A number of fancy articles can be made from white holly wood and
painted. Small clusters of flowers and landscapes can be painted on
panels. One of the designs which always please is a trunk of a tree
and branches ; on one of the branches is a mother owl with her wings
spread over four baby owls, two on each side ; in her mouth is a field
mouse, and underneath is painted, " Supper is ready." This, painted
with Vandyke brown and flake white, is very artistic.
SUBJECTS AND COLORS.
Apple blossoms : First squeeze out of your tuber on the palette or
plate considerable flake white and a very little carmine for the blossoms,
then some terraviste, chrome yellow, burnt sienna and Prussian blue for
the green leaves, Begin by painting the blossoms white, wetting the
brush first in some turpentine, then use the carmine mixed with white
until it is a pretty apple blossom tint. To touch up the petals for the
calyx of the flowers, use terra vert, with a little chrome yellow and orange
chrome for the little stamens ; use fine brushes for the centers, and keep
them clean with turpentine. When you commence the leaves, use the
paint thin and work with downward slanting strokes towards the cen-
ters ; for the stalks or twigs use Vandyke brown mixed with white, and
burnt sienna to show the roughness and knots.
In copying from nature or a card it is better to sketch the outline of
the design, unless you are experienced and have a very correct eye. In
painting flowers on silk or satin, it is better to finish the flowers and
leaves as you go along.
ON CHINA AND PORCELAIN. 295
To paint stones for paper weights ; A good way is to blacken the sur-
face of the stone, and when dry to paint a subject requiring entirely
white colors, such as the stephanotis, etc. Perhaps the most suitable
subjects are landscapes for the large pebbles ; crests, coats of arms,
monograms and mottoes for the medium size ; and for the smallest
stones, birds' nests, insects and flowers, and especially butterflies.
In mineral painting the colors to be used in representing grapes are
the following : For red grapes, first brush over very lightly with carmine
No. 2 (Lacroix), then put in the seeds and deepest parts with " crimson
purple," leaving the first wash of carmine to represent the "bloom."
If the grapes are of a blue or purplish tone wash over the whole surface
first thinly with "light blue," then wash lightly again with " deep blue,"
leaving out the place for the "bloom " in the light blue, and deepening
the outer parts with " violet of gold " and " crimson purple." This, of
course, requires discretion in the disposition of color and depth of tones
used — endeavor always to imitate nature.
ON CHINA AND PORCELAIN.
Page 261
Presented as published in 1886. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
A number of fancy articles can be made from white holly wood and painted. Small clusters of flowers and landscapes can be painted on panels. One of the designs which always please is a trunk of a tree and branches ; on one of the branches is a mother owl with her wings spread over four baby owls, two on each side ; in her mouth is a field mouse, and underneath is painted, " Supper is ready." This, painted with Vandyke brown and flake white, is very artistic.
SUBJECTS AND COLORS.
[illustration: ON CHINA AND PORCELAIN. 295]
Apple blossoms : First squeeze out of your tube on the palette or plate considerable flake white and a very little carmine for the blossoms, then some terra verte, chrome yellow, burnt sienna and Prussian blue for the green leaves, Begin by painting the blossoms white, wetting the brush first in some turpentine, then use the carmine mixed with white until it is a pretty apple blossom tint. To touch up the petals for the calyx of the flowers, use terra vert, with a little chrome yellow and orange chrome for the little stamens ; use fine brushes for the centers, and keep them clean with turpentine. When you commence the leaves, use the paint thin and work with downward slanting strokes towards the centers ; for the stalks or twigs use Vandyke brown mixed with white, and burnt sienna to show the roughness and knots.
In copying from nature or a card it is better to sketch the outline of the design, unless you are experienced and have a very correct eye. In painting flowers on silk or satin, it is better to finish the flowers and leaves as you go along.
ON CHINA AND PORCELAIN. 295
To paint stones for paper weights ; A good way is to blacken the surface of the stone, and when dry to paint a subject requiring entirely white colors, such as the stephanotis, etc. Perhaps the most suitable subjects are landscapes for the large pebbles ; crests, coats of arms, monograms and mottoes for the medium size ; and for the smallest stones, birds' nests, insects and flowers, and especially butterflies.
In mineral painting the colors to be used in representing grapes are the following : For red grapes, first brush over very lightly with carmine No. 2 (Lacroix), then put in the seeds and deepest parts with " crimson purple," leaving the first wash of carmine to represent the "bloom." If the grapes are of a blue or purplish tone wash over the whole surface first thinly with "light blue," then wash lightly again with " deep blue," leaving out the place for the "bloom " in the light blue, and deepening the outer parts with " violet of gold " and " crimson purple." This, of course, requires discretion in the disposition of color and depth of tones used — endeavor always to imitate nature.
ON CHINA AND PORCELAIN.