT^* p \.-V\%X^%WVN.VN%N^VWXW\XN'-,N .VNN X V'VN*VVN%\%^-W\\%%%%^>.^\N\%\\%XNNN WX^X\X%.^^X, 30 ihc "Progreccive o^rl (iiuidc. (TT The more luminous the colors are the more this contrast of complemen- taries is perceptible. By experimenting on each one of the simple colors in the above list, one will easily comprehend it. Two bands colored with two complementary colors, placed side by side and looked at in the sun, almost hurt the eye at the line of their contiguity. It is well to place colors on different backgrounds. It will be seen that black grounds lighten the colors placed on them, and that white grounds, on the contrary, give them more force, or darken them by heightening the value of their tone. All paintings on wliite grounds should be executed rather pale, in order to avoid harshness. By following up these experiments, the following inferences will be con- firmed : Carmines go well with water-green ; sky blue always goes well with pale orange ; dark blue with deep orange ; turquoise with violet blue. Purple, which partakes of blue, goes well with warm ochreous shades and yellow. Greys go well with every color. now TO AKRANdi: THE I'AI.I-.TTi: KOR OIL rAINTINd. This important item in painting, is vlt\- similar to one's first lesson in music, namely, that of learning the key-board of the piano, which must be thorough!)- mastered before one can hoj)e to ])Iay fmisheil tunes. So with painting, we must learn to arrange our palette in convenient form and re- gular order, so that we will reatlily know the place; of t'ach paint, almost without lookinu: ; and so as to ha\ e only those colors on our palette — ke\- board — that are really nccesssarx', and which, with their combinations, are ust'd in the subject 've are about to paint. This method has many advantages. It sjjreads out before the eye the greatest variety of tints, ranging from one end of die chromatic scale to the other, thus enabling one to see just what .^i>ad js to select in order to protkice any desired tint. This plan will be OLiiid to make the mixing of paints a niatt<:r cjf \(;ry plain sailing indeed, ,, '.' 11 as greatly incre.ise our ra[)iclity in ])ainting. Procure a large, oval te, which sliould be well oiled with linseed oil, and when dry, begin "T \\%NW\\XX%N%\-H\XM ^*-'>-*-^*-'*-'^*-^^*^^*-^*-*-*-^^*-*-*-**-*-****-**«»»- - '^(T)^> ')f.^ ,1 PALJjET key BOARD- , ^- ^^■W^^^VVWNNNK^VV NWNV%\\ NWVVXSNWW. * ->;<• ^yti^:iag "Paintc cir.d j^'lrraagir.g Ir.c Ira'.ciie. arranging ilu- paints in tiic followiiiu; man.uT:^ Take the tiii.c o.inaininn- silver white, and pirss out what sfcns stiflicicnt white- for the- | minting nndtr consideration, and place it at the upper end of th(t palette, an iiicli from the outside edge. Now put yellow ochre, an inch and a cjuarter below the white, then in the following order, place light red, vermilion, ma(kk-r lake, col.alt, Antwerp blue, raw umber, burnt sienna, bone brown, and ivor)- black, leaving about an inch and a quarter In-tsviren each plat of p.iint. This is known as the regul.ir i)alette. If other colors are wanted, place then) with the class of paints to which they belong, and between the plats. I'or instance, if light-cadmium is to be useil, we know that it belongs to the yellow class: hence we place it just above the yellow ochre. Again, if Indian red is needed, we place it below the light ntd ; permanent bhu-, xinober gri-en. and terra verte. are i)laced in the same; ri'lation, to cobalt and Antwerp blue. Just lietore you commence painting, another inside row of paints is arranged, beginning exactly opposite the yellow ochre. .•\ little: yellow ochre is then taken from the first row ami placed, as the first paint, in the second row, then a little while is taken (using a pak'ite knife) from the first row, anil mi.\c:d loosely with the yellow ochre ; thus forming a variety of shades of yellow, from pure yellow ochre, down to white. \ow mix light red with white in the same manner : vermilion anil whiti; is then mixed, forming dif- ferent shades of pink ; then ciMiies m.iiUler lake and white, raw umlxT and white, cobalt and white, ivory black and white. The engraving " Palette Kev- Roard," plainly illustrates the correct arrangement. I?y this plan the paints are kept clean, as the greater portion of the painting is done from the second row; thus leaving the pure colors of the first row to be used only when pure touches are wanted. After the d.iy's work is finished, oidv the row of paints in which white has been mixed ni:ed be removed. The outside row of pure paints are left on the i)alette. as they will keep fresh enough for the next day. when one can aiKl a little fresh jiaint to each plat where needed, or add a little oil, should they become dry. f- 5 "^ ', n ,^^^^^^^x^■v%■v■^.^.^.^^^^x\^^^.^.vwv^^\^^^\N^^\\\\^^N^^%N^^^^^■^^^^^^^^^'^^v^x^\^^^^\\^^\^.x\^\^.\^\^^\^\\^x^v^^.'k^.\^^\\^^^^.^\^^^x^^■\■v^^^^^v> 34 The IProgrcccivc vi^^rl Siu^'ic. jii ^i^r^Sf^t^ 1^ i^jr~^ 1^ %^ S we enter upon the subject of applying color, it may ho of ser- vice to some of our readers, who may decide to practise from these instructions, to receive a few additional suggestions and encouragements. First, we deem it not out ot place to sa)- a few words con- cerning, what we belie\e to be, a common mistake among people in general, namely, those oft-repi-ati'd assertions : " I have no taste for paint- ing," or, " I ha\e no gciiins for things of that sort, I must be doni with a natural talent before I can ho])e to succeed." It does seem a little singular that we never stop to reason, in this diri'ction, with regard to writing, arith- metic, grammar or any oth(;r subject. Nor would such an excuse, were it pleaded ever so earnestly, be considered a valid reason why we should excuse ourselves from such studies. But we strike right in and master the first principles of each ; and ere long we have the gratifying assurances that our (alcnts, or genius, grow, and are being generated by our own efforts. It is in the degree that we ajjply ourselves, and the manner in which we concentrate our study, and in pru[jortion to the amount of determination we .^^rf^•^^.%■v%^%N%^.%v%Nv%\^^%^,^%%^v\^vv^^^N%^^%^^^^^^^^^%vv^vv^'v^^%^^^^^\^^^^%N%x^^\\\%%■v%^>%^^,^\\vv\^^^^>v\^\^vv%v^^'V^^^^^^^^>N'vv■vwv^.v^\^■v. ^ '. VV holds good to a l;u-ge degree. .Shall we ;usk that clev,;r musici.m, - \U.s< in the world did you become such a fine player?' .Siie would most likely answer, "By learning the rudiments first, and then following this up with vigorou.s, energetic study and continued practice." Or probably she would answer as did the old musician with a harp, when .Lsk.'d the same cjuestion. " By being at it, and always at it." Those who find difficulty in learning the rudiments of p.dnting should encourage then^sehirs by the remembrance that many of our greiUest literary men gave but poor evidence of success '■^ v^^ vvN-w-v wvvv\% <^ (T^ » il < i 5 ^ .\\\^>\\\\*%\**x\*\^\xx\%x\*x%\\\N\\\Vxv»'»^v\\\\%^*vv^vvv\\«\\v\\\N\\V ■ k\\\ \\\\\\\\\\\\\vN\ w \\\\\N\\>\\xxx\x\ V vv\ v% vvv^i%^.v ^ 36 - Ihe "Brogrccsive ^(rt (tiuide. at the commtncement of their course. When we know that one of the finest poems that adorns the English lan^niage ("dray's Elegy"), occiinietl a num- ber of years in its production, anil was written bit by bit, pruned and re-pruned, until it stands out as the perfect gem of poetical composition, we are led to believe that the untiring energy, patience, and determination of the author had more to do in making that poem the gram! success that it is, than the so- called " Natural Genius " that was born in him. The writer is a firm believer in the doctrine (as applied to Art), " That what man has done, man can doP if he will put himself through the same discipline, the same study, make the same determined effort, anil have the same ardent desire (conditions of health being eijual), and that, ' Where there is a will there is a way", and that paint- ing is not an exception to these rules. The reader will find that the hand, which is but an instrument of the mind, with a little practice, will become obedient to the ivill. Of course there will be difficulties, but these, instead of discouraging us, should stimulate us to greater effort, knowing that every diffi- culty we meet and overcome, are but sign-boards that tell us we are on the road to success. And when mastered, one after the other, cannot but be factors that contribute to our enjoyment of the victories thus gained. On the other hand, if vr difficulties present themselves, the reason is apt to be, that we have given thv- subject such a half-hearted study as not to discover them ; and, naturally enough, wlien no difficulties arise, no new discoveries are made ; hence our energies lag, and our interest becomes less, and we begin a retreat, instead of making steady advancement. Let us start out on the right road to Art knowledge, and follow that path with unremitting vigor, and happy suc- cess will ultimately crown our efforts. POSITION OF THE STUDENT ANM '.O' V WHILE P.\INTINCi. Seat yourself (or stand) directly in front of your easel, so that a direct line, if drawn from your eye, would strike the centre of the mill board or canvas upon which you are about to paint, and place the object you copy Just above the mill board (see illustration,) or on a low stool just below it, giving it a slant of about three inches to the foot. This can be done by placing a ^m^ W'\^v\x%\%x%'v\.VV%VWV^-WV'^'V%'« \ .^ I 1, tf« VWWWWNWWWXVWNW VSV\\V%V\\\%\V\\\\\\\\\\\^***^\^N^^^*^*V^****^^**^''^^^^^^^*^^^^^^*^^^^^***^*^^^^^^^^^^*^**^*^*"**^^^*****'*'' ITaluablc "prc'.iminaru ru.ggecti5n.c. 3r Ixjuk uii its cilgc, ««[')' wliilu rjiilitill;;. Sit in an uprl^^ht position. Th(;re is no nuud of stooping over your work; it is bad for tlic hcaltii, and dois not contribute to llie free handliii^^ of the brush. Always use; tlic easel in paintinjr, as it is impossible to evince freedom in your work when in a crampetl position. MANAUKMKNT ()!■ l.Ullir. This is an important item in painting, and should receive careu.i atten- tion. A north light is to be jjreferred, when possible, as it is steadier, and less affected by the direct rays of the sun. If there are other windows in the room they shouiil be darkened, so as to admit light from one window only The window at which you are about to paint should have the lower part cur- tained off; so as to let the light come in from the top, Now place your easel in front of the window, and seat yourself in front of the easel, so that the light will strike your copy and canvas over your left shoulder. You must arrange the light so that it will not be too strong, as this is apt to lead to coarse coloring. On the other hand, you must avoid a dull light, as this lias a contrary effect. Before beginning to draw in the outlines of the studies, it is well to 5»'VV\'VWN>.NX~ 1. \'*VV\%SNNN%N.' vwvVx x-vx^N-* -kX I A\\\\%%\\\X'*%'\%%XVXNXX%\\^XNN^ V'i.VX^N\N^\.-\.N^V%V^X^^X%,NXVXVV%^X\N\V^N^%XV%>.^NV\VVVN^^Si'\.N\.'WS."VVNS.VN>X\.V^VVS.>.NX'\XN^XV\,-v*>A.V»X^Ai%XX- 38 TKe "Progressive ■^■[ri (auide. STUDY THE LANDSCAPES SYSTEMATICALLY. Observe that Uie "Horizon Line" (which marks the termination of the land with the sky) should never be exactly in the middle of a picture, as a painting is considered bad in composition, when divided into two equal parts. You can usually keep the painting as high, or as low as you wish ; but, as a rule, at least one-third ot the entire space occupied by the painting, should be left for the sky. Notice, also, that in all well e.\ecuted studies, or paintings, where there is land, water, and sky, that these ^//ree divisions are no< equally divided. Now notice the wavy appearance of the mountains, and how the light is focused upon their tops ; and how they repeat each other's form, in singular regularity. (See Study of " Vancouver View" ) Next, look at the water, and observe how it is effected by reflections of green fees, pink sky, mountains, etc. Examine the trees, notice that they generally incline a little one way or the other (owing, sometimes, to their position on sides of rocks, or prevailing winds), and that one side of the tree usually shows the branches a little heavier than the other. Notice, also, that the s.iy is not one even mass of color but is always graduated in at least two directions, namely, from the upper portion downwards, and from side to side ; and one corner is darker than the other. The sky opposite the sun is darker than the rest, on the same level. Now gaze a moment at the clouds. The highest ones seem perfectly still, and in groups ; while tlie middle and lower clouds seem to lloat in the air, and are more distinct in shape. Notice their pleasing forms against the dark sky. In examining the ground, notice that it is never y?(?/, but shows a series of rounded or angular forms, more or less broken, and these can be indicatc^d by graceful lines. The study of this paragraph will give the reader a clearer idea of the different parts that go to make up his coj)/, and aid him materially in sketch- ing it in outlini', before painting. It will also prove of infinite value, when he begins sketching from nature. It will also help us to appreciate the work of more advanced painters, in whose work these and other points have been sys- tematically observed. II I i t NXWVXNWX^NX'N. N. V ■^^^^'v^.^%^^v^\^^^,■vN■v^- Gaaadian. 5cen.ec and 2("ov,' to ^ciat 'ihi enr. 39 •^ c .,■/fy.;■v^^o.l. .^.^ .J, ^u^u . 1- iA^^af-Vi g. .i. »l. .u ;^i. .|. -'. r ':--.V' -•'! ? ^ "«• Ql By J. H. RAYCROFT. ! ARK ED attention has, of late year.., been given to the sub- ject of Landscape Painting, and is still growing in favor, and '\ii' becoming more and more deservingly appreciated. And as it furnishes such a x'ariety of subjects, capable of being utilized in home decoration, and is not so difficult as " Figure Painting," it very naturally becomes a favorite with beginners and amateurs. Everything that can charm the eye, warm the heart, and increase our love; and a])preci;i- tion .11 iK.ture— and nature's God —is to be found associated with landscapes. In ihc wide range of the world's scenery, that occupies the attention of the artist, i\t\v places can be more interesting to Canadians and Americans, than tlie di^•e•■sitied views of our own country Especially is this true, as he beiiolds iiie grandeur of form and color of the snow-capped Rocky Mountains, as seen in British Columbia, and the m\ \ 'i /■ -^ -^^ I 77^ W' i : VJ i in o I in u CO 3 o <» -^^ x-.%vs.vvxx^^>,^vv%vvvvvvA-c^%vvNv>.v>.-^v\-.^ ^^v^.^^vv^^v^■v^v^^^v^.v^v^x^^^^v^.v^ v . vvvvxvvvs vvvv^^^^^^ ^an,a: ^'Ccn.c2 1 r^ r cria ^\z t3 ^'a;n.i 'Ln.em,. 4 4' After studying, syslematically, tlie various points of the view. "Les Chats Rapids," as suggested in the last chapter, hegin by TRANSl HRKINC OK SKl.TCllINc; TIIK OUTLINKS. To do this accurately, is a matter of great importance, as the Ijcauty of the fiiiishetl picture depends largeK" upon tliis. And with a \ie\v to accuracy, an oudine sketch is given with each study, from which the Ii'ading h'ncs mav be transferred directly to the mill board, or canvas, in the following manner : IVocure some powdered charcoal, and with a soft rag, rub it all o\er tlie back of the accompanying outline sketch. Shake off the surplus powder, enough will remain to make the outlines. Now place this sketch upon the mill IjoanI or canvas, powdered side facing the mill board, being careful to secure the sketch firmly to the mill board, by means of small tacks, or otherwise. Now go over the outlines with a tracing point, or hartl pencil. Carefully remove the sketch, and )du have all the leading lines of the study, accuraielv sketched upon the material. liut as this will rub off, we now take a little" burnt sienna, and ivory black, and turpentine, mi.xed (pn'tc thin, and with a small round camel's hair brush, go over the outlines carefully. This is a rapid and excellent method, especially for those who are deficient in free hand drawing. If the reader does not wish tt) soil the outline sketches that accom- pany the studies, another piece of tliin paper ma\- bi; rubbtd with the jiowder, and this sheet placed upon the material to be ])aintetl, and the outline sketch placed upon it, and traced in the manni:r described. Should the reader_ desire, at any time, to paint upon a dark materi.il, on which the charcoal would not show, he may rub reel pastel, or cravon, on the back of the sketch, instead of charcoal. It will be seen that anv flat copy may, by this means, be transferred in correct outlines to the material to be painted. Such an easy method is preferred by many, who do not aim at perfecting themselves in art. TIIK I'.VNTOGRAI'II Is another simple and accurate device, by means of which th(; outlines of %'WN,%N\,Wi,%%X'^'V^VVWX-WVV*'^ 42 ^hc "progressive si^U^ Siuide any design, landscapes, figures, or flowers, may be readily obta.ned. It is a small wooden, frame-like instrument (costing about forty cents), havmg a tracing jxg attached in one part, and a pencil, or stick of charcoal, is placed at the right-hand side, arranged so that all the operator has to do, is to follow the oudines of the study with the tracing peg, and the pencil to his right will make the exact markings on the material. By this simple instrument, the outlines of any design may be reproduced, the exact size or enlarged to any size at one operation. But those whose aim it is to become artist's, will sketch their subjects from the colored studies, and from nature, by FREE H ND ' ' -INO AND COMPARATIVE MEASUREMENT. This is done by drawin.- a few leading lines first (such as the water line at the base of the ,.ees. near the foot of the mountain, and at the base of those trees seen in the middle distance ; then locate the points where tne water breaks to form the falU, and the water line at the base of the falls), and then selecting some object, such as one of the trees in the middle distance, draw this tree in first, and make this your standard, when drawing in any portion of the study. Compare every object in the distance with this tree, and determine, by your eye, whether they are half as high, or less than half as high, or more than half as high. Thus again, compare all objects in the foreground, with this same standard, and see whether they are once, twice, or thrice the size of your standard. In this way, the tnmks of trees, widths and heights of different objects are compared, and the scale of distance is established, by the relative proportions of such objects. Notice how n.uch smaller the trees in the distance appear, when compared with those in the foreground, though in reality they may be the same size. The outlines and general proportions are sketched in first with a stick of charcoal sharpened to a point. Should mistakes occur, the charcoal can be rubbed off with a clean rag. This done, go over the charcoal oudines with a thin mixture of burnt sienna, ivory black, and turpentine, using a small camel's hair br.sh, and make the oudines light. Then oudine the general form of the clouds, and also the form of the shadows, where they meet tb P •.%W%\%W%>.%VX* T ta P v\NW^%%^.wv^^^^.xv' ,^.^^,vv\^\^^.^^.^^^^^v^\^^^.NN\\sx^■^' ^^^\\^v^.^^■^^.^.^^■v^N^.^.■ i^anaaiaa Sccacc aad 2Ccv,' iz ^air.i iKcrr.. 43 the lights, as seen in the water of this stiitly, dividing tht-m into simple masses. This done, the next step is to INDICATE THE SHADOWS. This is done by applying, with a tlat bristle brush, a tone made liy mixing burnt sienna and ivory black ; made very thin and light by mixin;.,' in plenty of turpentine, and filling in the shadows with a flat even tone. Make no effort to put in any di'tails, reflections, or half tints, but simp]\ block them in, leaving a simple effect of light and shade. When ihi' outlines are finished, and shadows located, the reader is enal)led lo gi\c undivided attention to the painting. If it be found, on exan-.ination, that the burnt sienna and ivory black has been applied lo liie wrong place, it can be completely removed by dipping a rag into pun turpentine and placing it over the finger and rubbing it over the spot. INSTRUCTIONS KOR APPLYING TIIF. PAINT FOR " I.KS CHATS RAPIDS." This beautiful scene is most faithfully represented in its natural beauty, and furnishes an excellent study for painting in oil, or water-color. It com- bines all the leading lessons that are embodied in any landscape, namdy : Variegated clouds, mountains, rocks, and beautiful foliage, having this peculiar advantage, that it furnishes a lesson on extremely rough as well as gently flour- ing water, as seen in the foreground. It is not, however, a difficult study, and if the reader has followed the preceding suggestions, and has tlie outlines accurately traced upon the material, it will be found an easy matter to paint it, especially when we have such a perfect rei)resentation of a real painting in oil for our guide in coloring. The reader is thus enabled to mix the paints, add- ing a little of one or the other, and then compare with the color seen in the study. Beginners are apt to aim at over-finish, and extreme smoothness, irres- pective of consistent results. These points in landscape painting are, fortunately, coming into disfavor; while those which evince free handling of the bru^h, breadth, and simplicity of treatment, are considered artistic. An important VNX^W^NNN^' f^ ^A^ \-\'\%\\\\\\\\\ \\\ .w\\>.\y-\-sw^ ■V\NVN\\\^^NV^\VVXXV\ * ..^v.>^<^ 44 The Tprogressive j/\rt (auide. - item towards gaining this object is, by using good sized brushes at tlie start. Having, by any of the methods described, gotten the outhnes correctly traced, or drawn upon your canvas or mill board, begin by arranging the palette similar to the method already described (see illustration, "Palette-Key-Board" P. 31): but place only such colors on your palette as are used in this study, which are as follows : Silver white (or fla ;e white), Naples yellow, yellow ochre, light red, rose madder, vermilion, cobalt blue, light zinober green, terre verte, burnt sienna, raw umber, Vandyke brown, bone brown, bitumen, and ivory black. These colors are all arranged as the outside row of the palette ; and when the reader is directed to mix any of these paints, it is understood he is to take a palette knife, and li*"!: a poriwn of paint from one of these plats, and place it a little nearer the centre of the palette, and then mix it with others to obtain the desired tint ; and thus leave the outside row of paints perfectly pure, to be resorted to at any time. You now place the mill board upon the easel and begin painting. The sky is always painted first, commencing at the upper part and working downwards. Take some silver white from the first row of paints, and place it opposite the plat of yellow ochre ; you now mix a little yellow ochre with this silver white ; mix m thoroughly, just enough of yellow ochre to give it a pale creamy tint, using the palette knife for mixing. We will, for sake of convenience, call this mixture prepared ivhite- We see by the colored study, that we have three distinct shades of blue in the sky ; we must, therefore, mix three different tints of blue to correspond with these, and place tiiem in separate plats, upon our' palette, in the second row. For the darkest shade, take a small quantity of prepared white, to this add a little cobalt blue, a very little ivory black, and rose madder to warm. (" To warm " means to lessen the cold bluish tendency of a mixture, by add- ing red or yellow, and thus give life or warmth to a picture. A painting or tint is said to be cold, when blue is the predominating color). For the second shade of blue, mix prepared white, cobalt blue, and rose madder, using more white than for the darkest shade. For the third, and palest shade, seen near the horizon, and left-hand upper corner, mix prepared * y- ^^^^■V%WN^\\'VXX%.\-W\%\\^X'VW'VN.\,VVVWWN'V\.X'\.\,V 5 * i \•w\■•v\v%v\Wx^N^x^x^vwvxv%vx^.^.^^\\^\Wx%^\^W%^vv^^^.^.w^.^.^v\^^\^^.\^^.v^^v^.\^\■ ^anaaiaa ^ccn.cc aaa ^\o: ^\^x■^'V\^A. 45 -4^ white, cobalt l)lii(', ;iiul rose PKuldcr, usin;^r more wliite tlian witli either the first or secoiul sl)a't diuidc. the darkest shadow, and then the details are iiaiiited hy piittiiij^ on the liigh lights, and the dark acei'iits of sliadow. ("Iligh lights" — The lightest parts, caused by the light falling directly upon any object.) When you wish to give an appearand: of light shining through or upon any part of foliage, paint such parts in a lighter shade and ajjply the paint thickly, giving it the rough, dotted appearance as shown in the colored study. Tills particular dotteil effect is produced by using a small round brush, well filled with paint, and touching it lightly to the canvas and then raising it up again 'a'itliflKt any attempt at making a stroke 'u'itft the brush. Let us begin with the foliage at the foot of the, mountain. As these trees are away in the ilistance, and the greens have a sort of gray, cool appearance, we must strive to make them look distant in our painting, by painting them aither dimly, and with no attemjjt at detail. To secure this effc:ct, use for the dark shadt^s terrc verte, Naples yellow, a little ivory black and a little rose madder to warm. I'or the light tints use rose madder, yellow ochre and Naples yellow. Mi.\ these colors loosely before putting them on, and use a round bristle- brush or worn sable for distant foliage. And for finishing touches usi: a small sable. We now direct our attention to the evergreens in the middle distance. We find this grouj) of trees a little more distinct : \('t th(;y are not suffi- ciently near us that any limbs can be seen. In fact, but a small portion of the trunks, in one or two of them, ;ye even hinted at [see study). To paint this group, use ivory black, terre verte, raw sienna and a little light red to warm. Before painting the foluige in the foreground, we will paint the rough water that is shown so beautifully in the study liefore us. To do this nicely, you must exercise great care in getting the dark shailes of water in their proper form and place. Lay in the dark shades first, using prepared white, bitumen, terre verte and a very little light red to warm. This done, take a dry, flat sable brush and dip it into prepared white, now spread out the hairs into a fan shape, by pulling them apart with your fingers, and drag this lightly over the water in the distance. Hut use pure 1 r \ (1 u, I b J».X%XXWNXNXX%%XXVX\^%X\N\\NXNX'\VVXX %NN\X-iXVX\V%W%XX^\\V\\\VX\\ ♦^t f- t^. BanemsMpHviE daaadiaa Scenes aad 2{ow to Ipainl Them, 47 stiver zulnte, in the same manner, for the edges of foam. Before putting in the lights for the water, paint in the island and the land to the right and left For the rocks use ivory black, silver white, and a little light red to warm Use Vandyke brown for the darkest shades on the rocks. In painting rocks, or any hard objects, we should endeavor to depict them so that they will look decidedly hard Thus, again, in painting soft objects, such as fleecy clouds, foam, etc., we should give them the appearance of unmistakable softness. We will now begin painting the foliage in the fore- ground. For the darkest portions of foliage, use ivory black, yellow ochre and a little burnt sienna. Where the lighter greens are seen in these ever^ greens, use light .inober green, mixing in a little of the dark green, which has just been used in painting the darker foliage, to avoid too areat a con trast m the shades. For the lighter foliage of trees in the same groups use Naples yellow, rose madder and a little vermilion, and add a little of tke light green whuh has been used for the light portion of the darkest foliaoe Mix them just enough to make them combine a little, and thus preserve their freshness. The finishing touches are applied after the first paintings are dry by adding the high lights and dark accents of shadow, using the general tone of the masses as a founoation. The trunks of the trees may now be painted Use bone brown for the darkest shades ; and for the light shades use bone brown, adding a little white, and burnt sienna. Where the small branches are clearly md.cated, draw them in with a fine-pointed brush, using bone brown In other parts they are only hinted at, by using a lighter shade of paint. In order to give the trunks of trees their natural rounded appearance the darkest part oi the shaded side should be removed a little from the edge- uul so. also, with the lightest side of the lightest part (^here the light of the sun shines upon the^n), should be somewhat removed from the edge. Blend the I lights and shades in the middle of the trunks. Notice this feature where it is ' shown in the trunks of trees seen in the foreground, at the right hand side of the colored study. In painting water, whether in motion or stillness, do not make it too light for its surroundings, as this will throw the whole picture out of harmony. » >0< ' '^^^^^^^^ 48 ih? "]?ro2i"cc3ivc o/'lrt (ixu-iic. Nothing ;ukis to tlie beauty of a picture more tlian well painted water. For the water 6e/ov> the falls use bitLiiiicn, terre verte, prepared white and a little light red. Now take a flat brush and paint in the reflections or shadows of rocks and trees that show in the water, using the same colors as for the ofijcrts reflected. Do this with a doiomoard stroke of the bntslt. The dim reflec- tions of the clouds in the water are then laid on, using the same warm pink, but not so bright. These are also painted in dmcinoards, in the direc*-' " of the flowing water. You then take a clean flat sable brush and lightly ;ross the downward strokes, used in painting the shadows and reflections, with hori- zontal strokes This gives the shadows the appearance of being under the water. Where the water breaks over the rocks, use pure white for the edges of spray ; but where the little white streaks are seen below the falls, use pre- pared white. When the painting is dry, the details are then carried on ; finishing touches applied where needed, the shadows strengthened, the lights touched up, etc. Lights should be painted very heavily and with a full brush of paint ; while the shadows sliould be thinner and transparent. A careful e.Kamination of the colored study, where such parts on which the paints are api)lied thickly to the foliage and other parts, are indicated, will give a clear idea of the effect to be aimed at.. As all paints become more or less dull when thoroughly dry, something is needed to bring the colors back to their former brilliancy. To accomplish this, we take one-third each of Siccative de Harlem, refined linseed oil and turpentine ; ])ut this mi.xture on thinly with a brush, and wipe off any surplus drops with a clean rag. ^- , ur NVNX'VW'. \\%.V%N'WNV\N.%.\\ NXN\N\^%NVN\V^%WV\%%->.\NX'^'VV%NVN \.\v-v/VXA;Vfc' / ^ %%'\V\vx'\^xx\vNNvv-\-v-\-v\v v\%^NNV"^^v^^.•v^.■^v^^^■vN\.^.%^.v^. . .^^vx-^-*%\.^.■^v^.x\^vv\\^•v^.■^^.^^.v^^^v^%%x\N^N\\^\^N^^^v .^M i"n.clru.cti:n,£ fcr ir^in;in.2 1Jari::'.ivcr ITicv 4^> i]uuk!i>:kb:b:k:L;it3BeBGBG3BBiki.;b:k:cL't'£:b:cb:Eb:BE&EEEBEBtk:kb;k:kiifaiit <\NY of our licst and niosi enterprising artists are beginning- to make the magnificent mountain scen- er\' ol Britisii Columbia anil the Pacific Coast, a favorite sketching resort. The study umler consid- eration is one of the many beautiful scenes that trequently meet the eye. I lere, on every side, the mountains rise, in varied forms and in endless change of aspect, as the lights and shadt)\vs play upon their serrated peaks. The remarkable ck arness of the air in this locality brings out the minutest detail of tliese dark blue specimens of nature s sculpture work. The stuJy before us, "View of Vancouver," as seen from the resi- dence of the governor of X'ancouver Island, depicts a glorious grouj) of opal- escent peaks, fading into the distance against a ruddy sky. Those who can- not give the e diversified scenes a personal visit, and feast their artistic tastes upon them, as they are seen in their natural beauty, will, we think, appreci- ate our efforts to bring a little of this mountain nature into cuir homes in the iihajie of a fac-simile of a real oil ]jainting, designed and executed from nature. 7 V%X"VX%NNVS V VV'^N,VV^V%%%>.\V v^\wx^x%N^-v%v Tr (^vw^vw^^^^v^■%vvv^.^%^^^^%^%^.^|^^vvvvvs^^.x%\^^^A^vvvvv^,■vx^^,%%N%^v^i^v^.v^%^^^Nx%\^.^\^^^^^^^.■^^*'vv%^^• 50 The "progressive ^t?lrl (auide. We need hardly add, that the natural beauty of its position, its imposing appearance, and the majestic surroundings, all contribute towards making it a most interesting picture. J3 ^^ -*-^-' ^W^^^ TRANSFERRING OR SKETCHING IN THE OUTLINES. This may be successfully done by any of the methods described for the preceding study, " Les Chats Rapids." It is always better for the student to practise free-hand drawing, in making the first sketch for a painting, using a charcoal stick or crayon sharpened to a point. It will be surprising what accurate results will follow a little practice in this direction. If a mistake occurs, tJie charcoal can be readily rubbed off and the corrections made. (See paragraph on " Comparative Afea.suremeni.") Take some prominent object, or leading line in the study as your standard or starting point, and draw in all other objects, or lines in tiieir proper relation to this starting point. In this case, it would be well to draw in the base line of the picture first, and then f/ie almost horizontal shore line at the base of the mountain. This will form a ioundation for the leading lines, which indicate the slopes of the lower por- tions of the mountain, as seen in the " Outline Sketch." These lines should be drawn in first commencing at the left hand side. Notice that they nearly all incline in one direction, namely, towards the left. When one or two lines are drawn, it will serve as a guide when drawing in others, which are placed in a certain relation to the last line drawn. Now mark off the lines which slant towards the right and those indicating the tops of the mountains. The smaller trees in the foreground may now be outlined. Notice that their tops terminate quite near the shore line at the base of the mountain. The very small trees are then sketched, in their proper relation, comparing their heights with that of the larger ones just drawn in. In this way one line or object is made to give a basis for others. A few lines to indicate the general form of the rocks in the foreground, the large tree, and the shapes of clouds, will complete the outlines. Now compare your charcoal sketch with the original, and if the proportions are all found to be correct, you should then follow the outlines with burnt sienna and turpentine. It is a good idea, when tracing \ CO CO z o o cz < m •Xi ^%V^%i»^%N\.VS."WXX%'fc>.X V% \ XK ■* VX'VS."VW>%.^>%%\\N W V\ X*V% WN^%-V>,"VN>"V > \ \ % N L T ■f fW: CD CD z n o c < m < m \ Vo 'M0 x; # / r-cr'-' t ''« ^^^'t 1 , v^-'^-'. W'S^'\ v>.^ I .X\NX\X\\XXWNX\XN\' iinstruclioRO fer "painiir.g ITdncouvcr Ifi 51 the outlines, to use a s/ku^c of paint with the turpentine similar to tiie color of the object under consideration. APPLYING THE PAINTS. We see at a glance that the blue portion of the sky is very similar to that ia " Les Chats Rapids," but having a trifle more ivory black mixed in for certain portions to give it the greyish appearance seen in this study. Pre- pare the three shades of blue in the same manner as for the preceding study, adding a little more ivory black in the darkest shade, in order to imitate the greyish-blue tint seen in certain parts. But apply and graduate the lighter shades of blue towards the right hand side in this stuily, instead of towards tiie left, as was done with "Les Chats Rapids." When this is dry, "oil it out," and then lay on the clouds in their proper form and place. Use, for the gen- eral tone, prepared white {silver white mixed with a little yclloiv ochre), and a litde vermilion. For the brightest tints, add a litde rose madder. For the dark shades, add a very little light red ant! ivory black to tlie darkest shade of sky blue. If this be found too dark, add sufficient i)repared white to make it light enough. Use a dry brush to blend the lights and sliades together. Also blend in a little rose pink just above the moLintains. Next in order, comes the peaks of the distant mountains. To [xiint the darkest sides of these peaks, we will take from tiie plat of paint the darkest mixture of blue used in painting tiie sky, and to tiiis we will add a little red to warm. Tliis will give you a tint that will give tiie ilark sides of ]jeaks (/ rather bluer appearance than is seen in the study, and it is to be preferred. For the light sides of peaks, use a pale pink and white, making those peaks near the large tree more grey in quality by the .iddition of a little ivory bi.ick. For the darker portions of the mountain, nearer the water, use bone brown, cobalt blue and a litde light red ; and mix in prepared -white to ligliten the shades. For the light tints, use prepared white, light red and a little rose madder. In painting the water, use the sanu' tints as for thr mountain, paining the shadoius dowmvard. Then lightly cross thise shadows horizontally. -^ *wvw* w*w*«*-v%^v%^N**Vfc^^v\x\^x\'vv v\. \ \ w^ v^ % % N >|<- ■-\^x^xv^x^^^v■^■^.^^.^^^^^v^^^.^.wN\^^^N■^>.\^v\^^ k\\>.NX^i\v%%\\\v\>. iK? "prsgrciciv. ^[ri ituiac. \\^xv\v^\v •>f- usiii;,; tin- li,;^lu ['ink cloud tints to nllcct tlu' cIolrIs. A little of tin; lig/itist s/hiih- of the sky blue is applieil in tlic s;uiie manner to rcllcct the small l)lue portions seen in the; water near the foregroinuls. La\ on the little white streaks with the palest pink shade. Tlie application of thesit ri;rtections in lij^ht liorizoiilal brush strokes, |)ainted upon the i^o\'Hi^'tud s/rcUvs. (in which the shadows of the mountains have first heen i)ainted in) has the desired cffeiii<; under water. (The nu'thod of producing this |)articiilar effect, though sim|)le, is known to few). We will now suppose the sky, clouils, mountains and wat,'in tlie larije o.ik tree liy drawiuLj in (with a small rountl bristh; brush) the tnnik .ind hranehes, iisin;^ r.iw unilier and ivory black, adilin^ yellow ochre for the i)ri,L,diier touciies. The proportion-, of these colors must of course be \aried to match the different portions under consideration, usiii}^ less of one color and more of .mother as necessity sujrgests. As the ilark greens in this tree are almost identic. d with the dark shade seen in tht: larger e\ergre(;iis to the riL;ht, we, therefore, prepari' a similar shade for this one, using ivory bl.ick, light c.idmium. and a little light red. I'sing burnt sienna and a \'er\' little xcrmilion to give it the rich brown appearance. .\ few touches of N'andyke bi-oun, .applied here and there, will darken the shad\- side. I'se Naples \ellow antl pink for thi' light tints on th<' foliage, branches .iiid trunk. '\\w. rocks in the foreground ,ire painted in last. I'se for the g( ii. ral tone; i\-ory black, |)repared white and a liule light rc$<» 7 ■V, N % \,Ni V XX "V %,% N \. .WVXXXWX'VXXXVX'VXXWXNWVXXXN. xwvwxwxxxxxxx' ^,^.xv^^,^^^.^•^.^.VN^,^.^^^^^.^^.^^■^■^■' 54 'Ihe "Progressive ,^^rt (auide. - and attained the proficiency of "iiandling the brush" that the study of these instructions will give, he should begin at once to paint landscapes from nature. MOUNTING THE COLORED STUDIES. The colored studies of this book are such perfect representations of real oil paintings, that many of our patrons may wish to mount them, or others, upon canvas, or muslin, instead of painting them; to such the following hints will prove valuable : Make a stretcher, according to directions given on page 24, and tack upon this stretcher cheap unbleached muslin or linen, stretching it tightly. Now varnish it all over on the back with coach varnish, and let it dry for a couple of days. Then make a i^aste of silver gloss starch, putting into a teacupful of starch about a teaspoonful of white gum arabic, dissolved in water. Stir it until cold ; spread it on the canvas \ ery thinly and also on the back of the picture. Place the picture on the canvas and rub with a cloth until it sticks ; then hang it up to dry. Great care must be taken to keep the canvas and edges rubbed down smoothly. The sizing or paste must be put on quickly, or it will .set before the picture is put on. The advantage of this sizing is that it will draw as tight as a drum, and will not stain the most delicate pictures. HOW TO MzVKE VARNISH F 'K THE COLORED MOUNTED STUDIES. This varnish is the .same as that used for all fine chromos. It will not lose its lustre by steam, or by rubbing with a cloth wet with cold water to clean it, and is made as follows : Take best coach varnish one part and alcohol two parts : put them in a bottle, and shake them. Then pour a linle into a cup, take a camel's hair brush, such as is used for varnishing,'-, and spread on quickly, for the alcohol will evaporate very soon. The varnish must be shaken every time it is poured out, as the alcohol will not stay mixed with the varnish. If one coat will not do, put on another in a day or two after the first has dried, brushing it the other way on the picture. This gives a beautiful jjolish, if care is taken to keep it out of the dust while drying. .\nother method of varnishing a mounted chromo is as follows : Take a ^. '■ 7 • ' %•% ■» ^^XX %^ ^ ^XV \ N > N ^ \%NN^.^X ^^ ^ %N V^ V N -^ X W 2Co-.v to ^i2.n.3 j'lccurcc. 55 clean flat varnish brush and lay on an even coat of size, made by dissolving white glue or isinglass in luke-warm water til! it becomes of the consistency of cold starch, going over the picture lightly and evenly. When quite dry, go over it again in the same manner with Demar varnish, giving one or more coats, in a warm room. Lay ir away out of the dust for a day or two, and your picture is ready to be hung up. HOW TO HANC PICTURES. To many, it may seem a very simple matter to hang pictures, but how few rooms there are in which they are hung so as to show their beauty. At fine art exhibitions they are frequently hung as though to fill up space. In hanging pictures, much depends upon individual taste ; some will have the bottom of the picture frames on a line around the room, while others prefer to see it broken. Never hang a picture so that the shadows will come near a window, as the side that needs the light will not get it, and thus a good subject may be spoiled, and the owner not know why. Do not hang small pictures above large ones, for small objects have to be nearer the eye to be seen well, while large subjects look better a short distance away. Pictures should never be hung opposite windows if it can be avoided, as both glass and varnish reflect the liglu, so that when standing in front of them it alm.xst totally hides the picture. Always be sure that the cord and nails are strong enough to sustain their weight. Select a cord as near tlie color of the wails as possible. When pictures are hung in more than one row, have the toii ones lean forward more than the lower ones ; this can be done by putting the .-^crew-eyes nearer the bottom in the sides of the frame. When common cord is used it should be examined once every few months, as the weight of \\v: i icture cuts the cord where it crosses the nail, and by not taking this precaution, m.uiy pictures have been ruined by lallmg. Wire cord is l)(;st, but it must b.: watched also. Never hang paintings and chromos side by side, but put engravings Ijetween. Do not hang water-colors near oil paintings, chromos, or other colored [)ictures. Have the best pictures you can afford, as one good picture is worth a dozen ^ t^Qiif ^ •\,\.XN-\,-V%,\.\\\N\\NV WX V ■vxvxx%Nx%vx\,\v\.xxvSiV AVWXVSrfc^V^- ^v 56 "T"' ~^- -f J. i^Vwiac. \ \ \^ ^ \ N. \ 'Si'V'Vx V poor ones. Laadscapes in ike a roo n look larj^'er than other pictures ; full length, or large sized animals should not be hung with smaller subjects, as giants and pigmies give too much contrast, and are not pleasant to the sight. ADDITlOVAr, HINTS CON'CI£RNING OIL PAINTINGS AND ENGRAVINGS. Heavy gilt frames only are appropriate for oil paintings. Gilt frames, if \arnished when new, can be washed without injury. Oil paintings can be washetl in sweet milk and warm water, then carefully dried ; do not rub them hard. Castile soap and water can be used on oil paintings without danger, care being taken, of course, not to wet the back, or let the water through cracks. For ordinary dusting of pictures, a silk handkerchief should be used. ^ When discol'jretl by age, they have been restored, by brushing them free i.om dust an/ then covering by a layer of shaving soap for a few minutes, afior which they .re thoroughly dried and soaked in nitro-glycerine. Water, in wh'ch onions have been soaked, rubbed lightly over the frames, will keep llies from tl^em. An engraving woulc' be n'.ade to app(,-ar cold by a bright or heavy gilt frame, though sometimes a plain unburnished one looks well. Of course a margin of white paper is ne'iled l)etween the jirinted surface and the frame, so as not to make the contrast of the i)rilliancy too violent. -- ■ ,_||i'-^'^''^"v"i^''^-'' ^ '"■^f*" 4^' .T/ •,:,i'floIcskin iDclbct, or ^liaboU) IJainting. ^ By MIXXIK CRON WHEELER. HE instructions for this new method of piunting on moleskin \'elvet appears in jirint for the first time, and no doubt many will be eager to learn it. It is decidedly a new idea in ^pi painting, having been recently introduced into the Kensington Art School. The work is very smooth and leaves as fine a surface upon the velvet as water colors do upon paper, thus differing from any other method of veK'et painting. The jjaints used are the; oil paints, same as used for land.scape painting, but mixed with turpentine. The colors are put on thinU', and with round sable brushes, afterwards trimmetl as shown in the illustration. With these the colors are rubbed into the velvet rather t ■ -^ painted on the surface, as the cfilor diluted with turpentine acts like ;>. dye, and, if properly done, the pile of the \elvet will not be crushed at all, and when finislu-d no brush marks will be seen. Another pi;culiarity about this painting is that no palette is used to hold the paints, l)ut they are placed on the cdtn's of small Iiuttt'r plates, the bottom and sidt; of the [)lates being used to holtl the turpentine anil to mix the paints. The moleskin \'elvet comes in tiiree shades, nameh' : whiti;, cream and cofft't>color, costing about $1.75 per \anl in tin; liest quality, and when painted upon, can b(; used for the gri;ati;st \ariet)' ot -'>!<► ->? ^ VT^ »^^%^.x^%vx■^■v%.^^x^.N■^^.^i%^■^.^.^^■*^^■^■x^%v%vv%v^,^v%%^^.^%%^N%vv^^^vvv^vv\%^vvv^vv^%vvvv%v%\^%%x^%^ J The. "progrcccivc c^^rt (auidc. decorative purposes — banners, panels, bracket drapes, strips in sofa cushions, and for covering wooden plaques, etc. The instructions are written for the white velvet, but, by being slightly modified, they are applicable to any of the three tints. MATERIALS, The materials required for the two colored studies are ; Round sable brushes, paints, refined turpentine, a few small butter plates, a piece of soft cotton and powdered charcoal for stamping. Do 7iot attempt to use stamping powder for this work, as it will not whisk off the velvet after the outlines are traced with paint and turpentine. It is important that no black powder should show through the paints. The paints required are black leail. Hake white, geranium lake, carmme, cobalt, violet carmine, mauve (Nos. i and 2), and chrome yellow (No. i). The brushes to be used are : 2 Round Sable Brushes, No. 5 4 .1 n M No. 8 4. M 11 11 No. 10 2 KoHnd Sable Brushes, No. 6 1 Camel's Hair » No. 4 2 1, .. M No. I MAKINC; TMK IWTTERNS AND .STA.MI'INc; THE GUTl.INIvS. Our first work will be to get the outlines of the study upon our velvet. This may be done by fri'<. iiand drawing, using a stick of charcoal sharpened to a point. But the quickest and most accurate way, for beginners, is to make a perforated pattern of the outlipe sketch that accompanies the colored studies. To do this, remove the outline sketch from the book and place it upon two or three folds of felt or flannel, and carefully prick out the outlines with a fine needle, care being taken that the perforations are made (juite close, and the needle held perpendicular while making tiiem. Then place thi; pattern in posi- tion on the velvet [smooth side up), and hold both firmly to the table by placing a pin in each corner. When this has been done, sprinkle a little of the powdered charcoal over the pattern, and rub gently with a small piece of felt or flannel. If care has been taken in jierforating, and the pattern removed carefully, you will have a perfect outline. ^WWWk * * AA.-WVWW^-V^'\^^%%^V%>.>.%>.%'S.\' X X X V W ^ %.V\^.X VW VVS/WWNA^t/WW V% \,"V% V^-V^NN^-VVXX-WW % WV W W\^*VWV% WWW ■ f ^ i ..>!<.. /.^'clcckin ITelvcl, cr £had.GV,' "pciir.iirvg. 59 TRACING TIIK OUTLINES WITH I'AINT. You now t;ike a fine camel's hair brush and trace out the charcoal out- lines of leaves and flowers in their respective colors, using paint mixed with turpentine. For the leaves and stems, use a green tint mixed with turpen- tine ; for the pansies, use light mauve mixed with turpentine. Outline the roses with geranium lake and turpentine. For the forget-me-nots, make a pale shade of blue by mixing white and cobalt blue with turpentine. Make the paint outlines of the lightest tint seen in the study, and not too distinct or heavy. Be careful that those outlines which indicate where the lights meet the shadows, and those that denote the turning of leaf or petal, are placed in their proper form and position. Strive to have an accurate outline throughout, and then you will be able to devote full attention to coloring. When the paint outlines are finished, you then brush off the charcoal outlines with a broom whisk. The charcoal outlines will all dust off /row beneath the paint outlines, not leaving the sligiitest trace of charcoal. This is a very important item. But if ordinary stamping powder were useil instead of char- coal, it would not dust off after the paint outlines were traced uijon it : hence the necessity of using powdered charcoal (whiih can be liad from any druggist) Now place tin; traced velvet on light brown paper, turning tiie pai)er over close to tiie tracing and tack with a fine white tlircaii, in order liiat the velvet may be ke|)t clean as well as firm. lUAV lO 'IRTM TIIK HRfSIIKS. A^- The brushes, with the exception of one Xo. 6 sable, which is used as a striper, are trinuiied wilh a sharp pair of scissors, in the following manner : begin by cutting a few hairs quite close to the handle, all around the brush ; now clip off another round of hairs a litde nearer the point of the brush ; continue the clipping process on the same principle as you would sharpen a •■W\N%%%N\XXWX* .^N^V^%%V^vs^,W^AV^^,Wxvvw^w^.^^^v\v^^^%^^^v^^^^^vx^^^v^^^.%^■vxv^%%v^v^^.^x^x^.N^.^v■^■VN^.^%NV%xv'^.vx^.%x^A.^A■^.^• • •MiH*' 60 - The "3rogre2civc ^{ri (auidc. pencil, until the hairs are nicely rounded and terminatinji; almost to a point, as shown in the illustration. As the handles of brushes are much too long for use in velvet painting, it would be advisable to break off a portion. The paints are seldom mi.xed together, and there must be a brush for every different color, as it is impossible to keep the short brushes clean, and too much washing wears them out ; the secret of your success being nice clean brushes and dishes, and the proper use of turpentine. In order that all may clearly understand the terms used in the following instructions, we give THE NAMES OK THE DIFFERENT PARTS OF A FLOWER. Calyx — The cup surrounding the corolla. The parts of a calyx are called sepals. Corolla — The blossom, the parts of which are called petals. Stamens — Are found within the corolla ; tliey are a number of thread-like organs, the parts of which are the anther, pollen, and filament. Pistil — The central organ of the flower ; its parts are the ovary, style and stigma. Receptacle — The receptacle is the end of the stem which supports the other parts or organs of the flower. The parts of the Calla Lily are the spatha and spadix. The former is the blossom ; the latter is the central organ. LAVING IN THE SHADOWS. Where there are very light flowers, such as calla lilies, Easter lilies, etc., it is necessary to paint a little shadow around them and outside their outlines. To make this shading, put a little black lead on the edge of your saucer and a small quantity of turpentine into the saucer ; then take a camel's hair brush, No. 4, and merely touch the black lead with it and stir it into the turpentine, having another saucer at hand containing clean turpentine ; now brush around the flowers, forming a nice grey shadow, being careful not to let the shadow run into the Jlowers ana surrounding leaves ; then dip your brush into ths clean i TOHONTO IITM CO TORONTO IITH CO i-MtSSLY rOR T' POGnCJaiVE ART GUIDE m'UDX :a TDBONrO IITM CO V m' s ., INTEL- fXPPtSSLV rC^" '■ PCGRwilvL ART Gumi TOBOhTO HTH CO -Jl'iJUy \\\\v\%,\\\\\vv\\\*vx.\\\\\v lWw .\\%n\'* .%%%%■*■ j'lLoleciCia IJclvcl, or Shaiov/ "S'air.lin;. <)i turpentiiu; and blend the ttdgcs out softly to the white velvet, as shown in Easter lilies in the second study. HOW TO <()1.()K TIIK IXOWEUH. For the "Call-i Lily" put a littli; cobalt on the edge of your saucer, also a small (juanMty of black lead, and with your No. S brush merely touch the jjlue and then the l)latk lead anil mix in turpentine ; after shading the flower, blend out with clean turpentine in the same way as for the shading described in the preceding paragraph. This l)eing ilone, taki; another brush. No. 8, and paint the [)istil with chromi- yellow and shaili: with burnt sienna. To make the white rolled edge )<)U ma)- always use the brush that has been used in applying the black lead by wasiiing the black well out. Put some flake, white on the edge of a clean saucer and mix with a couple of drops of clean turpentine, now wipe the i)rush clean ;uid take up a little white paint on the side of the brush; turn the l)rush so that th(' paint is touching the edge of flower, then roll or turn the brush slowly, holding the handle easy between the thumb and forefinger, always keeping the brush inside the flower. .\s it is dilTicult to manipulate the brush in thi! sharp angles, the pen may then be us'jd iiisK.'ad. holding it in your hantl the sainc as for writing ; place the point of tiie pen on the line of the di'sign with the edge side of the pen umler (instead of the hollow side imder as in writing), and the hollow sid(^ of pen facing outsicU; of the litittern. Then, as you draw the pen toward you in making the roll, grailually turn it so that the hollow side would come imder (as in writing). For the rose, take geranium lake, mixt^d in a small cjuantity of turpentine, and with a camel's hair brush, No. i, lay in a rich crmison tint. Now take a sable brush, No. S, and shade with carmine ; then witii brush, No. 3. paint a light touch of violet carmine in the. tlarker places, in order to get a deeper color. For the bud, use the same brushes and colors, omitting the violet carmine. Tvi make the moss on the butl, take a No. 10 brush and use green No. t. shading with burnt sienn;'. and grettn No. 2. Now take the striper dip it into burnt sienna and turpentine NVN%^^^N-SN%^%V%NV%N %-\N%%"wVN%>. Vi.N\ \N VWV%%%%%% vw%x >. ^■\\%'V"^-\ ^ %-v^ ■^'^^ ^.vwv-^ ' i M 62 "^Kc progressive ^^{ri Su-iae. mixed, but not too thinly, am' j^aint in tiic fnu; hrown markings of the bud, using a little green No. 2 occasionall\% as seen in tbe study. For the pansies u.se brush No. 8. The yellow centres of all of" them are painted first, using lemon yellow and turpentine. For the dark pansy, at the left-hand side, use violet, carmine and black lead in the darker places. On the turned edges a little white is afterwards applied. Paint the dark portions of the yellow centres with burnt sienna, and use \ioiet carmine for the fine markings that radiate from the centres of the pansies, using the striper, and always commencing from the centre, and making the marking.^ downwards in quick strokes. Put in the white spots, seen In the centre of th',; pansies, with a pen, using white paint. Just below these white spots, a \ery small speck of red and green, mixed, is also put on with a pen. For tiie light pansy use mauve No. i, and with brush No. 10 touch very lightly to the color hv.a mix in lurpcntine Shade with the same color, using brush No. 5. Tiie loWk;r pai sy is painted with mauve No. 2. the same as the liglit one, but in this case use more color and less tur| entine. Paint the buds with the same color. For the calla lily leaf use brusli No. 10, with chn /Tie green No. r and a little burnt sienna and chrome yellow near the top. Shade witii green No. 2 and burnt sienna, using brush No. 6 in forming V(jins. The leaves are painted with chrome yellow, carmine, burnt sienna, and, green No. 1, being careful not to mix, but let the colors l)lend into each otiier ; shade and form veins with brush No. 6 ; then dip the striper into the violet carmine, and paint fine veins over those just made. Paint the' stems with the striper, also the fern, using the same color as that used tor leaves. I'or tile forget-me-nots use tlakc white and col)a!t, mixed with a little turpentine. Cut the hair squarely off an old s,il)le i)rusii, close to th(i handle, dip in color, and place on the velvet directly on the spot where the (lower is wanted ; bear with considerable ])ressure on the brush, and ;it the same time give it a slight twist. Put in the yt-llow centres with the pen. The little jjink spots are put in with light tomdies of geranium lake. The buds of ".he forget-me-not .ire [lainted with g(.'ranium lake anil whiti; mixed. \^^.\^.^.■.v^.^V^^\%\\ ,<\TU^^-^ \ ^rii'Sm X^ 'l 1 - < , "ONru HTM CO T i •»ONru IITM CO aj-J,JJ -ii^-i jxiA _ij_Lajiv -:u^f-U i' iJ-iil''-i^'J''-'./-' ^- :'ID'-1'- m w I IrriNTf:. [.rMS(', . r ,.' THr PROGMtSStVt AHT GUIDl :ji'ifjjrui'JiDi;i:ij,jii\L'j'jiHiJijjiiJAiMjji''i)jiDji'j'-i>jJ:i-.'^/i/j's:;. ■^T**^' -vxx-vv-^N ■ ^•v.vv%-\.%%^'v%v • ••-■^ x^N%^^.^.^. vs.xvNV'.vwvNS.v^ •.vv^''.^1^* I;,v-0.c2fCia _c.vcc, 3r ^aaD.=v.- _•-: -vft^^ INSTRUCTIONS FOR THE STUDV OK TKA ROSIiS, EASTKR I.U.IKS AND VUCIISIAS. The shading around the outside of the outlines of flowers is apphed nrst, and in the same mann(;r as described for the preceding stutly ; so, also, the shading and roll edge on the Easter lily is done in the s.une way as described for the calla lily. After the background shadows are laid on in their proper place, begin by painting the centre of the Easter lily, using a tinge of No. i green, and blend it out lightly near the edge, as seen in the study. Now paint the stamens with geranium lake, using the striper. The tops of the stamens are painted with burnt si^^nna. Tiie long pistil is painted green. Paint the pink rose with geranium lake, using a No. i camel's hair brush ; touch the brush very lightly in the color and mix in turpentine to a delicate tint, being careful not to have the brush too full when applying the paint, as there is danger of it spreading. Shade the rose (or blend it out vilh the 'cvhite velvet) with the same color, but apply very sparingly in the light por- tions. Use brush No. 8 for this shading process. The buds are painted in the .same color, and finished up with moss in the same way as the preceding study. In painting the yellowish tea rose, use the brush that has been used in applying the white paint ; with this brush the background shadows are laid in, using cobalt and black lead in the same way as directed for the calia lily in the preceding study. This done, put some English vermilion and lemon yellow on the edge of the plate, mix in a very little of the vermilion with the yellow and turpentine and [Mint it all over, just letting the color blend into the dark background shading. Where the brighter tmts are seen, vermilion alone is used. For the fuchsia,, use mauve No. i. and brushes Xos. lo and 5. Paint with tile large brush and shade with the smaller one. Then roil on tlie edge in the same way as for the lilies, using the pen for the points; th<-n with the lirush used for green paints, and with Ncj. 1 green, shade th.: wlnte portion of the fuchsias into a delicate tinge of green, and paint tiiat part ne.Kt the stem green (as seen in the study). Paint the stamens with geranium lake, using the striper. The leaves, stems and forget-me-nots are painted in tl- same way as described for the preceding study. .^ * ■VV%%%\'V\%%%».'V' \%XV%\VVXW'\X^V%VNV\\V\%VV\X>.V\\\%V%%V^^V%-V.\.N\\N\VXVS.NVNSiS.^XN\\\^\\%%NX\VN\N\\.N ,VW\\SVV\V\N\^^\\\N%XV'^' 64 "he ^regressive ^•S'[ri ^liaide. INSTKin TIONS lOk I'AINTINC TIIK KOSi: .\M> lll.li:HI-.l.l, STUDY. The tracing of thi: design, perforating tlie pattern, stamping it, and paint- ing the outlines, is done in the same manner as given in the instructions for the colored studies. But if the reader does not wish to use the outline designs, or the sketches that accompany the colored studies, as patterns from which to stamp, she may resort to the following plan, which is just as good as using the original, and very little extra work : Take a i/im piece of paper, and with a piece of cloth rub it all over with powdered charcoal ; shake off all surplus powder. You then place this powdered sheet upon a piece of fine writing paper (powdered side facing tiie writing paper). Now place these tzi>o sheets under the outline design in the book, and with a knitting-needle, or tracing point, carefully follow the outlines of the engraving ; this causes the powder to come off the powdered sheet upon the writing paper in outline. You have now simply to trace out the powdered outlines with a pencil, ;ind perforate i/iis, instead of the outline sketches that are bound in tiio book. (For addi- ti.'^nal hints on transferring, tracing, etc., see page 41). The same paints and brushes that were used with the preceding studies are used, with the addition of sable brushes Nos. 10, 6 and 5, and a tube of magenta and cadmium. The centre rose may be a dark one, and jjainted according to the directions given for the dark rose in the first study. The one at the side is a tci rose, and the lower one a light pink. (See instruc- tions on the second study for directions how to paint a tea rose and a pink rose). In painting the bluebells, use brush No. 6, and mix a little cobalt in a small quantity of turpentine, usinfj a little more color for shading in the darker places. The lower pansy may be painted with violet carmine, and the upper op.e with mauve No. i, according to the directions given for colored study. INSTKUCTIliNS 1(IK I'ANSV STUDY. In all pansies the yellow centres are painted first. Those pansies which are shown dark in the engraving may be painted violet carmine, sometimes painting a little vermilion under the edge of the violet carmine that lies over the yellow portion. (Sec colored study of Roses and Pansies). ''^-- ^ '^ msm ROSE DESIGN. ' I PANSY DESIGN IMAGE EVALUATION TEST TARGET (MT-3) A 1.0 I.I 1.25 f Itt 1120 m 1.4 V] . Hiotographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, N.Y. MS80 (7tc; ft72-4503 \ I I I f '-\^^'v^.x^i*>^■NXX^,'^^l\\%^.%x^.%%x%■x^ ^^^^ nv^^n^n \v\ v^v%^vxx%%\ v%^\ vxvn^nvnxnxxxxx-vnxwv^vw^ v.- avw^^n.^x^wv ^.u0.cciCin, _.c.v:z. zr ^ f.aar.v.- ^c'.r.iir.s. (K) A i);msy ])aiiUt;d in burnt sienna and shaded with carmine, is prettx- tor a variety. I'Or a niayenta colored pansy, use brush No. lo, first, and a])ply th(; maj^enta rather tl.inly ov('r the yellow centres ; in the other portions of it use plenty of paint, giving the pansy a rich color, then shade with ilu; saintt color, using brush Xo, 5 ; put in the /t///c spots in the centre of the pansy with a pen, using burnt sienna. Take violet carmine, and, with a striper, jiut in all the tine markings that ratliate from the centres of the p uisies. For a light yellow pansy, us(! the brush that has been used in applying white paint. Shade in the dark places with black lead and cobalt mixeil with turpentine, and paint the r*;mainder with lemon yellow. The small spots are ji.it in with burnt sienna, and the striping with violet carmine I'-or a dark yellow pansy, us(- a little cadmium mixed in turpentine; and shade with same color, using a little burnt sienna in the darker places, the sixjts are put on with burnt sienna and striping with violet carmine. For the l)acks of the jiansies, paint a little yellow close around the green portion where the stems terminate, and the remaimler with mauve No. 1 or 2 shading with a little ot same color ; the balance of pansies and buds may In: painted with mauve No. i or 2, shailing with a little more of same color. The l(!.ives should i)e shaded a trille darker than those in tlie colored ilesign.s. If the upper llowers be painted in the light colors and the lowcr ones dark, the subject vill have a better appearance. I ', ^^m«C»\\\%-v\\'\i-v-v\-v-v%%-v%\\''.' i- *n •<♦■ X\^%%XX%%XX%'\%%N V\\^X\%%NX%N\XN%N .V\X\\^VXX^XXXX\%XXXX'.X'^VX^VNNXVWWWX^^W\^WN\^X\^\ ,»^XX^^\XV%XV\^Wfc%(*X' - ^Irji- 'rrogriacivc o^^rt Suide. . ^WV* P :♦ ; HE l^rogrt'ssi\e nietlKxl of teaching Art Ncoillc-work will he founil far in advance of any n\eans employed in otlitT puhlica- tions. We are proud to say that it is a commendahle departure from the antiiiuated, wearisome methods formerly employed. Instructions on this useful and fascinating branch of art-work, shown in different degrees of completion, cannot but possess advantages peculiarly its own, and bs welcomed by all. The writer s<'ems to have been aware of the many discouraging failures of those who tried to make satisf.ictory progress l>v the old methods in other books, with small designs, and has hit upon a iif\< plan, which will overcome all difficulties and possess every advantage of personal lessons. The plan is to give, in a concise form, the. latest designs in full sized working patterns, ami plainly show, in the same illustration, all the stitches that are useil in working each design, and thus enable the reader to see at a glance how to utilize the stitches in their proper place;. Whereas, with other methods of book instruction, the stitches wen- jumbled together, good, bad and indifferent, anil the reaiier was left at a loss to know how, or where, to utilize them. But the plan adoi>tef other books is, that the tiesigiis V\\\\\,\\v .WNVNVNWNVVSX X^V\XV%^XNVNV\NVXN\^XW\^VW\WW%^WNX%XW\^X%X%\X%\VXWX%W\X\\ 1W.VX\ BB aa ^^^^^. ^f*^ ^^^\v^^.^^.^^v^\^.^XN^\ ^V^N^NN"VXXNXX^V\\V\\^\-V,XXN '■^ 3'rcgreccivc: ^[ri T fcedle.l'uTork. 7' wuru so small, that they W('rL' iittt;rly us(,'lrss ; in this, however, wi- have all the designs and patterns in ///// s/21', ready to be perforated and stamped upon the material without the tedious task of enlarging. The lirst work to he done is to learn ■•■ TO MAKK I'KKKOKAIKl) PATTKKNS AND DO TlIK S rA.MlMN( i. To do this, prociin; a piece of American boiul paper (or thin writing paper), 12 x 14 inches, and make it transparent by rubbing it all over thinly with clarified linseed oil. Hang it up to dry ; it takes some time to dry, but must be thoroughly dried before using. Paper thus pre|j.ire(l is call.cl Tracing Paper. You ha\e now merely to place this paper over the engraved tiesign, and with a lead pencil trace out the outlines with a steady hand. The design being accurately traced, the pattern is reauy to be perfcirated. Lay a couple of folds of cloth on the table, place the traced pencil sketch upon this, a-id with a needle of medium size prick out the pattern, being careful to follow tii.- oudines and make the perforations (juitj close. Hy placing three or four sheets of pa|ier under the traced sketch ami pinning them together, a numl)er of pat- terns can be prirl-d at once. Plac(! the perforated pattern (rotigh side up) on the material to be stamped, placing heavy weights on the corner t( keen it from slipiiing : then rub stamping powdirr over the perforations witii a piece of felt till the pattern is clearly markt;il on the material (tliis can \n\ ascer- tained by lifting one corner of the pattern slightly). Then remove the pattern carefully. Lay a piece of thin papiT over tlu- stamping and pass a h(H iron over it ; this melts the gum iu the powder and fastens the pattern to the mate- rial. The iron should be as hot as possible without scorching the cloth. Should the heat change the color of the mat(Tial. iron it all over. Do not do any stamping .by this process on a hot or damp day if it can be avoided. Keep the powder in a cool, dry place. In stamping wi'' light colored pow- ders, the best way to fasten it is to hold the back of the cloth against a stove pipe or the fuce of the iron. I-rench stamping is better, however, for all dark materials. To take the powder up on the distributor, have a tin plate with a piece of woollen cloth glued on the bottom, sprinkle a little powder on the ^^m4^^>.^.v\^.v^.^.^v^.\^.v^.v\^.■^.\•^^vx^^.^^.*.■^.xx%%^■vx^^\^.'^.^,^.'^^.^^5A.^.^x^^xx%^\x^,'^^\%^^.^.^.v .•»^WWV>.*.N W\\\%\X\X\X%N%\% \X%\%NXN \X\ W V\\> ' .%XX'V%.X»,XV\V\XWVXX\XVXXV\'W^X\XNWWNXXN\%NXX\N%iN%'V'N.NV%>.NN-V\N'\.S\\S%\%V\.>.-WN.\.X\ ITKe ^Tzsnzzwi ^\ri 5iuidc. clutli and ml) the distributor o\trr it. t.ikiny can; to shalvt; off all tlu; jjowder you can ; enougli will remain to stani|> the pattern clearly. 7(> .Uirir a Distrihiitor. — lake a strip of fine felt, about an inch wide (a .strip from an old felt hat is as gooti as anything), roll it up tightly into a roll, leaving the end Hat, and rub the end over a piece of .sand -paper, to make it smooth and even. To Make Blue Pmvder. — Take etjual parts of pulverized gum tlamar and white rosin, and just enough Persi.m blue to color it ; mi.\ well together. Oilier Colors are made in the same way, using for coloring chrome yellow (for light colored powder), burnt sienna, lamp black, etc. Black powder is improved by adding a little blue to it. To Make White Poioder. -Take one ounce ofi white lead, half an ounce of gum arable in the impalpable i)Owder, half an ounce of whiti; rosin in the fine powder ; mix well together. Superior Dark Blue Powder. — Om; ounce white ro.sin, one-half ounce gum sandarac, one-half ounce Prussian bluo in fine powder; cnv/. all thoroughly. Black Liijuid Stamping is matle i>y putting a very little I;mip black mtd a bottle containing b»;n.Mne. Put in ju t enough to make it a pale black when shaken. This makes an excellent stamping licpiid, as it dries as soon as .ipplied, anil will not ru'; dIT ; and the patterns nt;<;d no cleaning alter they are used ; it must be kept, corked to prevent evajxiration, and aioay from t/ie fire. It is used in the following manner: Take an empty spool (plug up the hole with wood) and make a distributor, by folding two or three ply of felt over one eiul. leav- ing the felt long enough to overlap part of the side of ihe spool, securing the felt to the spool by wiiuling it with twine. You now place the felt end of the spool to the mouth of tin- IxittU-. and tip it upward a number of times till the distributor is well s.itur.ited. Now | lace the perforated pattern upon the mati'- rial to be stamped (smooth side up) and rub the saturated tlistributt)r over the p(!rforations. !• remit Indelible Stamping. — This is the best process for all dark mate- rials. By this process a kind of paint is used instead of powder, and a square- nnil brush instead of a distriliutor. Place the |)attern on the cloth, smtxith side J \ xxxxx^xx XXX XX %.>.>. Nxxxxxxxxxxxxxxxxxxxxxxxxxx m m: <^)p , .%■»■» .V.V%\ ■*$<> ,-»«=Sg*S«»l f" ^'i":sro iVC Hrt r A t ^ 1 • -_crrC. up if you can, thoiiyli •■itlutr side will work well, \vc:i;^Iit llie pattern tlowii as ill stampinj,'. Riil) the paint evenly over the perforations, and it will leave the lines distinct. The paint is mixed in tiie tollowiny manner: Take zinc white, nii.\ it with hoiled oil to ahout ti^L^ thickness of cream, add a little drying, such as i)aintiTS use. Keep in a tin pail (one holding about a pini is a good size), ha\e a piece of hoard cut njund, with .i screw in the centre lor a handle, to fit loosely into the p.iil ; drop this on the paint anti it will keitp ii from drying up ; aii.V%NVWV> •'■*$' M, 4 *^'*^^^\^^^\\x^^^\^^\x\N\^x^ \%\\n\ .nnvnvnnswww v\\\\\n\n^%n\%wn\\x^\n\\x%\'wvwsvxwn\wn'. 'Jr.i _-r3grecc;ve ^'[n ^uii:. I J iil)()\i; tile hull), as srcn in the larj^'t; Mossom). iisinjr the sanu; .sha(l(r of yarn as for the bulb. Tliis furnishes ;i foundation for the niauvt: fillosellf, wliith is next sewed down bt-tween the knots, in liie following manner a needle is threaded with strong thread ; bring the needle up In^tween the upiH-r row of knots. Now place a double strand of niaiivc (a thistle pink) filloselle on the knots close to the thread ; pass the ncttdle back through the material, catching the filloselle about three-quarters of an inch from one <<'lle liy yf*// to the vi'lvet ; hence we take anotlK.-r fastening stitch (as shown in tin; illustration) and '.atch both strands of the filloselle a /////\\>\\S\\\*\\S\XS>V\\\S\\\\\\\%X \VX\\\\\\\\V\V\\S^\\\\\N\\\\VX\\VX\\\\\\%%%\%" ;irr;is('ni' up so as to t iitcli llu: lower |ian ot iln: lillost'llc wliiili ionns ihf blossom. Now tlircail a tint; iietHlIc with olist! green ciching silk aiul c.irry long stittlKs hack and forth, diagonally across ilii: top of the arrastne l)ulli, as seen in th<: (inished blossom ; ami with the same shade make short stitches here and there to represent tlu! thorns on the leaf, as seen in tht; i»,irtly finished leaf. Now coml) out the blos.soms to give them a downy appearance, antl trim off the ends of thi' blossom, and sour work is ready to bt; m.ide u\) into any article that fancy might suggest. i.NsiKi'crit)Ns lok 1)(h;\vii d iu.ossom iii:sI(;n. Tills graceful design of Dogwood blossoms is well adapted to tlu; gn;atest variety of decorative purposes: br.icket-drapes, w.ill b.uiners, sola L-ushions, and plush mirror franu-s. it is very effective; if worked on garnet or dark blue plusli or felt. While any colored fell or jjIusIi is in t.iste, yet it will bt; readily understooil by those who have studied decorative effect, why .1 ilark tone is l)referred — ont; iloes not weary of it, as would be the case with a light tint. The flowers an; a creamy white, with y(;llowish-brown centres, and littlt reddi.sh-brown markings in the notches on the outsiile edge of the petals. I'he leaves are a meilium sh.ide of rather a warm, yellowish gnen. 'I'liese lealures we must, of course, try and imitati; in our needlework, Thi; perforated pattern is made from the accompanying design, in the manner already ilescribed. If it be worked on plush, the I'reiuli indelilile stamping should be used, instead of the powdered process. We will now vup- pose that the design is stamped and the ni.iteri.d placed in ,1 good sized embroidery frame, when yo.i will begin working tlu; stems in olive gr(;en the I^ M'py embroidery floss, in the same manner described ami illusir.ited for design, giving it the upward slant. It may be of service to some of our read(;rs, wIkj ni.iy nui have read) access to stores where embroidery frames are .sold, to know how to m.ike this useful article. A very .serviceable iVame can be readily made from two piec(;s of barrel-hoop, about three feet in length, cut down to one-hall its usual width and thickness. The ends of the hoops are so beveled, that when: the two ends '"*f*" \^%N\^NNXXX%i'VXX\XN\WV\' XNX^VXVWWV^N ^ i li' ^^^%^^^^\^^**^^\\\\\^\\\\\^^\\\\^\\\^\\\\^\\^^ .\^^^\\^^\^*^\^vx\\\^x%^\\x\*\\\\^\^\^^\\\\^^^\\^v\\^^.^\\\\\^\^\^^^^^^^• v,%\\\n\\>,s>' «>!<► ;8 Z'r.i "^rijrcccive ^[ri Jiuidc. overlap fach other, tiny will In; .liKnii tlw: samo thickivss as ihi- rest. It will Ih! necessary to put the y wrappinij twine in thi; notches. One hoop is, of course, made shorter and smaller than the other, so til, It It will fil neatly inside the other. The material to l)e i-inbroidered is ndw |)I.ire(l over the smaller hoop, and the laryer one is forced over the cloth and the smalhir hoop, thus firmly s<'curini^ the mate-rial to be embroidered. .As they txjst but 15 cents, few will take the trouble of makinj,' them, if pro- curable at the stores. The leaves are. worked in three shades of ^reen arrascne. Select shades that partake of a yellowish-^r<;en cast, and a.s yt)U near the top of lh<; spray, use more of the ii:rhter shades. The methcxl of working and shadinj,^ with arrasene is clearly illustrated and explained in thtr I'uchsia de-si^ii, and the directions that follow. The sepals, that show on the back of .some of the blossoms ,inil buds, are also worked in jjjnten arrasene. The veins are put in after the leaves are finished, usin^ a darker sh.ide of embroidery Hoss, o- xeining chenille. The ])etals may be worked in two shades of cream white arrasene, or in two sliade> of white ribbosene, usinjr the darker shade near tin; centre, ( KihlmscHC is a new mali.'rial for embroidery. It is a cross between arrasene and ribbon, anil yet unlike either. It is in fact similar to narrow ril)l)()n, l)ut is all silk and more; elastic beiny crimped or waved. It is used I, Illy ill makin).j flowers). Beyin iit the outside of tin: flowers, and work the stitches in the s.iiiie wa)- as shown in tlx: illustrated I'opi)y xA.\x'\^. ^^^^^^^^^ \\\ VV\\\,\NK^V\i%\>' .<^I ^4*- tilt; tloss twiro around the point of the nocdlc. Now insert tin- nrcdlc .it alujiit the same place it came up. Draw the floss down towartls the point of the nt-rdle, and hold it tightly with the left hand as ytni tak^: the n-rdit.- back through the niaiy disii^n). Yel- low floss is also used for the stamens (the threail-like ])oriions that run from the centre out to the knots, or .uithers). t, iking but one stitch for each stamen. 1 he v<'ins in the petals are put in in the same way, using a lighter sha'ie of yellow lloss, .mil worked in tlu; same ilirection as shown by the vein lines in die design. If the work presf:nts a drawn appearance when finished, this can ')e r(Miiedied by .steaming the b.irk of it and tlien stretching it o\er a board for a short time. iNsrKfciioNs ri.)K vovvx dksicn Probably few flowers are more suitable, and as effective for a sofa cushion as the red poppies shown in our study, ami illustrated in the finished cushion. These brilliant flowers with their yellowish-green centres and st.unens and tl.irk brown anthers, when worked upon a copper colored plush, and li.iving olive green plush corni:rs sewn diagonilly across two opposite corners, .uid finishtMl with appropriate silk ball fringe and silk ponpons for the corners, prl■'^ent a harmonious etfect that is ver)' pleasing to the eye. \a'X us begin b\ making ,i ptrtorated pattern, from tlu; engraving, in the saiiK! vay as described on page 71. This done, use the brench indelible stami)ing 'page 72) in getting the outlines upon the plush. This |ir<>cess t.ikes a little time to dry, but must be thoroughly dry before working. The m.iteri.il is then placed in an embroidery frame. Xow make a careful obserx.ilion of the full size working design and notice how all the stitches ;.re workeil, where the needle is first inserted and where brought out ; note carefully the correcl iliini that is given to the stem stitch, and the chenille stitch seen in the blos- som, and how the knot stitch is made and used in putting in tlu; dark aiulu-rs of the poppies. You will re(|uire three or four shades of olive green iienilie / ->|<-^ ^^->^<«- 1*1 ■ h ' »xx^\^^^^\^^NN^■^,^■v^\' x^.'v\^^XN^^w^.^\\^^^^^^\w\■^x\^%xwxv^%^.%%^.^.^.^.^vv^^%•-^ w^^^^^^^^^^^^^^^■ 5 '^^ 8: TKc :r2ccivc o-Hi"- >iiu.idc. for the stems, leaves and Imlbs, ami three sliades of yarnet chei '•• (poppy tints) for the l)lossoius and buds ; a littU; yellowish green etching silk for the stamens, a skein of seal brown embroidery silk for tlie knots with which to put in tile ant,hers, will complete tin; list of materials. Begin working tiie stems wiiii tlie darkest of the three shades of chenille. Cominenc*- working the large stem at the bottom, and bring tlie needle up at the lift-hand side of the stamped outline; now insert it at the rii^lit-liand oi the outline and bring it out at tile left-hand outlint.-, giving it tin- upwartl slant shown by the needle in the partly fmished stem. Work all the stems first, and tiien begin the leaves, at the liottom of tlie s[)ray. These leavt:s are similar in shape to those of the .Scotcii Thistle on p.ige 75, and may be worked in tlie same way, but with olive green siiades or chenille. We will begin with the large le.if below tile lilossom. 'ihread a largi' wool needle wiiii your medium sliade of ollx'e green ilienille antl l)egin working llie lower half of tile leaf, commencing where tilt; leaf joins the stem. Hring tlie needle up tiirough tin; material at tlie \ eiu, llien take it down at the edge of liie Ii;.if (giving ii the; slant indicated l)y the " stitches seen in the engra\ing|. Now bring tiie needle up again at the cdi^e of the leaf, a sliort distance nearer thi; point of the leaf. Tlie needle is then taken dinon at the \-eiii of the leaf, and again brought up at the vein, and so on. The finished leaves snii in the ciigraxing show how f.u- apart the stitches should be. Use a lighter shade for the tips of the leavt^s. When this is done, t.ike a ilarker shade and work ilie other half of the leaf Those parts in the oilnr fuiished leaves (shown in the engraving) which are intended to b<; worked in a lighter shade, are shown ligliter in the illustration. The other leaves are \\ork((I in the same wa)', varying the sluules in each one. The small leaves near tin; to[) of the spray are workt;il in the lighter shades ; so, also, is the small leaf at the bottom. \\'e will now direct our attention to the bud near the bottom of the spray. It will be seen, by the engraving, that two short stitches at the point of the bud are darker than the rest. These ta•£<•- vxx\ ^%\\\\%\X%\\^\W\%^\N^N\\\ \V\.NV%V^\^NNV%NN^V\^.^XNX^XNNVV\^XXN\N\NNNV •^4 1" iAU.;3.C tlu' lower tiuls of the g.inui stitclu'S, llnis yiviny tin: red portion of llu: Imd the appearance of j)eepii\i; out from uiuler tlie i^nreii. Tlu; large blossom in.iy now be worked. Bei;in at th.: outsiile edj,r(; of the petal, usin<,' the lij^htest shade of garnet chenille. Work two rows of stitches, of unequ.d length, around the outside edge of the petal, and also one row on each sitle of the petal where it touches the other petals. Now fill in another row of stitches with the medium sh.ule of chenille, blending the stitches into the lighter shade. The rem.iiiiing ])ortion near the centre is then filled in with the darkest shade, being very careful to keep the ends of the stitch(;s, which are nearer the centre of the flower, closer together than the ends of the stitches nearer the outside edge, so that the petals will convergi; towards tht; centre (see finished i>etal in tht; large design). 'Ihat portion of the petal which is shown dark in the engrav- ing indicates the parts that are filled in with the darker shades. The partly finished petal and the one l)elow the finished petal .ire both worked so as to show a little more lii^ht g,u-ncl chenille ne.u- the outside edgt^s, th,m the finished petal ; whiK; the three small petals (which are shaded li\- the green Icivis abo\'e them) are worked with the ilarkest shade almost throughout, with the exception of a very few hriglu stitches at the outside etlge of each. The small blossom is worked in the s.ime manner, using only the two lighter shades. In the partly blown llovver. the insiile jioriion is all worked with the brightest shade of garnet theniil(% with the exception of a few stitches of dark near the top. to indie, ite the sliadow cause by the turning o\-er of the petal. Tiie two outside jjctals arc! worked throughout uith the darkest sh.ide, with but a few bright stitches at the top of the oidsi I'e upper |ieta!. Now work the upper bud niMr the large llower. I'"ill in the to|> p.u't with the medium shadit (.f chenille, and. for that part nearer the bulb use the d.irkest shade ; when this is done, work the bulb (that part of the bud nearer the stem) with the medium shadt: of oli\e green chenille, bringing the green chenille up partly on the red por- tion of the bud. The bud bi'low this one is workeil throughout in oli\e green, with the exception of two or three stitches t)f bright garnet chenille at the point. The one al)o\-e the small blossom shows but one stitch of garnet chenille. I I.ivinu *>f<- ^^^.vv^\v^^ J / -^f- V: r.zz linislicd ihc hiuls, we will |iiii in ilu; L^rcni iciurcs <.'iul(isccl li\ ihi- i.iryrr circle in facli l)l()ssoin, usiuL; tin- midium sli.iilr of olixi; i^rccu chciiilK-, lakin<4 tlic stitches l)ack ami Itirtii Irom tlir (iii.'.si(t,- cinii to the -in, ill linlc. This ilonc, tliirail an uniiii.ii'y nccilN' with s(m1 hrown cnibrdlilci-)- silk, and jnit a l.irs^e knot In thr \cry small innrr circle in cuh ll()v\cr. Make sni, tiler knots with the same m.iterial tor th'' numerous .mtheis se<-n in thi' enL;ra\ing, just outside of the lari^cr circle. I he knot siiich is illustr.iled in tlu- I'oppy design. The needle is l)rou<^lu up throuL;li lh<' ni.iteriai where the knot is w.mted, and tlu: lloss is -ountl twice aiound the point ol the neeille ; now insert the neeille at the point wiiere it cimi; up (pulliiiL; the lloss slightl} with the left handj, and draw it hack throuL;h the ni,iieri,il. The kiujts, stamens and \eins are all jiut in on top of the chenille. The stauieiis (thread-like or},^ans) are put in with a vellowish-L'Teen etchin'r silk, in siuLjIe stitches runninL;' Irom the aiitliers to the centre, as shown in i!ie illu-,tr,ition. nvisMiai Mii\ cc.-iiios, in ruiTv hk.-h.s. ■ L '..A. ■*^*^^X*%'*'%*%^VV\\N\\%%%%%%\\\\X%^X%X'\%%%%%\XV %VXX\\NXWWN^X%\\X\N%^X%%^\V\".' ■.%« XVXXX%%i^^XNV 86 The "progressive o^ri Siuide. The veins are put in with dark veining chenille (embroidery (loss will do). The direction of the veins and their distance apart is indicated in the worked leaves and in those in outline in the engraving. Your material is now ready to be made up. The plush, upon which the flower is worked, is now cut into the shape shown in the engraved Sofa Cushion, and olive green plush is stwed to the two opposite corners, which are shown in the engraved cushion in a lighter tint. Two and a quarter yards of silk ball fringe will be required for trimming, and silk pon-pons for the corners. Fringe and ponpons of varie- gated garnet would look pretty INSTRUCTIONS FOR DESIGN OF FUCHSIAS. IS It will be needless to enumerate the number of purposes for wh ^ this beautiful design can be used. It would look very pretty painted upon white moleskin velvet and made up into a wall banner, appropriately mounted with brass rod and rings, plush ends and pon-pons. (See colored study on page 63, and directions for painting the Fuchsias). As it furnishes an excellent subject for arrasene work, we will endeavor to make plain the method of operation. It will look very pretty worked on sage green, or old gold colored felt, with plush mountings of a similar shade. Make the pattern and stamp thi; design upon the felt, according to directions given on page 71. Use the black liquid siavtping. The stems are worked with a dark green eml)roi(lery floss, using such a shade as is seen in the Fuchsia leaves in the colored study, on page 63. The method of working the stems is clearly shown in the illustra- tion. As you near the tops, make the stem stitches longer and narrower. The leaves are worked in three shades of dark green arrasene ; thread the arrasene needle with the lightest shade and begin at the outside of the leaf and make an irregular outline stitch, giving the stitches the slant indicated by the stitches shown in the lower half of the partly worked leaf seen in the illustration. Make a row of these stitches on both sides of the upper portion of the leaf. Now fill in the remaining portion with the darker shades, blend- ing the dark stitches into the lighter ones, nearer the edge. Do not mako" I VtHMV^--'^^^^ SW^NNNWN. x-vwww -^^J- ^Y^ \-WK\\1t'\\\W\\X\'k^\W\\^^\W^-S.-\.-*.\\W>.\\\^\\ \'t.W\W^\^-\\y.\\\W\\\\' ^\N^^\N^\^^^^^N^^^^ jTCgreccivc ^[ri r' "eedU'lVrorl:. «7 the light arrascne outlin*^ stitch<'< close, so that you can blentl the darker stitches into the lighter ones by taking the dark stitches down between the light ones, about half way up the lighter ones. As you near the top of the spray, use the lighter shades of gre^;;-.. The flowers may be worked in the same mauvo tints seen in the colored study, on page 6v using two shades ot mauve arrasene ; or tli(; (lowers on one branch may be worked in delicate pink tints, using two or thrt:e shailes of pink arrasene. The parts siiown light in the finisheii fuchsia is worked with white arrasene. Fill in a small portion of light mauve arrasene near the white portion, ami then work in the darker shade last, as shown in the flower partly worked, blending the stitches into e^ach other. Vary the siiading in each flower. If it be desired to work the flowers on one branch in pink tints, it cin l)e done in the .same way, by using two or three pink shades of arrasen<^ It will be found (juite a help to refer to the coloreil study (page 63) while working. The buds are worked with white arrasene, having a very little />ii/f green blendeil in near the bulb (/>ari near the stem). The bulb is worked with pale green embroidery floss, worked over a yarn foundation, which will givt; it a rounded appearance. The yarn foundation is put in on the same principle as the bulb for the Scotch Thistle (page 75), but with finer yarn. The anthers are put in with the knot stitch, using a bright pink etching silk to make the knots. The thread-like stamens are put in with bright colored pink etching silk. The veins are put in the leaves in the following manner : Tlire.ul a common needle with dark green embroidery floss ; bring it up througii tlie material at the upper end of the central vein. Now draw the floss down to the point where the first eross-vein meets the centr.d one; hold the floss into place here with your left thumb ; now insert the needle at the outside end of the first cross-vein, and bring the needle out at the point where it meets the central vein. But bring the needle out on top of the floss held l)y your thumb. Now insert the needle at the outside end of the ne.xt vein, on the other side of the central vein, and bring it out on top of the thread wiicre this cross-vein meets tiie central vein ; and so on, till ail the veins are put in. (See veins in the finished leaf anil those in outline). , ••■-.."': N%XN"W \ N. \^ \ % NNX-V ^. ^ W\ N ■ fi ^. i pjtgf>'..' vr?mit