Have a piece of glass on which to mix and try your colors. Paint
directly on the back of the photograph, holding up to the light in order
to follow the outlines. First with your finest brush paint the corners
of the eyes with white into which a pin point of yellow has been mixed.
Pure white is best if the subject is a child or a blonde. If blue eyes,
paint the round part of the eye with Prussian blue, making it lighter if
desired, by mixing white with it. For brown eyes use vandyke brown.
The lips of a blonde are painted with rose-madder and white, a pin
point of each mixed. For a brunette use vermilion and white. Always
wipe one kind of paint from the brush before using another. A drop
of spirits of turpentine or castor oil and a soft cloth are good to clean
brushes. If you do not get the color right at first, it may be washed off
with turpentine and a cloth. While the lips and eyes are drying, out-
line the face and ear with a line of pure white. Now supposing the
hair to be light golden brown, mix a very little yellow and white with
Vandyck brown, putting on the color thus made with your second size
brush ; touch the eyebrows with the same color, as hair and eyebrows
generally correspond. If the hair is dark brown, use vandyke brown.
Jewelry should be painted with light yellow. Laces, ruchings and
shirt fronts or anything pure white should be painted with pure flake-
white. For the center, or shadow part of the ear, use a very fine point
of vermilion, painting the rest of the ear with white and just a touch of
298 PAINTING.
rose-madder. The chin and cheeks of a blonde are painted with rose-
madder, white, and the barest touch of yellow, well mixed ; this gives
what artists call the flesh tint. Vermilion is used in place of rose-mad-
der if the subject is a brunette. Under the eyes and around them use
the flesh tint made of rose-madder, white and yellow; lighten this shade
by adding a little white, and paint around the edges of the hair, adding
more white as you paint toward the eyebrows, blending your colors
well. Taste and practice will determine the right shades to give the
face. The neck requires the flesh tint.
For black clothing use ivory black. Terre-verte and flake- white, well
mixed, make a cool gray tint for drapery or background. White, rose-
madder and terre-verte make a good background for brunettes ; and
Prussian blue, rose-madder and white, make a lavender tint, a handsome
background for blondes. When the picture is all painted and dry, cut
a piece of white card-board the size of the glass, and fasten it to the
back of the glass by binding the edges with a narrow strip of adhesive
paper. The picture without this white at the back will look streaked.
If you wish to try the effects of a color, place your photographs against
a white background.
If, as in some cases, the paper on which the photograph is printed is
very thin, of poor quality, and looks coarse when painted, only color
the eyes, lips and hair, and any jewelry or lace, on the first glass, and
take a second glass and place back of it, separating the two with thin
wedges of card-board at the corners ; bind them together with adhesive
paper and paint on the second glass. Use your coarsest brush for
drapery and background. If you cannot obtain adhesive paper, use
mucilage and a strip of thin paper or muslin.
FAN PAINTING.
Page 264
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
Have a piece of glass on which to mix and try your colors. Paint directly on the back of the photograph, holding up to the light in order to follow the outlines. First with your finest brush paint the corners of the eyes with white into which a pin point of yellow has been mixed. Pure white is best if the subject is a child or a blonde. If blue eyes, paint the round part of the eye with Prussian blue, making it lighter if desired, by mixing white with it. For brown eyes use vandyke brown. The lips of a blonde are painted with rose-madder and white, a pin point of each mixed. For a brunette use vermilion and white. Always wipe one kind of paint from the brush before using another. A drop of spirits of turpentine or castor oil and a soft cloth are good to clean brushes. If you do not get the color right at first, it may be washed off with turpentine and a cloth. While the lips and eyes are drying, outline the face and ear with a line of pure white. Now supposing the hair to be light golden brown, mix a very little yellow and white with Vandyck brown, putting on the color thus made with your second size brush ; touch the eyebrows with the same color, as hair and eyebrows generally correspond. If the hair is dark brown, use vandyke brown.
Jewelry should be painted with light yellow. Laces, ruchings and shirt fronts or anything pure white should be painted with pure flakewhite. For the center, or shadow part of the ear, use a very fine point of vermilion, painting the rest of the ear with white and just a touch of
rose-madder. The chin and cheeks of a blonde are painted with rosemadder, white, and the barest touch of yellow, well mixed ; this gives what artists call the flesh tint. Vermilion is used in place of rose-madder if the subject is a brunette. Under the eyes and around them use the flesh tint made of rose-madder, white and yellow; lighten this shade by adding a little white, and paint around the edges of the hair, adding more white as you paint toward the eyebrows, blending your colors well. Taste and practice will determine the right shades to give the face. The neck requires the flesh tint.
For black clothing use ivory black. Terre-verte and flake- white, well mixed, make a cool gray tint for drapery or background. White, rosemadder and terre-verte make a good background for brunettes ; and Prussian blue, rose-madder and white, make a lavender tint, a handsome background for blondes. When the picture is all painted and dry, cut a piece of white card-board the size of the glass, and fasten it to the back of the glass by binding the edges with a narrow strip of adhesive paper. The picture without this white at the back will look streaked. If you wish to try the effects of a color, place your photographs against a white background.
If, as in some cases, the paper on which the photograph is printed is very thin, of poor quality, and looks coarse when painted, only color the eyes, lips and hair, and any jewelry or lace, on the first glass, and take a second glass and place back of it, separating the two with thin wedges of card-board at the corners ; bind them together with adhesive paper and paint on the second glass. Use your coarsest brush for drapery and background. If you cannot obtain adhesive paper, use mucilage and a strip of thin paper or muslin.
FAN PAINTING.