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                                 LADIES
                             MANUAL OF ART
                                   OR
                          PROFIT AND PASTIME.
                           A SELF TEACHER IN
                    All Branches of Decorative Art,
                       EMBRACING EVERY VARIETY OF
                          PAINTING AND DRAWING
            On China, Glass, Velvet, Canvas, Paper and Wood
                           THE SECRET OF ALL
_GLASS TRANSPARENCIES, SKETCHING FROM NATURE. PASTEL AND CRAYON DRAWING,
                            TAXIDERMY, Etc._

[Illustration]


                                CHICAGO:

                       DONOHUE, HENNEBERRY & CO.

                        407–425 DEARBORN STREET

                                  1890




[Illustration: COPYRIGHT,]

------------------------------------------------------------------------




                                PREFACE

[Illustration]


In presenting to the public and our artistically inclined people our
“Art Manual” we should do so with some trepidation had we not the
assurance, in placing before them this work, that it would instantly win
its way into their favor by its merits. Most books produced by the press
of the present day are novels, compilations, scientific and theological
ones, meeting as they do only certain classes, and are subjects which
have been constantly before the people. We present you a “new book” in
every sense of the word. We propose entering with our readers into the
beautiful realms of Art, than which there is no more interesting
subject; our object being its promotion and dissemination. We want to
see the great majority of our refined, educated, but needy women embrace
it as a source of profit as well as pleasure, many of whom with an
intellect for greater things, but incapable of muscular labor or
exposure, can, by applying themselves energetically to this occupation,
earn a good livelihood and famous name, and assist in disseminating its
beauties everywhere. Many homes are there in our land, which they can
ornament, and embellish to their profit, and the pleasure of others.
Those comfortably situated in life, whose home decorations they prefer
to be the product of their own hands, will hail our “Manual” as “a
friend indeed.” To the child in whom is observed traits of genius it
will be of invaluable assistance in developing those traits. Our aim is
to combine in this work all the different methods of producing
portraits, landscapes, painting on canvas, wood, china, etc., etc., to
furnish to all lovers of the useful and beautiful in art a true teacher,
making every instruction so plain and comprehensive, that a child can
grasp the meaning. In thus combining all these arts in one volume, we
save the learner the expense of purchasing a large number of books at a
cost which effectually precludes the possibility of many engaging in
this profitable and pleasant occupation. Then, to those whose tastes are
artistically inclined, and who find it most inconvenient to obtain
instructions in all the branches desired; to those in whom genius lies
dormant and whom necessity compels to earn their own livelihood; to
those who desire to combine pastime with pleasure, and to those who have
the means, tastes and desire but not the necessary assistance at hand to
ornament their homes, we respectfully dedicate our “Art Manual.”

                                                         THE PUBLISHERS.

[Illustration]




                         INTRODUCTORY REMARKS.


In learning the art of drawing or writing, like all other Arts and
Sciences, there are certain first and fixed principles to be observed as
a foundation upon which the whole is built. A right understanding of
these is absolutely necessary that we may become masters of that art
which we undertake to learn. A neglect of these first principles is the
reason why so many who have spent time sufficient to become accomplished
artists, are, after all their pains and loss of time, incapable of
producing even fair work; and are often at a loss to know how to begin.
Many commence by copying the work of others, and are surprised to find
how little such ability avails them when attempting to make sketches
from nature. The instruction for those who intend prosecuting this
delightful study, is prepared with great care by the author, who has had
very many years of experience in landscape drawing. ’Tis true that much
of his ability has been attained by years of patient industry and
practice. Yet time might have been saved by little earlier attention to
principles and study of works on the subject, prepared by experts. The
best advice to those contemplating a study of the art—who possess any
degree of skill in the use of the pencil, is to go out into the field,
with the “instructor” in one hand and your sketch-book in the other,
select some object of interest, and “take it in.” If not satisfactory,
try again—be not too easily discouraged. You will find the study of
nature a source of pleasure, objects of interest will appear on every
hand, in the valleys, on the mountains, the lakes, or by the river side,
and as you become familiar with the scenes in nature, difficulties will
disappear, and you are happy in the thought that sketching from nature
is truly one of the most pure and refined of intellectual pleasures and
professions, and the sketch-book with you, as with the writer, will ever
be a chosen companion.

When this branch of the work has been completed, and the landscape
transferred to paper and shaded up, the most difficult part of the task
is accomplished. The next essential element in the advancement of the
picture, and that which renders it more beautiful to the eye, is color.
’Tis well to turn aside from your unfinished landscape or portrait, and
study the colors in nature, the mixing of tints, and how to apply them,
as shown on a subsequent page of this book.

To become an artist requires only a love for the art, a good eye, and an
abundance of continuity.

[Illustration]




                                CONTENTS

[Illustration]


 =Sketching from Nature.=—How to Make a Drawing—Linear
   Perspective—Materials—Terms in a Picture—Lines in Nature—Line of
   Beauty—Landscapes—Selecting a Position—Lights and Shades            9

 =Colors in Nature.=—Primary Colors—Advantages of Colors—Colors of a
   Spectrum—Mixtures of Colors—Transmission of Light—Pure White,
   Black, Gray, Green—Neutralization of Colors                        23

 =Pen and Pencil Drawing.=—Paper Used for Transferring—Preparation
   of Paper—Method of Transferring—Shading by Pen—Pentagraph—How to
   Use it—Copying with Transparent Paper                              27

 =Pastel Painting.=—Crayons and Pastels—Paper Used—Exposure to the
   Sun—Colors Employed—Colors of Paper—Mounting the
   Picture—Sketching In the Outlines—Applying the Crayon—Colors and
   Composition of Tints—Background                                    29

 =Landscape Painting in Crayon.=—Paper—Arranging the
   Paper—Drawing—Using the Colors—Fixing the Drawing—Materials for
   Pastel Drawing                                                     33

 =Monochromatic Drawing.=—Directions—Materials
   Used—Shades—Blending—Sky—Mountains—Water—Moonlight—Old Ruins,
   etc.                                                               37

 =Water Colors.=—Instructions—Colors Used for Sky and
   Distances—Hills—Trees—Foreground—Sky—Moonlight, etc.—Selecting
   the Paper—Different Kinds—Brushes—Other Materials—Colors Used      38

 =Landscape Painting in Oil Colors.=—Technical Names and Materials
   Used—Mixing of Tints—How to Apply Them—A
   Glaze—Impasting—Scrumbling—Handling—Light—Brushes—Materials
   Used—Canvas—Prepared Paper—Millboards—Panels—Palettes—A
   Dipper—Rest Stick—Knives—Easels—Vehicles—Mixed Tints               45

 =Oil Photo.=—Miniature or Cameo Oil—Improved Method—Treating the
   Photograph—Paste Preparation—The Glass Cleaning—Colors
   Applied—Wedges—Caution—Directions for Coloring—Second
   Method—Ivory Type or Mezzotint—Mounting the Photograph—Materials
   Used—Another Plan                                                  55

 =Photo Painting in Water Colors.=—Selecting Photograph—Preparing
   the Photo—Colors Used—Coloring Background, Face, Eyes, Mouth,
   Hair, Clothing—Shadowing                                           60

 =Russian or Egyptian Method.=—To Produce First Class
   Picture—Applying Colors—Palette—Liquid Colors Used—Brushes         63

 =Making Photographs.=—Gelatine Dry-plate Process—The Outfit—Filling
   the Plate-Holder—Taking the Picture—Making Negatives—Chemical
   Outfit—Directions for Using Chemicals—Instructions
   Summarized—Making Prints from Negatives—Sensitized Paper
   Prints—Toning Process—Mounting Pictures                            65

 =Draughtsmen’s Sensitive Paper for Copying
   Drawings.=—Directions—How to Use—Printing by Exposure              70

 =Wood Painting.=—From the German—General
   Preliminaries—Requisites—Colors—Transferring the Drawing on
   Wood—Enlarging and Reducing Designs—Divisions of Wood
   Surface—Tracing and Transferring Designs—Fixing Transferred
   Design—Coloring—Retouching—Wood Articles—Polishing Designs         71

 =Transparencies.=—Instructions—General Directions                    81

 =Crystal, or Oriental Painting.=—Materials Used—Colors
   Used—Directions                                                    83

 =Antique Italian Landscape Painting.=—Style of the
   Painting—Transferring—Quality of the Glass
   Used—Materials—Directions—Paints Used                              85

 =Grecian Oil Painting.=—Selecting the Engraving—Applications—Method
   of Painting—Mixing the Paints—Eyes, Hair,
   Flesh—Suggestions—Colors—Brushes                                   87

 =Ornamental Glass Sign Work.=—Lettering Door Plates—Ornamenting
   Glass Work, Boxes, etc.—Instructions—Lettering the Glass—Holding
   the Letters—Next Process—Remaining Directions—Articles Used—Note   89

 =Vitremanie.=—Easy and Inexpensive Decoration of Windows, Churches,
   Public Buildings, Private Houses, etc.—Supersedes
   Diaphanie—Defects of Diaphanie—Materials Used in
   Vitremanie—Simple Instructions—Applying the Design—Removing the
   Paper—Arranging the Designs                                        91

 =Diaphanie.=—Similarity to Decalcomanie—Materials Required—The
   Application—Designs Used                                           93

 =Painting on Silk.=—Satin and Silk—Its Beauty and
   Popularity—Transferring—Painting Directions—Using Colors
   Lightly—Raised Work—Colors Used—Bringing out the Picture           94

 =Staining Wood and Ivory.=—Yellow Mahogany—Black, Red, Blue,
   Purple—Acids and Materials Used                                    96

 =Crystalline Surfaces.=—Paper, Wood, and Glass—Mixture
   Used—Application—Directions                                        97

 =China Painting.=—On China, Porcelain, Earthenware, and
   Enamel—Colors Used—Process of Burning In—Tracing and
   Drawing—First Method—Second Method—Third Method—Cleaning
   Brushes—Composition, Use, and Mixing of Colors—Classification of
   Colors—Tests—Fusibility—Thickness—Mediums—Conduct of the
   Work—Special Information Concerning Painting Colors—Mode of
   Use—Mixtures—Concordance of Enamel with Moist and Oil
   Colors—Technical Names                                             99

 =Monochrome.=—China Painting—Painting on Porcelain or
   Earthenware—Tints of Monochromes—Sketching In—Painting the
   Head—Hair—Flesh Tints—Drapery—Retouching—M. Lacroix’s
   Colors—Finishing the Monochrome—General Suggestions               111

 =China Painting.=—Painting the Head in Colors on Porcelain—Drawing
   and Sketching In—Highly <DW52> Faces—Cast Shadows—Painting the
   Lips—Blue Eyes—Fair Hair— Draperies—The Palette            115

 =China Painting.=—Style of Boucher—Flowers, Fruits, Birds and
   Landscape on Porcelain—Retouching Leaves—Peaches—Instructions on
   Landscapes—The Sky—Trunks of
   Trees—Branches—Houses—Ground—Water—Strengthening
   Touches—Directions for Packing                                    118

 =Terra Cotta Painting.=—Enamel, Oil and Water Color Painting on
   Terra Cotta—Special Instructions—Materials and Brushes Used       123

 =Burning In.=—Mineral Decalcomanie—New and Beautiful
   Art—Transferring Pictures to China and Other Ware—Imitating
   Exactly Beautiful Painting—Directions, Materials Required,
   Designs, Numbers, Prices                                          126