SKfilJM) KDIT1DN 
 
SECOND EDITION. 
 
 HOW TO PAINT 
 
 PHOTOGRAPHS 
 
 IN 
 
 WATER COLORS. 
 
 A PRACTICAL HANDBOOK DESIGNED ESPECIALLY 
 FOE, THE USE OF STUDENTS AND 
 PHOTOGRAPHERS. 
 
 CONTAINING DIEECTIONS FOR BRUSH-WORK IN ALL 
 DESCRIPTIONS OF PHOTO-PORTRAITURE. 
 
 BY 
 
 GEORGE B. AYRES, 
 
 ARTIST. 
 
 There is no degree of talent so small that proper instruction may not develop it. 
 
 PHILADELPHIA: 
 BEKEEMAN & WILSON. 
 1 87 0. 
 
Entered according to Act of Congress, in the year 1869, 
 
 By BENERMAN & WILSON, 
 
 In the Clerk's Office of the District Court of the United States for the 
 Eastern District of Pennsylvania. 
 
 CAXTON PRESS OF SHERMAN & CO. 
 
PREFACE TO FIRST EDITION. 
 
 If I were asked to give a reason for the issue of this 
 little volume, I would reply that I believe it is needed. 
 
 I have undertaken the task of supplying this want — ap- 
 propriating thereto my time apart from professional duties 
 — only because it has not been done by some brother artist, 
 perhaps more competent. 
 
 The field is already somewhat occupied, but I claim that 
 the few books now to be had are not sufficiently practical, 
 and comprehensive in detail, — especially for beginners, — 
 and not fully applicable to the present advanced status of 
 American photograph}^, and the corresponding demand for 
 improvement in the art of coloring. 
 
 This humble effort may, doubtless, contain directions 
 that will provoke a smile from full-fledged and experienced 
 artists ; but let it be remembered that its contents are not 
 designed for their use or criticism. 
 
 I have reason to believe, however, that it will supply a 
 desideratum in the study of art, and afford great assistance 
 to beginners and the uninitiated generally. 
 
 G. B. A. 
 
PREFACE TO SECOND EDITION. 
 
 If I were asked to give a reason for the issue of the Sec- 
 ond Edition of this little volume, I would reply that it is 
 
 needed ! 
 
 The extraordinary sale which disposed of the first thou- 
 sand within three months, astonished both author and pub- 
 lishers, and furnished the most gratif}dng evidence that 
 their united labors had not been in vain. 
 
 Although the continued demand for the book would have 
 justified another edition of it immediately, I preferred to 
 delay the same, in order to revise and make important ad- 
 ditions, which I believe render it now quite complete. It 
 has been my aim to leave nothing unwritten which I be- 
 lieved could in anywise assist the student in the attainment 
 of practical ability. 
 
 Many topics new to our art are also introduced, and other 
 improvements made, which — together with its general ac- 
 ceptability, as indicated by the sale aforementioned— I hope 
 now constitute this book the standard manual for instruct- 
 ing " How to Paint Photographs in Water Colors." 
 
 G. B. A. 
 
INTRODUCTION. 
 
 No booh ever made a painter, or ever will. Neither can 
 Art be taught practically by books ; but the written experi- 
 ence of others may lend important assistance to the student 
 who undertakes the task of self-tuition. This is particu- 
 larly true if he is gifted with such powers of perception as 
 enable him to understand the instructions which are pre- 
 sented, without any further aid. 
 
 There are hundreds of instances, — especially outside the 
 cities, — where books are the only available means of obtain- 
 ing this kind of information ; and it is hoped that this little 
 work will be found sufficient for, and meet the expectations 
 of, the many who cannot enjoy the additional advantage of 
 a teacher. 
 
 Doubtless there are photographers in many parts of the 
 country who have orders for painted and retouched work, 
 but who have not the opportunity of committing their pic- 
 tures into the hands of regular artists. At the same time 
 they may themselves be possessed of a degree of native 
 genius which only needs direction and encouragement, to 
 enable them to do at least some of their brush-work. In- 
 deed, there is no good reason why every competent photog- 
 rapher, who has any inherent talent and aptness for picture- 
 
10 
 
 INTRODUCTION. 
 
 making, should not — in addition to the operations of the 
 camera and dark-room — become tolerably proficient to do 
 some of his ordinary coloring ; and, by study and practice, 
 a considerable proportion. 
 
 " Very erroneous ideas," writes a distinguished painter, 
 " are entertained regarding the capability of the mind to 
 acquire correct perceptions of color, and to realize them in 
 artistic effects. Too much is ascribed to genius, and too 
 little to study and perseverance. Both the appreciation of 
 color and the power of expressing it are doubtless attain- 
 able by education ; and under proper direction, the laws 
 relating to harmony of color may be as readily understood 
 and practised as those relating to perspective when repre- 
 senting forms without color; the pursuit demanding nothing 
 more than the general capabilities required in the study of 
 the latter. But the student who desires to attain excel- 
 lence, must devote his time and labor with that untiring 
 energy which a love of the art can alone excite." 
 
 In preparing this volume we have assumed that the ma- 
 jority of those for whose use and improvement it is more 
 especially designed, have no desire to acquaint themselves 
 with the philosophical minutiae of the art of delineating the 
 human countenance and form, as based upon the true art 
 standpoint of an original creation upon white paper. The 
 photographic image, already provided, obviates this neces- 
 sity; and hence our teachings will be found simple and 
 practical, as regards the separate matter of Coloring, — 
 whilst we leave the profounder aspects of the subject to be 
 studied, by the more ambitious, from other and higher 
 sources. 
 
INTRODUCTION. 
 
 11 
 
 Practical photographers are not, however, the only per- 
 sons to be assisted by this book. It is also designed for 
 others who wish to essay Photographic Painting as a recre- 
 ation, or to pursue it as a livelihood. The country is full 
 of those who seek instruction — especially women ; but the 
 inconvenience and expense of tuition at the hands of com- 
 petent instructors (to be found only in the cities), clearly 
 proves the necessity for a standard booh as the next best 
 means of gaining the desired knowledge. 
 
 To such it is believed this work will be really valuable ; 
 and our sincere hope is that it will be found sufficiently 
 plain, practical, and comprehending all that is necessary to 
 render this delightful study easy, — furnishing one more 
 stepping-stone to artistic and personal advancement. 
 
 Note. — We have not deemed it to be inconsistent with 
 our plan, either, to introduce the brief chapters which pre- 
 cede the List of Colors ; since a knowledge of the matters 
 contained therein is essential to an intelligent selection of 
 colors and handling of the brush afterwards. But as 
 they may be rather abstruse for the beginner, a thorough 
 study of them may be deferred until a certain degree of 
 labor has been accomplished, although they should be care- 
 fully read at the outset. 
 
j^OW TO j^AINT j^HOTOGRAPHS. 
 
 Classification of Colors. 
 
 It is proposed that this work shall serve as a guide to 
 labor, rather than an index to philosophy — to teach the stu- 
 dent how to do, without cumbering his mind with the reasons 
 why. 
 
 Hence, it will be expedient only to briefly record here cer- 
 tain recognized, important and interesting facts respecting 
 the nature of colors, and recommend to the student a fur- 
 ther and more complete investigation of colors — their qual- 
 ities, and innumerable effects of contrast and harmony — as 
 it can be found in books specially devoted to this subject. 
 
 Notwithstanding the assertions of the old philosophies 
 about the u seven primary colors," there are indeed but three, 
 viz., 
 
 Red— Yellow— Blue, 
 
 and these are termed Primary (or Simple) colors, because 
 they are the source whence all others are derived by mix- 
 ture. 
 
 The combination of any two of these, in equal parts, pro- 
 
 2 
 
14 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 daces another class, termed Secondary (or Compound) colors. 
 Thus: 
 
 Ked and Yellow make Orange, 
 Yellow and Blue make Green, 
 Blue and Red make Purple. 
 
 A further combination, in pairs, of the Secondary produces 
 a third class designated Tertiary (or Mixed) colors. Thus : 
 
 Green and Orange- make Citron, or Citrine, 
 Orange and Purple make Russet, 
 Purple and Green make Olive ; 
 
 each of which is variously compounded of the three original 
 or primary colors — as the secondary order is of tivo — one of 
 the primaries, however, predominating. 
 
 A fourth class may be added, and designated Irregular 
 Colors ; under which head is included the long list of browns, 
 grays, various neutral tints, drabs, stone colors, etc. These 
 have also received the name of Semi-neutral Colors. 
 
 [glT 3 It will be observed, that whilst each combination 
 of two primary colors produces a new and perfect hue, each 
 subsequent combination tends to produce neutrality ; the 
 neutral tints formed partaking, however, more or less of the 
 special characteristics of the primaries to which they are 
 most allied. 
 
 White and Black, which most completely contrast as light 
 and darkness, are not generally regarded as colors: White, 
 as the representation of pure daylight in its undivided state, 
 being supposed to represent a combination of all colors ; and 
 Black, like darkness, or the absence of both color and light. 
 However, they hold an important place in almost every pic- 
 ture, having their own effect, when in combination with other 
 colors. 
 
 Normal Gray, is black mixed with white in various pro- 
 portions, producing numerous tones of pure gray. Grays 
 
COMPLEMENTARY COLORS. 
 
 15 
 
 also result from the mixture of all three primaries in various 
 proportions, and these are designated Colored grays. 
 
 Complementary Colors. 
 
 The mixture of any two of the primary colors, forming a 
 secondary, this secondary is complementary to the remain- 
 ing primary color. Thus, 
 
 Orange produced by Red and Yellow, is complementary to Blue ; 
 Green, " Yellow and Blue, " « " Red; 
 
 Purple, " Blue and Red " " " Yellow. 
 
 The combination of any two secondary colors will produce 
 a tertiary, which is complementary to the remaining secon- 
 dary. Thus, 
 
 Citrine, produced by Orange and Green, is complementary to Purple ; 
 Olive, " Green and Purple, 41 " " Orange; 
 
 Russet, " Purple and Orange, " " " Green. 
 
 These combinations may be carried to an almost unlim- 
 ited extent, with similar results ; for this relation of colors 
 is not arbitrary, nor the result of taste or fancy ; but it is 
 founded upon absolute inherent principles, which exist as a 
 physical necessity of the organs of vision. 
 
 Black and White are also to be regarded as complemen- 
 tary to each other. 
 
 We have thus far explained the term " complementary " 
 with reference only to colors in their primary signification — 
 treating red, yellow and blue without regard to the various 
 gradations of hue which each color possesses. But the prin- 
 ciple which governs the relations of the simple primaries 
 applies also to every variety and combination of tint ; and 
 which could be multiplied by gradations so delicate that it 
 would be impossible to enumerate them. 
 
 The following diagram of the complementary relations 
 of colors is furnished as a ready reference for the student, 
 and is subdivided far enough for all ordinary purposes. 
 
16 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 %£§^*The complementary of each color will be found in the 
 angle directly opposite : whilst it will be observed that each 
 pair yields a harmonious balance of three primary colors. 
 
 Contrast. 
 
 Contrast is the source of all character and effect in color, 
 as in every other division of the art. No tint will appear 
 very bright unless set off by an opponent, and by this treat- 
 ment, effect may be given to any color ; but the shadows 
 must all partake of the same negative tone, and that should 
 be the natural antagonist of the general hue of the light, 
 which again must be gently diffused over local colors, in 
 order to tinge with the same atmosphere, and give truth 
 and union to the whole. 
 
 The subject of Contrast embraces two principal heads: 
 Contrast of Color, and Contrast of Tone, or intensity. 
 
CONTRAST OF COLOR — CONTRAST OF TONE. 
 
 17 
 
 Contrast of Color. 
 
 By this it is meant that, complementary colors placed in 
 juxtaposition mutually enrich each other; and from the 
 same cause, neutral tints placed in juxtaposition with full 
 hues appear to be tinged with the complementary color of 
 such hues. The converse is equally true: that colors not 
 complementary to each other are mutually injured by con- 
 tact. It is obvious, therefore, that neutral tints placed in 
 contact with full hues, should incline to the complementary 
 of such hues, in order to produce the best effect. 
 
 Contrast of Tone. 
 
 Results from placing side by side two tints of the same 
 color, but of different degrees of intensity or depth ; from 
 which the deep tint will appear still deeper, and the light 
 tint still lighter — the difference in intensity appearing 
 greatest at the points of contact. All colors gain depth by 
 contact with White, the white assuming the complemen- 
 tary tint of the color near to it ; whilst Black has the effect 
 of weakening colors contiguous to it. The juxtaposition 
 of Gray, which is a mixture of white and black, gives bril- 
 liancy to all pure color. 
 
 Therefore, the student will see that he has the power of 
 changing the characteristics of pigments by simple juxta- 
 position ; he can either enhance the value of both, or sacri- 
 fice one and exalt the other; and in cases where a pleasing 
 ensemble is not presented by his model, he can adapt the 
 colors he is at liberty to choose to those which are inherent 
 in the model, so as to arrive at a satisfactory and harmoni- 
 ous effect. 
 
 Without pursuing this subject beyond the limits of these 
 general principles — (as we might, and show that an infinity 
 of pleasing results can be obtained by the judicious arrange- 
 ment of analogous tints in harmonious relations) — the stu- 
 
 2* 
 
18 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 dent is advised to a further examination of those works 
 which treat upon the science of colors, minutely and philo- 
 sophically. For this reason, space has not been occupied 
 to explain why these things are so ;. it is our aim to make 
 this book a simple guide to practical working, and not an 
 exposition of philosophical color-mysteries. 
 
 Peculiar Characteristics of Colors. 
 
 The primary colors are suggestive of various ideas, ac- 
 cording to particular circumstances. Thus, painters have 
 agreed to call red and yellow and their mixtures warm — 
 giving notions of light and heat. They also come near the 
 eye, and are less impaired by distance than any other colors ; 
 yellow less than red, and green less than purple. 
 
 Eed is the most powerful, distinct, and exciting of all col- 
 ors; stimulates the eye, and predominates over all colors 
 designated warm. 
 
 Yellow is the primary most closely allied to light. 
 
 Blue, and those tints of which the larger portion is blue, 
 suggests an idea of coldness, and distance. 
 
 Of the Secondaries : Orange being the most luminous is 
 the most striking and prominent; the connecting link of 
 harmonizing color between yellow and red. 
 
 Green is generally considered the mean between orange 
 and purple, thus taking position between light and shade. 
 It is the most soothing and refreshing, although a prepon- 
 derance of it is scarcely ever truly pleasant. 
 
 Purple, coolest and darkest of the secondaries, partakes 
 considerably of the retiring qualities of its chief primary, 
 blue. Next to green it is the least fatiguing to the e}^e; 
 and its various compounds afford most of the colored grays. 
 
 The plan most generally adopted is, that the warm colors 
 should always be placed at the front ; as having a tendency 
 to impress the eye more strongly, or to come more promi- 
 nently forward than the colder colors ; but union and har- 
 
PECULIAR CHARACTERISTICS OF COLORS. 19 
 
 mony require that some intermixture of warm color should 
 be put in the background, and of cold into the front. 
 
 The lighter colors also brighten those of a deeper kind ; 
 as white, or yellow, put with red or bine, renders these more 
 lively. If intermixed with them, it diminishes their depth. 
 
 There are also colors which diminish each other's effect, 
 and deaden a neighboring one ; others again raise the force 
 of those with which they are combined— as white heightens 
 the rose-tint of the face, and as a red turban would suit an 
 Ethiopian. 
 
 Colors also suit each other from thp one being warm and 
 the other cold ; as red and blue, orange and blue, brown and 
 blue ; and yet two colors sometimes narmonize with each 
 other, as blue and white, when both are cold. 
 
 White increases the intensity of black by contrast, as 
 black adds to the brilliancy and distinctness of white ; and 
 though white makes a red face look redder, it increases the 
 paleness of a pale complexion. Black, too, has a similar 
 effect. 
 
 Some colors disagree from their being positive discords ; 
 some fail to accord with each other from their tones being 
 of unequal intensity, some from their proportions in quan- 
 tity being too much disregarded ; and some from wanting 
 another color to complete the harmonious combination. 
 
 As an appropriate and entertaining conclusion to the en- 
 tire subject of the relations and harmonies of colors, we ap- 
 pend the following lines, which aptly embody the principles 
 contained in this division of study. Versification being an 
 acknowledged help to memory, the ideas contained in these 
 lines may be easily caught and kept ever present in the 
 student's mind. 
 
HOW TO PAINT PHOTOGRAPHS. 
 
 The Relations and Harmonies of Color. 
 
 BY HENRY HOPLEY WHITE, ESQ. 
 
 Blue — Yellow — Red — pure simple colors all 
 
 (By mixture unobtained) we Primaries call ; 
 
 From these in various combinations blent, 
 
 All other colors trace their one descent. 
 
 Each mixed with each — their powers combined diffuse 
 
 New colors — forming Secondary hues : 
 
 Yellow with red makes Orange, with blue — Green, 
 
 In blue, with red admixed is Purple seen. 
 
 Each of these hues in Harmony we find, 
 
 When with its complementary combined; 
 
 Orange with blue, and green with red, agrees, 
 
 And purple tints, near yellows, always please. 
 
 These secondaries Tertiaries produce, 
 
 And Citrine — Olive — Russet introduce : 
 
 Thus green with orange blended forms citrine, 
 
 And olive comes from purple mixed with green ; 
 
 Orange, with purple mix'd, will russet prove j 
 
 And, being subject to the rule above, 
 
 Harmonious with each tertiary we view 
 
 The complemental secondary hue : 
 
 Thus citrine — olive — russet harmonize 
 
 With purple — orange — green, their true allies. 
 
 These hues, by white diluted, Tints are made, 
 
 By black are deepened into darkest Shade. 
 
 Pure or combined, the primaries all three, 
 
 To satisfy the eye, must present be ; 
 
 If the support is wanting but of one, 
 
 In that proportion harmony is gone : 
 
 Should red be unsupported by due share 
 
 Of blue and yellow pure — combined they are 
 
 In green — which secondary, thus we see, 
 
 The harmonizing medium of all three. 
 
 Yellow for light contrasts dark purple's hue, 
 
 Its complemental, form'd of red and blue. 
 
 Ked most exciting is — let Nature tell 
 
 How grateful is, and soothing, green's soft spell. 
 
PORTRAITURE. 
 
 21 
 
 So blue retires — beyond all colors cold, 
 
 While orange warm — advancing you behold. 
 
 The union of two primaries forms a hue, 
 
 As perfect and decided as 'tis new ; 
 
 But all the mixtures which all three befall 
 
 Tend to destroy and neutralize them all ; 
 
 Nay, mix them — three parts yellow — five of red 
 
 And eight of blue — then colors all are fled. 
 
 When primaries are not pure — you'll surely see, 
 
 Their complementals change in due degree ; 
 
 If red (with yellow) to a scarlet tend, 
 
 Some blue its complemental green will blend; 
 
 So if your red be crimson (blue with red), 
 
 Your green with yellow would be varied ; 
 
 If yellow tends to orange, then you find 
 
 Purple (its complement) to blue inclined ; 
 
 But if to blue it leans, then mark the change, 
 
 Nearer to red you see the purple range. 
 
 If blue partakes of red — the orange then 
 
 To yellow tends ; if yellowish — you ken 
 
 The secondary orange glows with red. 
 
 Eeader, farewell ! my lesson now is said. 
 
 Portraiture. 
 
 Likeness is the very essence of portraiture. Whatever 
 may be the artistic merits of a painting which is intended 
 to represent the countenance and figure of a valued friend, 
 its greatest perfection must exist in its correct likeness. 
 Our personal affections will always bid defiance to any 
 rivalry from art; and hence an ordinary, but correct, por- 
 trait will elicit our admiration and love, whilst one lacking 
 this essential point would be disregarded. 
 
 There is not one person in the world who has not a par- 
 ticular characteristic both in face and body. This will be 
 patent in the drawing of the photograph itself; and while 
 the camera produces nature truthfully — perhaps too much 
 so for mortal vanity in general — the artist's office is to im- 
 part life and color. To adorn nature too much is doing a 
 violence. We can imitate her with sufficient exactness, 
 
22 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 however, and still perceive and comply with what is advan- 
 tageous in art. 
 
 It is scarcely proper to undertake the coloring of a pho- 
 tographic portrait without first seeing the original; or if 
 that is impossible, of ascertaining fully the principal colors 
 to be used. Owing to the shade of blackness with which 
 the various colors " take," the photograph itself gives very 
 little or no indication on many points. Therefore, if prac- 
 ticable, secure a lock of the hair ; understand by an inter- 
 view with the original, or from the remembrance of others, 
 the exact color of the eyes ; kind of complexion ; defects or 
 peculiarities of countenance and figure; what alterations 
 and corrections are desired ; colors for the drapery ; what 
 sort of jewelry, et cetera. In short, remember that knowl- 
 edge and a full understanding of the subject makes work 
 pleasant and easy ; and he who knows the road gets to his 
 journey's end with more speed and certainty than he who, 
 through ignorance or carelessness, gropes it out. 
 
 In accomplishing a photo-portrait, the student should 
 keep in mind a union of the true and the beautiful. How- 
 ever correctly the camera may have attained the former, it 
 has not intelligence to discriminate and perfect the latter. 
 The student should derive from his subject a feeling pecu- 
 liar to the work before him. He must not paint all alike, 
 and should avoid the fault of mannerism. In painting 
 children's pictures, for instance, he will rather feel at liberty 
 to idealize them — to make them appear somewhat beautiful 
 and picturesque whether they are so or not — and this license, 
 to a certain degree, may be extended also to pictures of 
 women, unless the photograph should render it impossible. 
 With men's faces, on the contrary, the feeling should 
 change ; inspiration for the beautiful should give place to 
 zeal for the delineation of vigor and strength — giving a 
 true portrait while portraying a distinct character. 
 
 It may be remarked that the power of masculine expres- 
 
PORTRAITURE. 
 
 23 
 
 sion lies in the forehead, the under lip, the chin, and, of 
 course, in the graver language of the eye. The sweetness 
 of the feminine graces resides in the mouth and eyes ; es- 
 pecially at the exterior corners of and below the eyes, at 
 the corners of the mouth, and in the play of the lower lip. 
 To hit the happy medium in the distinctive treatment of 
 masculine and feminine faces is perhaps the greatest excel- 
 lence in the art. In the former, the student's aim should be 
 to maintain that quality of intelligence which is distinctive 
 of the original, without falling into severity ; in the latter, 
 the object should be to endow the photographic representa- 
 tion with vitality and sweetness, without carrying his work 
 beyond the reasonable limits of delicacy and beauty. 
 
 A little experience in photographic painting will also in- 
 troduce to the beginner a class of persons who may insist 
 upon the correctness of the camera, and wish to be painted 
 as they are — (or, as Cromwell said, u Paint me as I am ; 
 warts, wrinkles, and all!") — desiring no changes, and wish- 
 ing to see their veritable selves without flattery or qualifi- 
 cation. It may not be improper, however, to intimate that 
 these persons will be found " indifferent honest" after all; 
 and that where the artist's better judgment suggests im- 
 provement which shall not impair the likeness as a whole, 
 it will not be complained of as objectionable. 
 
 While the license of art, however, permits a representa- 
 tion as favorable as possible to the original, there is yet a 
 limit to this complimentary work which should be defined 
 by the peculiarities of each case. In instances of personal 
 imperfection, if a sufficient portrait can be preserved with- 
 out signalizing the natural blemishes which the relentless 
 camera has reproduced, it is consistent with the rules of 
 legitimate practice to subdue them ; but this must be done 
 with great discretion, for they often comprise the very 
 climax of individuality. Hollow cheeks, a long mouth, a 
 protruding under lip, angular shoulders and elbows, bony 
 
2i 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 hands, &c, will too frequently demand subjection to more 
 agreeable shape. 
 
 It may also sometimes occur that alterations, which are 
 demanded by every principle of correct art, cannot be made, 
 and should not be attempted, unless after consultation with 
 those who are to receive the finished work. This will be 
 found more especially the case in reproducing old pictures : 
 these very faults which may appear rather hideous to our 
 more artistic eyes, have become, in time, part and parcel of 
 the picture itself; and nothing different from an exact copy 
 of the long-looked-at original would be satisfactory. Yery 
 often, too, the original will prove to have been so badly 
 taken that it does not furnish sufficient basis for much work 
 according to art; in which case the student will perceive 
 that his touches must be few, but correct, and that just as 
 soon as the likeness is reached, his labor on the face must 
 cease. Unfortunately, the deficiency of knowledge among 
 a majority of the daguerreotypists of a former day, has been 
 the cause of much trouble of this kind to the photograph 
 painters of the present. 
 
 Jgigf* The propriety of the above chapter on the subject of Por- 
 traiture may not have been at once apparent — this work being de- 
 signed as a guide to the painting of photog?*aphs ; and particularly 
 when it is remembered that the portrait has already become a fixed 
 fact by the operation of the camera in the hands of the photographer. 
 It is also true that ignorance of the art-elements, in producing the 
 photographic image, cannot be atoned for by any superior intelligence 
 of the painter. But certain emergencies must be provided for, and 
 the student will, as he progresses, find it to be actually necessary to 
 possess himself with knowledge on the subject of portraiture, perhaps 
 much beyond these cursory observations ; that is, if it is his purpose 
 to accomplish fully and satisfactorily the art of photo-portrait paint- 
 ing. 
 
 List of Colors. 
 
 The Water Colors used in the operation of painting a 
 photograph should be selected with care, and from those 
 
LIST OF COLORS. 
 
 25 
 
 known to be of superior manufacture. Each one should be 
 a good type of the pigment, for they not only differ as pre- 
 pared by different colormen, but even from the same house 
 at various times. 
 
 The number of colors to be employed will, of course, de- 
 pend much upon the option and the ability of the student. 
 Certain colors are at once indispensable, whilst others, of a 
 secondary importance, can be procured as his knowledge in- 
 creases and the desire or necessity occurs. 
 
 Those which may be regarded as essential at the very be- 
 ginning, and of constant and important use in all the future, 
 are as follows : 
 
 Burnt Sienna, 
 Chinese White, 
 Cobalt Blue, 
 Crimson Lake, 
 French Blue, 
 India Ink, 
 Indigo, 
 Indian Ked, 
 Indian Yellow, 
 Yellow Ochre, 
 
 Lampblack, 
 Neutral Tint, 
 Pink Madder, 
 Haw Sienna, 
 Scarlet Vermilion, 
 Sepia, 
 
 Vandyke Brown, 
 Venetian Ked. 
 Vermilion. 
 
 The colors which, in time, become desirable for use, and 
 whose effect, in some instances, no mixture of those above- 
 mentioned will exactly produce, are as follows : 
 
 Orange Chrome, 
 Olive Green,* 
 Prussian Blue, 
 
 Bistre, 
 
 Brown Pink,* 
 Burnt Umber, 
 Cadmium Yellow,* 
 Carmine,* 
 Dragon's Blood,* 
 Emerald Green,* 
 Flake White, 
 Gamboge, 
 Lemon Yellow,* 
 Light Ked, 
 Madder Brown, 
 
 Prussian Green,* 
 Purple Lake,* 
 Purple Madder,* 
 Kaw Umber, 
 Koman Ochre, 
 Koman Sepia, 
 Kose Madder,* 
 Scarlet Lake.* 
 
26 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Colors marked thus ( * ) are valuable for convenience, 
 and for the obtaining of special results. There are also 
 other pigments commonly known and often used, but of 
 doubtful character as to permanency and working qualities, 
 and therefore not competent to our purpose. 
 
 In addition to colors, the student should be provided with 
 hard and soft pastel, colored and gray ; and some colored 
 pencils {Greta Lavis) in cedar wood. 
 
 JS® 3 " It may be well also to advise that, as the cakes of color lose 
 somewhat of their freshness by constant exposure to the air and light, 
 becoming dry and easily crumbled, they should be kept in a covered 
 box. One that is flat answers best, and should have a hinged lid for 
 convenience. 
 
 JElrusJies and Implements. 
 
 Sable brushes are not only the best adapted to water color 
 painting, but indispensable to the production of good work. 
 Sables are made of black and red hair, the former being 
 held in regard for having better points, carrying the color, 
 and working more freely ; and the latter for possessing 
 greater stiffness, and capacity for working when body-color 
 is used. 
 
 Compared with these, camel-hair brushes are worthless ; 
 although it is desirable to have a few of large size for use in 
 broad washes where smoothness is required ; but they are 
 deficient in the elasticity requisite for other purposes. A 
 fiat camel-hair brush, in tin, is also a useful and necessary 
 implement ; not only for laying broad washes of color, but 
 for damping the paper, when necessary, before washing ; as 
 well as for softening, where the effects may be too harsh and 
 heavy. 
 
 It is vastly preferable to use brushes which have the hair 
 inserted in ferrules instead of quills, on account of their 
 not being liable to split, — a fault rather common to quill 
 brushes, — while they also derive much value from the cir- 
 
BRUSHES AND IMPLEMENTS. 
 
 27 
 
 cumstance that tlio} T admit of being made so effective in a 
 broad fiat shape, and well adapted to working backgrounds, 
 skies, foliage, etc. 
 
 In the purchase of brushes, test them by dipping into 
 clean water, and see that they readily come to a point, and 
 have no straggling hairs about them. Good sable brushes, 
 when completely filled with water, will allow } r ou to suddenly 
 fling off the water, and instantly spring back again to a 
 straight point. In working, all brushes, whether round or 
 flat, should return to their original shape after every stroke. 
 
 Be particular to obtain good brushes, for superior work 
 cannot be produced with inferior ones. In time the original 
 point will become blunt from constant use, and unfit for 
 manipulating the finer touches ; but it will yet be found 
 well adapted to different grades of stippling, and for the 
 larger handling. 
 
 It is recommended as a general thing, that the student 
 should cultivate a disposition to use the larger-sized brushes, 
 as far as his work renders it practicable, in order that he 
 may acquire freedom of breadth and firmness of touch ; 
 avoid mincing, and a harsh, line-like manner in his work. 
 
 Palette, etc. — Palettes, and tiles with divisions, made 
 of chinaware can be purchased, and will be found conveni- 
 ent. It is also desirable to have a number of small-sized 
 smooth white plates, or saucers, in which to mix the larger 
 washes. In the absence of all these a common white plate 
 will answer. 
 
 Do not use glass, for this is too smooth to grind off the 
 color ; and being transparent, it prevents one from judging 
 the exact shade of color wanted. 
 
 Other Implements. — It is necessary to have a flat Draw- 
 ing Board, upon which to fasten the card-mounted photo- 
 graph. The most convenient method of doing this, for the 
 smaller sized pictures, is with Thumb Tacks. The Board 
 should be made of well-seasoned wood, entirely free of 
 
28 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 knots, and is essential, whether the work be done at an 
 Easel or upon a table. The Board should have its corners 
 perfect right angles, and its edges true, so that in using the 
 Square, the lines will be thoroughly and geometrically cor- 
 rect. 
 
 If the desk or table be preferred to, or more convenient 
 than the easel, a piece of clean paper should be kept over 
 the lower part of the work, on which to rest the hand and 
 forearm whilst painting; otherwise, it may become greased 
 or soiled by the hand (especially in warm weather) and not 
 receive the color well. 
 
 It is best, however, to use the Easel, and to support and 
 steady the hand upon a flat ruler or a Rest- Stick. This posi- 
 tion is not only more healthy than any other, but it enables 
 the student to see more of his work. Instead of leaning 
 over the picture if it be upon a table, it can be brought close 
 to the eyes, whilst between the legs of the easel it does not 
 interfere with an erect position. It also permits the work 
 to be placed at an easy inclination and whatever height is 
 necessary — advantages not to be overlooked when very 
 large pictures are to be taken in hand.* 
 
 A Flat Ruler, a Right Angle, a f Square with bevel 
 head ; together with a Ruling Pen , and Compasses (di- 
 viders) with pen and pencil shanks — are all necessary in- 
 struments for drawing in panelled backgrounds, columns, 
 
 * In my own practice I use an easel, sit in a strong arm-chair, and 
 have my materials upon a small table at the right side. By this I 
 not only secure the good posture and facilities which the easel affords, 
 but an advantage of the table also ; for, in making large washes, rub- 
 bing on pastel, or doing anything that requires horizontal support, I 
 rest the bottom of my drawing-board on the arms of the chair and 
 the top on the easel-pins, thereby obtaining whatever inclination of my 
 work is necessary. The flat ruler, say three feet long and two inches 
 wide, laid across the easel-pins, makes an excellent support for the arms 
 during the tedious stippling, etc., on small-sized work. — G. B. A. 
 
GUM- WATER AND OX-GALL. 
 
 29 
 
 doors, windows, balustrades, and other accessories which 
 require mathematical and architectural precision. 
 
 An Eraser, India- Rubber (white preferred) and a Crayon 
 Stump, suggest their uses respectively. A small Spatula or 
 palette-knife will be found most convenient for reducing and 
 mixing the shades of pastel. A Magnifying Glass of some 
 kind is almost indispensable, not only to assist — and conse- * 
 quently save — the eyesight in minute working ; but also to 
 serve for the examination of originals, when indistinct or 
 very small, of which a copy is to be painted or retouched. 
 The magnifier should be of a good size, and provided with 
 a handle so as to be held conveniently with the left hand 
 while working. In coloring Porcelains, it can be made par- 
 ticularly serviceable, facilitating the operation, and afford- 
 ing an easy means of producing exquisite fineness. 
 
 Gum- Water and Ox- Gall. 
 
 In addition to colors, brushes, etc., it will be necessary 
 to have some gum arabic, in solution, for use in improving 
 the deep shadows of all draperies, and other purposes. 
 Although a variety of things are used for this result, gum 
 Arabic is the best adapted for general use with water colors. 
 It does not degrade the more delicate pigments, and yet 
 bears out the colors well. 
 
 The strongest gum-water ever necessary, may consist of 
 one part gum and three parts of pure water, though it may 
 be used much weaker. Gum should not be mixed with 
 water containing any mineral properties. The solution can 
 be preserved for use by the addition of a small portion of 
 the carbonate of ammonia ; one scruple of the powdered 
 carbonate to an ounce of the gum, dissolved by maceration 
 in two or three ounces of cold water. 
 
 As will be learned hereafter, the gum-solution is not to be 
 applied until the coloring is finished, and then sparingly, as 
 
 8* 
 
30 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 an excess of it is likely to crack, and it also gives a vulgar 
 effect. 
 
 <x> 
 
 The process of making pictures on Albumenized paper has 
 become so universal among photographers, that, unless spe- 
 cial directions are given (or it is previously understood that 
 the picture is to be painted) they are never made upon what 
 is designated " plain " (or not albumenized) paper. Hence, 
 if the photograph in hand be one of the former description, 
 it will be found that the water-color will neither sink into, 
 nor even flow upon, the albumenized surface. To remedy 
 this difficulty, Prepared Ox-Gall may be used to "kill the 
 grease ; " and it is necessary to mix but very little with the 
 colors to effect the purpose. A simple dip of the tip of your 
 brush into the preparation will suffice. 
 
 Whilst it is indispensable in washes, it is not necessary 
 for color which is to be stippled on. Never use it in color 
 intended for " plain paper." |Cgr" Wash the brushes well 
 after working with ox-gall. 
 
 Pure Water. 
 
 It is essential to use water that is entirely free from in- 
 gredients that would be hazardous to the purity and per- 
 manency of the colors. In all hard and impure waters the 
 colors are disposed to separate and curdle, so that it is often 
 impossible a clear flowing wash or gradation of color can be 
 obtained with them. The purest and best for the purpose 
 are distilled and rain waters, by the use of which all chemi- 
 cal action is avoided. 
 
 Water- Color Varnish. 
 
 In order to guard against injury by accidental deface- 
 ment, or any changes likely to occur by the action of the 
 atmosphere, upon some of the most important and neces- 
 
ARRANGEMENT OF THE LIGHT. 
 
 31 
 
 sary colors employed in photographic painting, the pro- 
 priety of obtaining an unobjectionable varnish for this pur- 
 pose engaged the attention of the most eminent colorists. 
 
 After a variety of experiments, Mr. F. A. Wenderoth, a 
 distinguished Philadelphia artist, — to whom the profession 
 is already indebted for important discoveries — succeeded 
 in composing the Varnish which bears his name, and which 
 unites the requisite and desirable qualities sought. 
 
 This preparation, if rightly applied, secures the painting 
 against detriment by water, acids, and atmosphere, without 
 attacking the opacity of the paper or giving a perceptible 
 gloss. In cases also where the surface of the paper has been 
 injured by rubbing, a little of this varnish first applied will 
 permit the colors to be used without spreading. It is color- 
 less, dries quickly, and is warranted not to change. On 
 glossy surfaces it can be flowed over the picture ; on dead 
 surfaces use a flat camel's-hair brush ; one coat is sufficient ; 
 lay the picture horizontally to dry. 
 
 Arrangement of the Light. 
 
 The window through which the light is admitted to the 
 studio and upon the work should be at the left hand, and 
 rather to the rear than front. However, whilst it be ar- 
 ranged rearward to avoid light in the eyes, be watchful also 
 that the head shall not in the least degree shade the work. 
 
 A window facing northward is the best, on account of its 
 avoiding direct sunshine, and furnishing an even sunlight. 
 A high window is also better than a low one, and the light 
 should be made to enter from its upper half or third part ; 
 the remainder being covered by a dark curtain, which should 
 be raised or lowered according to circumstances. 
 
 It is not best to work in a very strong light ; it will beget 
 extreme particularity and hardness of effect, while a more 
 subdued light is likely to induce breadth and softness. This 
 is especially the case with large pictures. Another advan- 
 
32 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 tage of subdued light will be apparent when working up 
 very bad copies; the location of half shades will be dis- 
 cerned, the presence of which would not have been sus- 
 pected at all in a stronger light. Indeed the size of the 
 work in hand should always govern the movable curtain — 
 "so let your light" be. 
 
 Pigments, their Qualities and Adaptations. 
 
 Of the colors mentioned in a previous chapter, it is very 
 necessary to inform the student respecting some of their 
 more prominent characteristics and particular uses. While 
 these directions, obtained from the experience of others, may 
 serve as a basis of operations, the student is still expected to 
 complete the work by his own practical discoveries. In so 
 doing, he will be surprised to find that the uses of a color 
 upon clean white paper cannot always be taken as a crite- 
 rion for its application to a photograph ; and that, indeed, 
 the photographic base will sometimes totally defeat an effect 
 which, on white paper, would be easily achieved. So that, 
 beyond all here written, there remains, necessarily, a con- 
 clusion which he must give to this chapter. 
 
 Having already classified the colors as to their import- 
 ance, and desirableness, they will be referred to here in al- 
 phabetical order. 
 
 Bistre. — A fine brown color that washes well, is perma- 
 nent, and has a clearness which is well adapted to architect- 
 ural subjects. It is applicable for the shadows in flaxen 
 hair, on account of its slight inclination to green. 
 
 Brown Pink. — This orange-green color is a vegetable 
 pigment, and almost indispensable in landscape, affording 
 many rich foliage tints for foregrounds. It may be modi- 
 fied with Burnt Sienna ; and if a little Indigo be added, a 
 warm green is produced. It can be used in flesh to bring 
 up very dark shadows, if such exist, in the photograph ; 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATIONS. 33 
 
 combined with Pink Madder it forms a valuable flesh shad- 
 ow-tint. 
 
 Burnt Sienna. — A very rich, transparent, and powerful 
 orange-russet color, sometimes admitted into warm or very 
 dark complexions, and is much used in every branch of 
 water-color painting. It serves for the shadow tints of 
 amber-colored draperies ; and in painting out-door scenes 
 or landscape backgrounds, it yields fine olive greens by ad- 
 mixture with Indigo, or any of the deeper blues \ and these 
 tints may also be saddened into fine olive neutrals by the 
 addition of Sepia. It is inflexibly permanent, and washes 
 and works with great facility. Can be used for deep lines 
 in the flesh — as between the fingers, wrinkles in shadowed 
 parts, etc. 
 
 Burnt Umber. — A quiet yellowish-brown color, affording 
 clear and warm shadows. It is apt to look rather turbid if 
 used in great depth, but it washes and works beautifully, 
 and is indispensable in buildings. It is a very useful color 
 for some of the lighter shades of brown hair, for curtain- 
 draperies, and for the deep shadows of gold. 
 
 Cadmium Yellow. — A splendid glowing orange yellow, 
 whose durability can be relied on. It is extremely bril- 
 liant, and nearly transparent ; which qualities make it in- 
 valuable where a gorgeous effect is to be produced. It is 
 the very best vehicle for obtaining orange tints, works and 
 washes well, and is the most serviceable yellow for rich 
 draperies ; but it is rather too powerful for flesh, and should 
 not be used unless its effect is thoroughly understood. 
 
 Carmine. — This well-known, brilliant, deep-toned crim- 
 son possesses great strength in its full touches, and much 
 clearness in its pale washes — although not equalling Pink 
 or Rose Madder in this latter quality. It flows and works 
 extremely w r ell, but it is even more fugitive than Lake ; 
 owing to which qualities the propriety of using it at all in 
 
34 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 flesh tints is very questionable, whilst the Madders can be 
 recommended to supply its place. Its use should be con- 
 fined to drapery and brilliant touches, although for the sake 
 of durability it is best to " choose the lesser evil," and be 
 content with Crimson Lake. 
 
 Chinese White. — This very eligible material, prepared 
 from the oxide of zinc, is of the greatest importance to the 
 artist in water colors. It is prepared beautifully white, and 
 possesses the desirable quality of dense body ; so much so, 
 that it does not change in drying, and the painter's effects 
 remain unaltered. It works and washes with great freedom, 
 either by itself or in combination with other colors ; has no 
 pasty or clogging qualities, and its permanency is unques- 
 tionable. It is deemed so very superior to the imperfect 
 whites formerly in use, that it has been universally accepted 
 as the most valuable white pigment. When used in its pure 
 state, its shadows ought to be cold. Mixed with local colors, 
 it is the means by which high lights are generally produced. 
 All cool high lights should be mixed with Chinese White. 
 In portraits, its use is chiefly confined to the white spots of 
 the eyes ; to the finishing of laces, and the linen, and highest 
 lights on gold ornaments, etc. It is also useful in correct- 
 ing errors, and (if used in an extremely limpid state) for 
 heightening complexions when the photograph is too dark. 
 
 Crimson Lake. — Is a beautiful transparent red, similar in 
 its character to Carmine, but lacking the extreme richness 
 and brilliancy of the latter. It is generally useful in all de- 
 partments of the art, but especially so in mixing the vari- 
 ous tints for draperies — especially the purples. It is not 
 classed among the strictly permanent colors, and would be 
 more durable if covered with a coat of Gamboge, but in this 
 case it is likely to change from crimson to scarlet. If used 
 as a shadow color with Sepia, Purple Lake is preferable — 
 forming a tint of great use in flesh-shadows, particularly the 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATION. 35 
 
 heavier ones. Lake and Sepia also form a good compound 
 for the lines of the eyelids, nostrils, between the lips, fin- 
 gers, and deep touches generally. It is a source of regret 
 that a pigment of such general use and application, possess- 
 ing such desirable working qualities and excellent hue, 
 should not also be strictly durable. 
 
 Cobalt Blue. — Is a pure, bright, sky-blue color, nearly 
 transparent, and the only blue pigment to be recommended 
 for producing the grays and pearly tints in flesh. It is a 
 very useful color in every respect, works well, and is quite 
 permanent. With Indian Red it forms a standard shadow-tint 
 for flesh, and with Brown Madder it affords a range of fine 
 pearly neutrals. With Light Red in any proportion it gives 
 beautiful cloud tints. It affords clear, bright tints in skies 
 and distances, but is lacking in depth. It is slightly turbid 
 when used as a strong wash, in which case French Blue 
 would do better. Cobalt and Yellow Ochre may be neu- 
 tralized, with a little Lake, into a most beautiful and useful 
 gray. Cobalt very slightly tinged by the addition of Gam- 
 boge, makes a beautiful greenish cloud- wash for vignette 
 heads. 
 
 Dragon's Blood. — A deep, rich, blood red, not in very 
 common use, but of great advantage to those who under- 
 stand its capacities. As a first-wash for a crimson curtain, 
 it gives a mellow tone of exceeding richness ; is important 
 in obtaining the various hues of " wine color ; " and is other- 
 wise a very useful reel. When used as a local color, shade 
 with Crimson Lake, adding Sepia for depth. It may be also 
 used for giving warm tones to India Ink. 
 
 Emerald Green. — Is a vivid green, for which no mixture 
 will answer as a substitute, and which instantly attracts the 
 eye to any part of the picture where it is used. It is very 
 useful for the high lights of green stones in jewelry, silks, 
 curtains, and carpets ; and has the effect of toning down at 
 
36 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 once, by force of contrast, all other shades of green near it. 
 Mixed with Gamboge, very limpidly, it can be used as a 
 wash for ladies' and children's dresses — the high lights for 
 which should have Chinese White added to the local color. 
 
 Flake White. — Is the next most valuable to Chinese 
 White. It does not possess the great body which charac- 
 terizes the other, and cannot therefore be used for very 
 heavy effects. Its lighter quality, however, renders it valu- 
 able for delicate touchings and fine handling — especially in 
 obliterating objectionable spots in the flesh or increasing its 
 high lights. It works nicely; and when a great deal of 
 white drapery is to be painted, can be used with much ad- 
 vantage, as it allows the more potent Chinese White to be 
 reserved for the laces and stronger effects. 
 
 French Blue. — Is much darker than Cobalt, strong in 
 color, and nearly transparent. It resembles the tint of, and 
 is. considered a good substitute for, the real Ultramarine ; 
 and, although not so pure and vivid, is more generally use- 
 ful. It washes and works satisfactorily, but should never 
 be used for flesh neutrals in place of Cobalt. It is well 
 adapted to figures, landscapes, and draperies ; and, in the 
 latter office, requires deep shadows, subdued with warm 
 browns. It is inferior to Cobalt for aerial effects, and has 
 a slight tendency to purple, which can be neutralized by 
 adding a small quantity of Prussian Blue. 
 
 Gamboge. — A very bright and transparent yellow gum, 
 inclining to green, and highly useful. It flows well, and 
 the resin which it contains forms a kind of natural varnish, 
 which aids in preserving its color. It is too " brassy " to 
 be used in flesh-washes. In landscapes, and for draperies, 
 it forms, in combination with Indigo, and French or Prus- 
 sian Blue, a great variety of clear and cool greens ; and 
 with Sepia or Lamp Black, a very sober tint. Adding 
 Burnt Sienna or Brown Madder to these greens, rich and 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATION. 37 
 
 easily-varied autumnal hues are produced. It should not 
 be used for distant tints. It is not entirely permanent, but 
 nevertheless one of the best yellows for making greens. 
 With Indigo and Lake it also produces gray and black. 
 
 Indigo — Is a vegetable pigment of a deep, slightly green- 
 ish blue, and a very useful color in compound tints. It is 
 clear in all its shades, washes and works well, and is thor- 
 oughly reliable. Indigo is indispensable in landscape, and 
 with Gamboge, Raw Sienna, Burnt Sienna, Roman Ochre, 
 Yellow Ochre, it gives clear sober greens ; and with Sepia 
 makes a retiring green for distant trees. It is also a useful 
 color for backgrounds when considerable depth is desirable. 
 Indigo, Sepia, and Crimson or Purple Lake, form the best 
 compound for black cloth drapery ; and with these three any 
 tone desired can be obtained. Warmed with brown it is 
 also a good shadow color for blue (military) cloth. Indigo 
 and Carmine make an excellent purple, and better adapted 
 for draperies (being less gaudy) than Prussian Blue and 
 Carmine. Indigo and Yellow Ochre, neutralized by Crim- 
 son Lake, make a fine strong gray, very useful for deep 
 tones in clouding, and for a local wash in solid backgrounds. 
 
 Indian Bed. — A very durable earth of a purple russet 
 hue and good body. When rightly used, it produces fine 
 clear tints in flesh, and when mixed with Cobalt it is one 
 of the standard ingredients for the deeper flesh-shadows. 
 It is much used for grays when mixed with Cobalt or Indigo, 
 and neutralized by a little yellow. It is serviceable alone 
 in painting the upper lip, which being usually in shadow, re- 
 quires a dull red, although the tone may be enlivened with 
 a little Crimson Lake. Some of the lighter flesh shadows 
 — especially of children — may be done with it, but with 
 delicacy. 
 
 Indian Yellow — Is a rich, intense, golden color, much 
 used for draperies, and possessing greater body and depth 
 
 4 
 
38 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 than Gamboge, forms, in combination with the same blues, 
 a variety of more intense and lively greens. It is quite 
 permanent, and washes and works to perfection. Its fine 
 qualities cause it to be employed very generally in the flesh- 
 washes, mixed more or less with Pink Madder and Venetian 
 R ed. It may also be used for warm skies, and, mixed with 
 Chinese White, gives a durable high light for gold. Being very 
 powerful and gaudy, care should be used in its application. 
 
 Lampblack. — An opaque black, not quite so intense or 
 transparent as the old Ivory Black, but it is less brown in 
 its pale tones. It has sufficient strength of body to oblit- 
 erate every underlay of color, and is good for mixing with 
 Chinese White to produce the gray high lights on black, 
 cloth and velvet. It may be used in lieu of, or in connec- 
 tion with, India Ink, for retouching photographs ; and being 
 free from the sometimes too gummy properties of the latter, 
 it works kindly, also producing a more silvery effect. Where 
 depth and opacity are wanted, it is the best black at hand, 
 while its power may be further increased by the application 
 of gum Arabic. 
 
 Lemon Yellow. — The lightest tint of the yellow chromes 
 is very pale, lively, and entirely free from the least tinge of 
 orange. It has not much power, and is semi-opaque. It 
 may be employed for points of extreme high light ; is quite 
 permanent, and washes well if skilfully prepared. Princi- 
 pally useful in draperies, but must be used in thin washes. 
 
 Light Red. — A preparation of Burnt Ochre scarcely to 
 be classed as a red ; clear and 'transparent, but not bright ; 
 of a character similar to Yenetian Red, but partaking of a 
 russet-orange tone. Mixed with Cobalt, Rose Madder, and 
 Indian Yellow, it yields fine gray shadows ; and, with black, 
 and Brown Pink, fine warm, near-tones in landscape. It 
 is permanent and useful. With Pink Madder or Yermil- 
 ion and a little Indian Yellow, it forms a good flesh-wash, 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATION. 39 
 
 if properly modified. Too much of it in the face produces 
 a coppery effect ; and hence, when used alone, it is more 
 desirable for the darker complexions. 
 
 Madder Brown, or Brown Madder. — This rich, laky 
 brown is of intense depth, and transparent, affording equally 
 the richest description of shadows and the most delicate 
 pale tints. With Cobalt, or with French Blue, a set of fine 
 warm or cool grays are compounded, in proportion as the 
 brown or the blue predominates. It is quite permanent. 
 Many of the deep shadow touches of the face may be done 
 with this color alone. Sometimes used as a local wash for 
 furniture-wood. This color may be so nearly supplied by 
 a mixture of Crimson Lake and Sepia, that the latter might 
 be used for large and deep-toned applications ; but the fugi- 
 tive quality of Lake depreciates the permanency of this mix- 
 ture. 
 
 Neutral Tint. — Composed of red, yellow, and blue, in 
 certain proportions, is a cool, neutral, compound shadow 
 color, "and useful as a vehicle for many other compound 
 tints. It may be introduced into faces for softening the 
 edges of the eyebrows and hair. With Burnt Umber it 
 forms a beautiful, cool, light-brown hair-color, and with 
 Sepia a cool dark brown for the same purpose. It is of ad - 
 vantageous use in cloud backgrounds and indispensable for 
 softening the edges of the head and figure. Altogether, it 
 is one of the most valuable pigments in the color-box. 
 
 Orange Chrome — Is, like Light Red, a tint of Yellow 
 Ochre burnt — by which operation it acquires warmth, color, 
 and transparency — and has many of the good qualities of 
 its original, with greater power. It is the deepest shade of 
 the yellow chromes ; a very powerful tint, and opaque. 
 When used limpidly, it is applicable to orange-yellow dra- 
 peries ; and, if used alone, delicately, or subdued with Burnt 
 Sienna, it is good for strong reflected lights on the flesh. 
 
40 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 It will be found a convenient preparation of orange, especi- 
 ally for touches. 
 
 Olive Green. — A fine olive green, of sober richness, 
 much used in landscape. It is permanent, and, mixed with 
 Pink Madder, makes a good clear shadow tint for certain 
 parts of the flesh. With Sepia, it forms an excellent color 
 for figure backgrounds, if washed on a dark base, and har- 
 monizing well with the flesh. 
 
 Pink Madder — Is very delicate, and used almost entirely 
 for the carnation tints in flesh, as well as for pink drape- 
 ries. It is clearer in its pale hues than either Crimson Lake 
 or Carmine, but does not possess intensity. On account 
 of their superior permanenc} r , all the colors prepared from 
 madder are among the most valuable in the color list. With 
 Cobalt it forms a most delicate lavender, and many beauti- 
 ful tones of delicate gray. 
 
 Prussian Blue. — A deep-toned, brilliant blue, having a 
 slightly greenish tinge, on which account it is not admis- 
 sible for application in skies or flesh, where none but un- 
 alloyed colors should be used. , It is generally adopted for 
 blue draperies ; and, when mixed with Carmine or Lake, 
 produces all the tones of violet, lilac, and purple. With 
 Gamboge it forms the most common green. When used for 
 draperies, it should be warmed with a little Lake, to "kill" 
 its intense cold and raw effect. 
 
 Prussian Green — Is a very beautiful color of a cool, 
 deep-bluish tone ; and its place might almost be supplied 
 by mixture. It is, however, a convenient preparation for 
 curtains, chair and sofa cushions, carpets, and leaves of 
 scarlet flowers, the green stones of jewelry, and for sea- 
 green silk dresses. For high lights, use Emerald Green. 
 
 Purple Madder. — An intensely deep, rich, and warm 
 purple, affording the greatest depth of shadow, without 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATION. 41 
 
 coldness of tint. The clearness and beauty of its delicate 
 tones render it valuable in every stage of the work. With 
 Indigo and Raw Sienna it gives beautiful shadow tints, and 
 may be relied on for permanency. 
 
 Purple Lake. — A transparent, deep-toned Lake ; useful 
 in shadows of crimson and purple draperies, and good in 
 making the Compound Black. 
 
 Raw Sienna — Is very transparent, but a rather impure 
 or tawny yellow. It is mostly valuable in landscape, both 
 in distance and foreground, and excellent for obtaining the 
 greenish hues of water. It can be made very useful, but 
 does not work very well, having a tendency to be uneven on 
 the paper. It furnishes a good local wash over a dark 
 ground, which is afterwards to be lined and panelled. 
 
 Raw Umber. — A quiet, yellowish-brown, not perfectly 
 transparent; applicable for certain background-parts, and 
 in landscape ; but more particularly useful in the shadowing 
 of light flaxen hair. 
 
 Rose Madder, or Madder Lake. — A rather deep tint of 
 the same kind as Pink Madder, and for which it could be 
 used. It is of universal application in all descriptions of 
 water-color painting, because it works well, and is strictly 
 permanent. It is an excellent color for glazing the under- 
 lip, in portraits, and when used as a carnation for women 
 and children, should be slightly mixed with Yermilion. 
 
 Roman Ochre — May be used sometimes for the yellowish 
 tint in very dark complexions, and for draperies. It is 
 deeper and more transparent than Yellow Ochre, and is, for 
 many purposes, preferred to it. It makes the very best local 
 wash for gold, and serves also for some kinds of flaxen hair, 
 either alone or modified with Sepia. With Indigo it forms 
 a valuable sober green. The Ochres are among the most 
 ancient and valuable of pigments, and all are "broken" or 
 indefinite colors. 
 
 4* 
 
42 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Scarlet Lake. — More scarlet in its hue than Crimson 
 Lake, but not so transparent. Yery convenient and useful 
 for brilliant crimson effects, and as a shadow-color for Pink 
 (Madder) draperies. 
 
 Scarlet Vermilion — As already prepared, is far more 
 effective and beautiful than can be produced by mixture, 
 and must be ranked among the essential pigments, if for 
 no other purpose than to heighten the effect of Pink or 
 Rose Madder when used for carnations. It is the addition 
 of the Scarlet Yermilion which gives that effect called 
 "peachy," so admirable in the cheeks of women and chil- 
 dren ; but its opacity, heaviness, and power, require an ex- 
 tremely delicate application in flesh, or the worst conse- 
 quences may result. It is also further useful for the most 
 brilliant touches in flowers, draperies, and carpets. 
 
 [The Yermilions being so very hard, should be rubbed 
 soft with the finger, so as not to wear out the brush.] 
 
 Sepia — Is, by far, the most valuable of the brown pig- 
 ments, and is used for combinations more than any other 
 color. It is cool, and, unless artificially warmed by mixing 
 with other colors, it is of a dusky brown tint. Its light tints 
 are extremely clear, but its coloring property is so very 
 strong, that, unless used with great caution, it is apt to 
 produce heaviness in the shadows. It is perhaps the best 
 washer known to the colorist, and is transparent and per- 
 manent. It is useful as a general shadow tint for light 
 backgrounds, and for scumbling. With Lake it makes an 
 excellent tint, somewhat resembling Brown Madder, useful 
 for giving the sharp touches about the eyes, nostrils, etc. 
 Added to Lake and Indigo, it forms the u Compound Black" 
 — a superb mixture for black cloth, silks, satins, etc. As a 
 tint for the hair it is unrivalled, on account of its adapta- 
 bility to either the lightest or darkest shades of brown. In 
 landscape, with Gamboge, it affords a range of fine neutral 
 
PIGMENTS, THEIR QUALITIES AND ADAPTATION. 43 
 
 greens, which are permanent. With Indigo, it gives very 
 cool dark greens ; with Prussian Blue, a low olive green. 
 
 There are also two other descriptions of Sepia : one called 
 Warm Sepia, the other Roman Sepia. They are tints com- 
 pounded by the admixture of a red for the former, and a 
 yellow for the latter, with the natural Sepia. The latter is 
 a good color for yellowish-brown hair. 
 
 Yandyke Brown — Is a bituminous earth, very rich and 
 transparent, and is named after the great master of the por- 
 trait art, on account of its frequent use in his works. It is 
 permanent, and is employed in almost every department of 
 water color. It is clear in its pale tints, and deep and warm 
 in shadows. Valuable as it is, and the most beautiful brown 
 the colorist has, it nevertheless works badly. With Lake it 
 forms a good transparent tint, much used as a flesh shadow 
 color ; and with Indigo it gives very clear, sober, neutral 
 greens for the middle distance in landscape. It is a very 
 fine glazing color, and is well adapted for strengthening the 
 shadow under the nose, glazing the darkest shadows of green 
 draperies, and for painting " golden-brown " hair. Combined 
 with Cobalt, it makes the most desirable of all shadow-tints 
 for linen and white draperies, the effect being warm or cool, 
 as the brown or blue predominates. 
 
 Vermilion. — A brilliant opaque scarlet red, of great body 
 and weight. It varies much in its tone of color and in the 
 facility with which it is worked ; and as it does not flow well, 
 is apt to settle away from other pigments, and totally lacks 
 transparency, its use is rather circumscribed. Added to 
 Carmine or Gamboge, it affords the tints respectively of 
 Scarlet and Orange Vermilion. In a very limpid state it 
 may be used for the flesh-washes of children and fair-com- 
 plexioned women ; but, as it is a very heavy color, extreme 
 caution is required to do this properly. It is a good local 
 color for the under lip, if applied thinly. In like manner it 
 
44 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 is also serviceable to illuminate deep shadows under the 
 eyebrows, nose, and chin. It is extremely heavy for drape- 
 ries, but is well adapted for the brilliant touches in carpets, 
 flowers, and otherwise, when effect rather than smoothness 
 is desired. It cannot be used for grays or purples. 
 
 Venetian Red — Although deeper and purer, is very sim- 
 ilar in its general character to Light Red, and is preferred 
 by some as being not only a better color, but as working 
 better. Its tints, though not bright, are clear ; and, when 
 mixed with Cobalt or French Blue, affords excellent grays. 
 It is very permanent, and is useful and valuable as a tint for 
 ordinary flesh-washes, with or without yellow. Heightened 
 with Pink or Rose Madder, it makes another fine glowing 
 hue for working the flesh, and applicable in some descrip- 
 tion of skies ; saddened with black, it gives low-toned reds 
 for buildings. 
 
 Yellow Ochre This sober broken yellow is employed 
 
 for very many purposes, is permanent, works well, and is the 
 most useful and valuable of all the Ochres. It possesses a 
 slight degree of turbidness, and is esteemed for this very 
 quality, which is considered to give it its retiring effect. It 
 is useful in forming quiet greens for landscape. In por- 
 traiture it is used very thinly, for the local color of light 
 flaxen hair, and in compounding the stronger flesh-washes 
 for men. With Yandyke Brown, it furnishes a good yellow- 
 ish drab ; with Indigo and a little Lake, a strong and beau- 
 tiful' gray ; and with Madder Brown, it furnishes the exact 
 hue of Neutral Orange. 
 
 Handling or Manipulation. 
 
 Much of the freedom necessary to spirited and effective 
 work, particularly in the matter of details, will depend on 
 the care and attention bestowed upon the manner of using 
 the brush. 
 
DIRECTIONS FOR WASHING. 
 
 45 
 
 The hand should be lightly rested, but it must be in such 
 a manner as to secure the perfectly free action of the wrist, 
 and of the fingers by which the brush is held. In holding 
 the brush, the fingers should be kept as far as possible from 
 the point ; and it should be taken between the first finger 
 and thumb, the middle finger being rather under it, and the 
 third and fourth fingers gathered quite under and back. Try 
 to acquire a full and firm touch with- the brush, and do not 
 work too much on the point of it. Wash it frequently by 
 stirring in a glass of clean water, especially if you have been 
 using gum Arabic, opaque color, or white. The habit, very 
 general among water-color painters, of giving the brush a 
 point by drawing it between the lips, is objectionable, espe- 
 cially when the saliva is permitted to saturate it. It is far 
 better to draw the brush to a point over a piece of paper, 
 kept at hand for this purpose. 
 
 Every beginner should endeavor, by continued practice, 
 to attain that characteristic in manipulation which is de- 
 nominated " breadth," by which the easy dexterity of the 
 proficient is readily distinguished from the faltering and 
 mincing touch of the novice. In a word, "breadth" is the 
 result of knowing exactly yjhat to do, and doing it at once! 
 He must not expect either that he can acquire immediately 
 or easily the necessary skill to accomplish the various pro- 
 cesses of manipulation, although they are in fact simply me- 
 chanical. Repeated experiments will be necessary to pro- 
 duce satisfactory results. 
 
 The handling of water-colors is comprised in three prin- 
 cipal operations, viz. : Washing, Hatching, and Stippling. 
 
 Directions for Washing. 
 
 To a looker-on, the process of washing, whilst it may seem 
 to be the easiest, is perhaps the most difficult of the three 
 methods of using the brush. To do it well requires an 
 amount of quickness, freedom, and steadiness, — qualities 
 
46 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 which can be attained only by incessant practice, and which 
 are not found combined in every student's hand. Timidity 
 in this operation is at once perceptible in the result : 
 blotches, muddiness, streaks, and a general unevenness of 
 color. In his first attempts, the student may feel disap- 
 pointed if he does not attain the effect of equality and even- 
 ness, but this is not to be expected without considerable ex- 
 perience ; and much dexterity of hand will always be neces- 
 sary in order to avoid the blemishes already alluded to, — 
 inequality of color, unevenness of tint, improperly-defined 
 edges. 
 
 Where a large space is to be covered by a flat wash, it is 
 advantageous to first go over the surface lightly with pure 
 water, in order that the paper thus partially saturated may 
 absorb the wash of color more evenly than if left dry ; and 
 not too rapidly to allow its being put into all corners of the 
 picture. Remember that the flow of the wash -can be regu- 
 lated considerably by the angle at which the board is laid, 
 and therefore the inclination of an easel will be found en- 
 tirely too steep for large washes. 
 
 The tints should be all fully prepared beforehand, and then 
 they should be laid upon the paper as rapidly as the requi- 
 site depth of tint and the preservation of the forms will 
 allow, in order that the interstices of the paper may be well 
 filled, and solidity of effect thus obtained. As a general 
 rule, the brush should be tolerably full of color, so that it 
 may float freely, for upon this point in manipulating, the 
 cleanness of the work very much depends. 
 
 In laying on the tints, begin by planting them boldly, 
 and at once, close to the edges of the space to be covered, 
 and not by repeated touches, or by dragging the brush tim- 
 idly backward and forward. It is also well to stir up the 
 amount of wash prepared every time the emptied brush is 
 returned for more color, as it keeps settling all the while. 
 In passing the brush to and fro, whilst guiding the color- 
 
DIRECTIONS FOR HATCHING. 
 
 47 
 
 wash as it flows, a tremulous or wavy motion of the hand 
 will prevent the appearance of lines after the washed part 
 has become dry. 
 
 To prevent a blotty appearance in laying flat washes, the 
 student should endeavor to regulate the charging of his 
 brush with color by the amount of space to which it is to be 
 applied. If this is not done, and the brush is still charged, 
 after covering the space intended, it can scarcely be taken 
 off the paper without leaving a floating spot, or drop of 
 color, at the point of removal. If this occurs, however, the 
 floating drop of surplus color may be removed by absorbing 
 it into the brush, made somewhat dry. 
 
 Whenever it is necessary to repeat a wash over the same 
 surface, be careful to wait until the previous one is com- 
 pletely absorbed, or somewhat advanced in drying; else the 
 after-wash may not only run irregularly, but, if the previous 
 one has been strong in color, it will lift it, or " wash up." 
 Neither is it well to mix colors on the picture by successive 
 washes ; the color should be definitely settled and prepared 
 beforehand, or impurity will surely result. 
 
 In drying, the board should be kept at the same inclina- 
 tion (or a little less) as when the wash was applied. When 
 absorption has ended, it may be laid entirely flat. 
 
 Directions for Hatching. 
 
 This is a process most generally executed upon a previous 
 wash. It consists in the drawing of lines in such a manner 
 as to produce an effect impossible with the wash alone. 
 There are different methods of hatching, and probably every 
 artist has his own peculiar mode ; but the student is recom- 
 mended to try as follows, which will, no doubt, give a suf- 
 ficient general idea. 
 
 Work over the space to be hatched with short, wide, regu- 
 lar strokes, drawn firmly in rows, and so as not to leave little 
 blots at the end of the strokes, at the same time following, 
 
48 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 as much as possible, the general direction indicated by the 
 form of the subject in hand. Hence, if hatching upon a 
 flesh-wash, the direction would be horizontal on the fore- 
 head, perpendicular on the nose, and circular around the 
 eyes, mouth, chin, and contour of the face. 
 
 [The little blots mentioned can be avoided — and should 
 be — by using the color rather dry, and by pressing firmly 
 on the brush at the beginning of the stroke, carry it on to 
 the end, instead of beginning lightly and ending by a firm 
 pressure.] 
 
 Having hatched these strokes evenly one way, after they 
 have become dry, cross them with others, using the same 
 firm touch ; but never cross at right angles, or with lines 
 too oblique. The appearance of the hatching should be tol- 
 erably open, in order that the local-color may not be entirely 
 hidden, but not too much so. 
 
 The effect of hatching on shadows is to give them trans- 
 parency, enabling the spectator to look into their depths, — 
 a result which can never be attained by the use of flat color- 
 washes alone. In clouding, around vignette heads, it is the 
 hatching which will produce the mellow aerial effect, and 
 without which the previous washes would suggest solidity 
 or flatness. 
 
 Sometimes the hatching will appear too wiry, in which 
 case wash it as many times as may be necessary with a clean 
 brush just moistened with water, so as to slightly blend, the 
 lines. It may also happen that the tint is worked in too 
 dark, in which case, hatch with clean water (without color), 
 and, when perfectly dry remove the loosened particles of 
 color by rubbing it gently with a soft handkerchief. 
 
 It frequently happens that when the picture is looked at 
 under a light opposite to that by which it was painted, the 
 hatching appears rough and very decided. For this reason 
 it is advisable to place the picture in different lights, and 
 work on it until it is perfectly smooth and even, — taking 
 
DIRECTIONS FOR STIPPLING. 
 
 49 
 
 care not to deepen the colors. This may be easily avoided 
 by working rather between the hatching lines. 
 
 If the student will examine the manipulation of a good Line 
 engraving he will obtain many valuable hints respecting di- 
 rection and general effect. 
 
 Directions for Stippling. 
 
 This method is similar to hatching, except that, instead 
 of lines, the color is worked on with dots and touches made 
 with the point of the brush. Its effect is about the same as 
 hatching, — to give depth and transparency, and at the same 
 time retain greater purity of tint than could possibly be ef- 
 fected by any washing of mixed colors. It is considered 
 the finest and most delicate of the three methods of hand- 
 ling, and is consequently the least expeditious. 
 
 Stippling is inseparable from flesh-painting, and may be 
 considered the means, par excellence, by which to produce 
 those soft undulations and indefinite shadows which exist in 
 nature. As there are no lines in flesh, stippling is far prefer- 
 able to hatching (except in very large-sized work, where mere 
 dots would be too weak) ; the dots and touches being able 
 to produce a granular appearance more harmonious with the 
 quality and character of the thing represen ted. 
 
 In general practice, however, stippling and hatching have 
 become confounded, and the united method is denominated 
 in ordinary parlance " stipple." This nonconformity with 
 the exact demands of each process may, after all, be well 
 enough ; and the student will find when he endeavors to 
 paint flesh, that it will be somewhat difficult to progress in 
 his work without involuntary falling into the adoption of a 
 hatch-stipple manipulation. 
 
 Some painters, indeed, recommend the flesh to be painted, 
 first, by hatching — keeping the lines rather square — and 
 leaving the interstices to be filled up afterwards by stippling. 
 
 5 
 
50 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 The effect of this is considered to be decidedly bold, and 
 well snited to large work. 
 
 Unless the picture be very small, or the work be very fine, 
 the student is recommended to use a medium-sized brush. 
 The use of a very small one, or one having a fresh point, is 
 likely to induce an excess of finish, which detracts from the 
 results aimed at, — depth, solidity, and color. For general 
 use, brushes which have been somewhat worn down to blunt 
 points, will be found preferable. 
 
 Stippling, like hatching, must follow the line of the mus- 
 cles, and must not consist of dots without meaning. The 
 student should closely examine some of the best specimens 
 of stipple engraving (those contained in the London Art - 
 Journal, for instance), and he will discover what a magical 
 effect lies in the correct placing and disposition of the stip- 
 ple dots, — how they should vary in size according to posi- 
 tion in light or shadow, then "go and do likewise." 
 
 Practice with the Brush. 
 
 The student having learned how, it is supposed he will 
 proceed to do. But there is much to acquire that should be 
 done apart from, and as preparatory to, working on the pho- 
 tograph. This is particularly true in regard to Washing 
 and laying on color in masses. A disposition to practice is 
 highly valuable, and in order to aid and encourage such, the 
 following extracts are given from Professor George Bar- 
 nard, whose authority on this point is sufficient : 
 
 " Perfect freedom in all the motions of the fingers, hand, 
 and wrist, and dextrous management of the brush, should 
 be acquired before the student attacks the difficulties of 
 color ; and the time spent in practicing with Sepia or the 
 neutral tints, with the view of gaining this facility, will be 
 well bestowed." 
 
 "Sepia, without any admixture, is generally chosen as the 
 
THE DUPLICATE PICTURE. 
 
 51 
 
 most suitable pigment for brush-practice, as its light washes 
 are extremely clear, and it possesses great power. Its gen- 
 eral color is not disagreeable in any part of the picture; and 
 should other tones be required, it will harmonize well with 
 Cobalt and the other blues which are used in the sky. The 
 paper empkyyed may be white or tinted ; the latter, as it 
 allows the use of Chinese White for the lights, is generally 
 preferred. 
 
 "By these preliminary exercises much is gained. The 
 pupil becomes acquainted with a few of the powers of the 
 instruments he is principally to depend upon for his effects ; 
 his eye is trained to observe the minutest gradation in tone 
 or color ; he will also soon perceive that color has very dif- 
 ferent appearances when put on full or dry, when floated, 
 blotted, or dragged; and the close observation that these 
 exercises occasion will eventually produce more refinement 
 in his work than if he hastily dashed in his colors at 
 random." 
 
 The Duplicate Picture. 
 
 The student who looks forward to the coloring of photo- 
 graphs as a life-profession, may expect to work upon speci- 
 mens of all grades, and many times with but one in hand. 
 It is not always practicable to assist his labors by the aid 
 of a duplicate picture. 
 
 The advantage of having the duplicate is, however, very 
 considerable, and it is a good rule to insist, if possible, upon 
 one being furnished with the picture to be worked up. In 
 doing large photographs, it may be considered positively 
 necessary to have the head, if nothing more ; since, owing 
 to the greater breadth of line and depth of shadow, there 
 is strong liability to somewhat alter the direction of the one 
 or to misapprehend the other. Especially is this duplicate 
 essential in working Solar pictures, in which the definiteness 
 of a contact print is wholly wanting, and where the diffusion 
 
52 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 of line is so much greater than that which it is designed the 
 pencil shall reproduce. 
 
 The expression of the eye, the line of the mouth, and 
 other points which indicate the likeness, may be endangered, 
 unconsciously, even when care has been exercised ; but the 
 duplicate, changeless before the student's eye, is a preven- 
 tive which should be acknowledged and used. 
 
 Sometimes the gentler lines and undulations of the flesh 
 or drapery disappear to quite an extent beneath the wash of 
 local-color, and would be lost beyond recovery but for the 
 assistance of the duplicate. 
 
 It is preferable also to have the duplicate made on albumen 
 paper, because its finer surface is more likely to secure from 
 the negative those delicate markings which, on the " plain" 
 paper, do not appear at all, and which may serve very im- 
 portant ends in completing the portrait. 
 
 Furthermore, the duplicate picture is your authority for 
 all that has been done, and in the event of harsh criticism 
 upon the finished work, or denial of its correctness, it set- 
 tles the case, and " makes assurance doubly sure." 
 
 Introductory to the Use of Colors. 
 
 If it were possible for all photographs to be made possess- 
 ing the same degree of tone or shade of blackness, it would 
 be an easier task to guide the student in the use of those 
 colors applicable to the various parts of the picture. But 
 the reverse of this is, unfortunately, the condition of things 
 with which we have now to deal ; and even an approxima- 
 tion to so desirable a state of photography as that first-men- 
 tioned is the lot of such only who paint for pleasure, and 
 who are at liberty to select the photographs upon which they 
 intend to work. 
 
 Those, however, who undertake this art professionally, 
 will perhaps be called upon to-day to color a photograph 
 
INTRODUCTORY TO THE USE OF COLORS. 
 
 53 
 
 that may be dark as night ; and to-morrow another as light 
 as noonday. In one the gradation of tones may be lost in 
 blackness by over-printing, and in the other there may be a 
 deficiency of shades from lack of exposure in printing. A 
 very common drawback to the artist's complete success 
 arises from the use of photographs which are made "too in- 
 tense," — the whites too white, and the blacks too black, — 
 and it is to be regretted that photographers, as a class, are 
 not better informed as to the qualities essential to a good 
 print for coloring. 
 
 In addition to such deficiencies and contrasts of shade, 
 may be mentioned improprieties of tone, — that is, the pres- 
 ence of actual tints of purple, brown, indigo, and dirty red ; 
 or yellow, by discoloration. 
 
 In view of these irregularities which enter into the daily 
 experience of photographers and artists, it would be in vain 
 to say to the student, " Do thus and so." The alternative 
 is simply for us to lay down a general plan of coloring ; 
 leaving to his own judgment and capabilities the adaptation 
 of our teaching to each picture he may have in hand. 
 
 [For the reasons above-mentioned, it is also plain that 
 very little advantage can accrue to a beginner who studies 
 the various works on legitimate water-color painting, as they 
 all refer to operations on clean white paper ; for he will find 
 that he must at last depend upon his own perception and 
 judgment.] 
 
 A few months' study and practice, however, will render 
 the application of the proper colors so easy and familiar, 
 that the photograph will of itself suggest many of the tints 
 necessary to give it depth, or relieve its blackness. 
 
 When the choice of the photograph is optional, we would 
 advise the selection of a light one, in preference to a very 
 dark one, as the former shows up the colors to greater ad- 
 vantage, and is devoid of obstacles to the purity of your 
 work. Let its general tone be neutral — gray. It should be 
 
 5* 
 
54 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 well defined, having the middle tones and shadows clear, 
 the background free from blemishes which cannot be touched 
 out smoothly, and should be, indeed, a good photograph, — 
 a thing almost indispensable for beginners. 
 
 Due attention should also be given to the suitableness of 
 the photograph to the complexion and hair of the person ; 
 one heavy and dark-toned should not be used for a fair com- 
 plexion and light hair, else it may necessitate the use of 
 body color in working, which is very objectionable. If, on 
 the contrary, the complexion and hair of the original be 
 dark, the difficulty is considerably lessened ; for, upon the 
 application of the warm colors, these heavy photographic 
 tones decrease in depth, and frequently assume a desirable 
 shadow color. Photographs of women and children should, 
 in general, be lighter than those of men, in order that their 
 characteristic softness may be preserved, and more delicacy 
 and beauty attained in the painting. 
 
 Flesh- Washes. 
 
 For convenience and ordinary practice, we may divide 
 the complexions of both men and women into three general 
 classes, respectively, and prescribe the colors which may be 
 used in compounding the flesh-washes for each sex, as fol- 
 lows : 
 
 GENERAL FLESH-WASHES FOR MEN. 
 
 1. Ordinary. — Indian Yellow, or Yellow Ochre, and Vene- 
 tian Red. 
 
 2. Florid. — Indian Yellow, Venetian Red, and Pink 
 Madder. 
 
 3. Swarthy. — Yellow, or Roman Ochre, and Venetian 
 Red; if very dark, add Indian Red; and for a copper-tone, 
 add Burnt Sienna. 
 
FLESH-WASHES. 
 
 55 
 
 GENERAL FLESH-WASHES FOR WOMEN. 
 
 1. Ordinary. — Indian Yellow and Venetian Red or Ver- 
 milion. 
 
 2. Blonde. — Indian Yellow and Pink Madder; or Vermil- 
 ion alone, if rightly applied. 
 
 3. Brunette. — Yellow Ochre, Venetian Red, and Pink 
 Madder. 
 
 jjggF^ These washes should always be weaker in color, and 
 more limpid in quality for women and children than for 
 men. 
 
 The flesh-wash should be thin and devoid of particles of 
 undissolved pigment, and in order to be kept pure, should 
 be mixed afresh for every picture. In some cases a limpid 
 wash of Venetian Red alone will suffice for men, although 
 the addition of any yellow gives it a mellower tone. In like 
 manner a thin wash of Vermilion can be used for Yery fair 
 complexions in women and children, but its opacity and tur- 
 bidness require dexterous handling. If a very forcible tinge 
 of Yellow is desired, add Cadmium, but remember its won- 
 derful power, and that a very little will suffice. 
 
 In using the flesh-wash designated " ordinary," it may 
 sometimes be desirable to impart an additional roseate tone, 
 especially to females ; in which case, let the first wash dry, 
 and then go over again with a thin wash of Pink or Rose 
 Madder. 
 
 Some artists use one of the Yellows alone for the primary 
 wash, and afterwards hatch and stipple all the carnations 
 and shadow colors upon this base. This course, if used, is 
 perhaps best adapted to the more delicate treatment of chil- 
 dren's faces. 
 
 Although it is desirable to obtain a satisfactory flesh-wash 
 as a basis for subsequent manipulation, it is advisable that 
 the student should not attach undue importance to it, as 
 his after-work must necessarily obliterate its presence to a 
 very great extent. 
 
56 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Carnation Tints. 
 
 The most proper, beautiful, and durable carnation tints 
 are obtained with the Madders,— Pink and Rose, — combined 
 with the Yermilions. Crimson Lake is %n objectionable 
 color on account of its purplish tone, and is not permanent. 
 Carmine is not only too intense, but even more fugitive than 
 Lake ; and its use in flesh is not permissible except for the 
 purpose of obtaining a climax, should the Madders prove 
 inefficient. The striking effect called "peachy," occurring 
 in children's cheeks, is obtained by the very delicate use of 
 Scarlet Yermilion worked into the Madders already there, 
 or mixed with them when first applied ; but as this color is 
 opaque and strong, it must be handled, in this particular in- 
 stance, very lightly and judiciously. 
 
 In men's faces, the rosiness of the Madders and the bril- 
 liancy of the Yermilions may need toning down, which can 
 be done with Indian Red or Yenetian Red. 
 
 Shadow Colors for Flesh. 
 
 Properly speaking, there can be no one mixture for flesh 
 shadow-tints, inasmuch as each shadow, in the face especi- 
 ally, not only varies from the others, but those in one face 
 will differ from those of another. 
 
 The following combinations, however, are given, — leaving 
 to the student their adaptation as he may be able to discern, 
 according to circumstances. Crimson Lake and Sepia ; 
 Cobalt and Light Red; Madder Brown; Cobalt and Indian 
 Red ; Olive Green and Pink Madder ; Indian Red alone ; 
 Yandyke Brown, and Sepia, both used as a glaze. In mixing 
 these, the warm color must predominate, — the cold color 
 will have its opportunity anon, when the grays are to be ap- 
 plied. With the foregoing the most important and charac- 
 teristic shadows of the face may be put in. 
 
PAINTING THE HAIR. 
 
 57 
 
 Painting the Hair. 
 
 Painting the hair is by no means an easy task, with re- 
 spect to its imitation of nature. The difficulty consists not 
 so much in the coloring as in the drawing, by which is meant 
 those light and heavy brush-lines which give the form, flow, 
 and character of the hair. 
 
 The disposition of every student is, as it were, to define 
 " each particular hair," instead of breaking it up into easy- 
 looking masses. This error is most likely to occur in paint- 
 ing short hair, as in the eyebrows, mustache, and beard; in 
 which cases much care should be used to avoid giving them 
 a stiff, wiry appearance. The lines should not be made in 
 continuous parallels, nor should the entire body of hair be 
 painted so as to look like a solid skull-cover. However, 
 these instructions find an exception in the front hair of most 
 women and young ladies, where the hair above the line of 
 the ears must be delineated with accuracy and smoothness ; 
 but at the parting this harshness can be somewhat modified 
 by making the hair to blend with the scalp. 
 
 Curls should not all be perfectly cylindrical, as is too 
 often seen, but made to differ in size, shape, and direction. 
 They should fall in easy masses ; should never drop or lie 
 upon the neck in continuous parallels (like so many pipes) ; 
 and should never run across the neck, producing a heavy 
 dark line separating the head from the body ! If curls ap- 
 pear as though arranged with precision, their stiffness may 
 be somewhat remedied by the addition of a few straggling 
 ringlets thrown into the corners and at the ends. A hard 
 contour of the face may be improved in like manner, by 
 breaking up the edge of the hair with small locks and ring- 
 lets ; but make them round and graceful, and devoid of the 
 appearance of single hairs. 
 
 Whether to apply the local color or lay in the shadows 
 first, will depend entirely on the distinctness of the photo- 
 
58 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 graph. It is perhaps the best plan when there are ringlets, 
 curls, or (worse than all) frizzles, to define the principal 
 shadows before applying the wash. Never mix any opaque 
 color with the tint being used for the shadows, as they must 
 always be kept transparent. The high lights must not be 
 put on until the previous work is dry ; then keep them thin, 
 working with a bare pencil, so that the color of the hair 
 may appear through them. 
 
 The outer circumference of the hair should be made 
 "feathery," as in nature, and not be defined with such pre- 
 cision as to make the head look pasted against the back- 
 ground — especially when the head is surrounded by cloud- 
 ing; therefore use Neutral Tint, or gray, to give a softness 
 around the outer edges. The softer the background about 
 the head the finer and clearer will be the relief effect. 
 
 The natural gloss of the hair necessitates the use of gum 
 Arabic water with considerable freedom. It can be applied 
 with even additional strength in the heavy shadows, pro- 
 ducing depth, and imparting a general brilliancy to the 
 whole. Very little goes a great way, however, and it must 
 be applied with caution, else the effect will be stiff and 
 daubed. 
 
 The following directions are applicable to the general 
 classifications of 
 
 Colors for the Hair. 
 
 Flaxen Hair. — Wash with Yellow Ochre, modified to 
 the shade, if necessary, with Roman Ochre, and Sepia. 
 Shadow with Raw Umber, or Bistre, which will give the 
 greenish hue natural to the middle tones of this hair. If 
 there are curls, the high light on them can be intensified 
 with Yellow Ochre or Indian Yellow with White. Associa- 
 ted with blonde complexions and blue eyes, this description 
 of hair is sometimes found almost white — vulgarly denomi- 
 
COLORS FOR THE HAIR. 
 
 59 
 
 nated "tow hair" — in which case use a very pale wash of 
 Yellow Ochre. Raw Sienna and Sepia also make a beauti- 
 ful sober flaxen tint, Sepia not being semi-opaque like the 
 Ochres. Shadow with the same, Sepia preponderating ; 
 and, if the photograph be light and clear, the putting on of 
 high lights may be dispensed with, leaving the local color to 
 represent them. Roman Sepia used very thinly makes an 
 excellent color for dark yellow flaxen. 
 
 [The translation which flaxen hair undergoes in photog- 
 raphy has always been a source of trouble to the water col- 
 orist. Being required to produce a light tint where the nega- 
 tive has interposed the reverse, he discerns no alternative 
 but a free use of body color ; or else a previous working upon 
 the negative itself (with lead pencil or blue paint), in order 
 to obtain a lighter basis.] 
 
 Auburn, or "Golden Brown" Hair. — Wash with Van- 
 dyke Brown, if inclining to red ; and Burnt Umber, if in- 
 clining to yellow. Shadow with Warm Sepia and Sepia. 
 Lights should be made of a slight purple hue. 
 
 Red Hair. — Wash with Yenetian Red and Yandyke 
 Brown or Warm Sepia, for a red tone ; Yenetian Red and 
 Burnt Sienna, for a yellow tone. Shadow with Sepia added 
 to the local wash. For the lights, artists seem to have 
 agreed upon a purple tint mixed with White. It would 
 seem more consistent to heighten the lights by deepening 
 the shadows, because it is rarely an object of ambition to 
 possess hair of this kind. Its more conspicuous tones should 
 be subdued, and never exaggerated. 
 
 [The general tone of so-called Red hair is rather Orange, 
 and the true philosophy of color would dictate that, if ex- 
 aggeration is not desired, its complementary, Blue, should 
 be kept as far as possible from it. Despite this, however, 
 it is almost the universal custom for ladies who possess this 
 color of hair to wear blue bonnets and dresses ; and artists 
 
60 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 are thus compelled to introduce this objectionable color into 
 their work, the result being only to heighten the fiery ap- 
 pearance of the hair-tint. Green would soften the force of 
 the red, and be vastly preferable. Correct taste would sug- 
 gest to the student that he should neutralize or "kill" it, by 
 placing white ribbons or bands near it, which would make 
 it appear darker; or by overwhelming it by the introduction 
 of a positive red among the accessories of the picture. 
 
 " It is an ill wind that does not blow good to somebody 
 and so here, the relentless camera which deteriorates Flaxen 
 hair, improves Red hair, — restraining the artist's efforts to 
 render to the former its natural brilliancy, and assisting him 
 to control the offensive prominence of the latter.] 
 
 Light Brown Hair. — Wash with Bistre and Sepia mixed, 
 or with Bistre alone, if a greenish tone is wanted. Shadow 
 with Sepia. Other shades of this hair-color are found in 
 Burnt Umber, Roman Sepia, and Burnt Umber or Yandyke 
 Brown and Neutral Tint mixed. 
 
 Dark Brown Hair. — In general, the local color is found 
 in Sepia alone, which can be lowered still more in tone by 
 the addition of Neutral Tint. Shadow with same ; and for 
 deeper effects add more Neutral Tint. Lights gray, put on 
 very thinly. 
 
 Gray Hair. — Work with India Ink and very thin Neutral 
 Tint, which may be warmed in accordance with the tint de- 
 sired by adding a little Sepia. Shadow with Compound 
 Black, the Sepia predominating; and Lampblack for any 
 further depth and strength. Lights normal gray, intensified 
 by Chinese White. 
 
 [It may be opportune to remark, that a white cap upon 
 the gray hair of a lady will render the gray less conspicu- 
 ous ; whilst the contiguity of black, as a black cap or rib- 
 bons, will render it more apparent than may perhaps be d 
 sirable.] 
 
PAINTING THE EYES. 
 
 61 
 
 The White Hair of venerable old gentlemen should be 
 worked with gray formed of Cobalt and Vandyke Brown, 
 letting the brown appear most in the retired parts. For the 
 few deeper lines, use India Ink or Neutral Tint; the promi- 
 nent white parts, Chinese White. In manipulating this 
 hair, avoid hard lines and a bristling appearance. A pure 
 white, silky effect will be much more acceptable, and charac- 
 teristic of the placidity of extreme age. 
 
 Black Hair. — Although the deeper shades of brown hair 
 are commonly denominated "black," there is still that which 
 is known as " Raven Black." This may be produced by a 
 wash of the compound black (Indigo, Lake, and Sepia), but 
 of a cool tone. Or, if the photograph be very dark, a strong 
 wash of Neutral Tint, with a little Sepia, may suffice, im- 
 parting the bluish tone, as in nature. Shadow with Lamp- 
 black and Sepia, or the former alone. Lights, Neutral Tint 
 and White. The shadows can be further worked with gum 
 Arabic, for strength and definition. 
 
 [If the natural gloss of the hair produced an excess of 
 high light in the photograph, it will be necessary to first go 
 over this light with a wash of Lampblack: this is not unfre- 
 quently the case.] 
 
 Painting the Byes. 
 
 The eye is the life of the face. Hence, to achieve excel- 
 lence in the correct painting of this important feature, will 
 oblige the student not only to be an observer of the various 
 descriptions of eyes, but he should also understand somer 
 thing of the philosophy of its construction as the organ of 
 sight. Without this, there will be a constant liability to 
 distort the shape of the eye, and give it a false expression. 
 
 In painting the eye, — after designating the line of the 
 eyelid, — first draw, as finely as possible, the circumference 
 line of the iris or colored portion of the eye. This is advis- 
 
 6 
 
62 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 able, because it assists in locating the pupil in the exact cen- 
 tre ; and this may now be put in with Lampblack, no matter 
 of what color the iris is to be. [An exception to this rule 
 may sometimes be made in the case of very light blue or 
 gray eyes, where a jet black pupil might appear too harsh 
 and decided, especially if the expression is soft and mild ; 
 in which case it is better to use Sepia alone, or combined 
 with Neutral Tint, for the pupil.] 
 
 It will be remembered that, as the iris is, in general, par- 
 tially hidden by the eyelid, the pupil must be located in the 
 centre, with respect also to that portion which is covered. It 
 should be made somewhat larger too (especially in that eye 
 nearest the light) than it is found in the photograph, where 
 it appears small, on account of the contraction of the iris as 
 aifected by the strong light under which the negative was 
 taken. 
 
 [In some photographs it will be found that the light 
 striking the ball of a rotund or protruding eye, totally 
 covers and obliterates the pupil, and gives to the eye an ap- 
 pearance of blindness — particularly the case with dark or 
 black eyes. This is a disgrace to the photographer and an 
 affliction to the artist, and one of those incurable cases re- 
 ferred to under the head of " Portraiture." The moment a 
 pupil is introduced, flatness occurs, and the expression is 
 altered ; hence it is better to endure the fault than to make 
 bad worse by endeavoring to cure it.] 
 
 Now wash in the local color of the iris, and follow with 
 the shadow-tints, as prescribed hereafter. By this time the 
 high-light or white-spot of the eye has been somewhat oblit- 
 erated ; but its exact position must be remembered, unless 
 there is a duplicate photograph by which to guide the work- 
 ing. If this local color does not entirely obliterate the white- 
 spot, do so with a slight use of color, or Lampblack, which 
 is opaque. In the absence of a duplicate, the intelligent 
 student will, in most cases, be able to re-locate the white- 
 
PAINTING THE EYES. 
 
 63 
 
 spot by judging the direction and manner in which the light 
 falls upon the whole face and picture. 
 
 Our reason for recommending that the white-spot be 
 painted out is, that in photographs it is always too large! 
 and it can be easily restored, with additional brilliancy, by 
 using Chinese White ; and further, because it would be an 
 excess of trouble to reduce it in size by working around it. 
 
 In adding the light-spot, it must be done with a good 
 pointful of White, and by a single touch — or at least seem 
 as though it was so done — and for this purpose a rather 
 blunt brush is preferable. The spot should be located upon 
 the iris, just at the edge of the pupil, in the direction whence 
 comes the light into the eye ; and the student will discover 
 that to place it correctly is no less easy than it is simple and 
 delicate. He will perhaps create many squinted and blind 
 eyes in his first attempts, but the alternative is to paint out 
 with the local or shadow color of the iris, and try again. 
 The white-spot must not cover the pupil in the least degree. 
 In the larger- sized heads, however, it must not be located 
 precisely in this way, else, when viewed some distance off, 
 it will appear to be on the pupil. Allowance must therefore 
 be made for this circumstance. 
 
 That portion of the iris which lies in a direct line opposite • 
 the high light, must be illuminated, as it is seen in nature, 
 and without which the painted eye will look opaque and 
 very dull. In most cases this is done by simply adding 
 Chinese White to the local color of the iris ; or that part of 
 the iris may be reserved light in the previous shadowing ; 
 still, the first method imparts the most life and brilliancy. 
 
 The sclerotica, or "white of the eye" (as it is commonly 
 called), is not to be made white, or left so in the photograph; 
 but modified with blue for children and young persons ; a 
 pearly tint for middle life ; and a slight yellowish tinge for 
 aged people. The eye is also most pleasing when the effect 
 is soft ; therefore, if the edge of the iris be too rigidly de- 
 
64 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 fined upon " the white," it is well to soften it with gray or 
 Neutral Tint. 
 
 The caruncles, or red fleshy substances within the inner 
 corners of the eyes, will require some bright color. Use 
 Venetian Red and Pink Madder, or the Madder alone. If 
 the corner be dark, use Vermilion — carefully. A little cool 
 green may sometimes be stippled around the socket of the 
 eye ; and if the upper lid be hanging (as in looking down), 
 touch the edge of it with Indian Red. 
 
 The different colors of the human eye may be classified by 
 these general terms: Blue, Gray, Hazel, Brown, and Black. 
 The pigments to be used for each kind are prescribed as 
 follows : 
 
 Colors for the Eyes. 
 
 Blue Eyes. — If they are light blue, use thin Cobalt; 
 shadow delicately with the same and a touch of Indigo ; and 
 add White to Cobalt for the illuminated part of the iris — if 
 it is not left sufficiently clear in the photograph. If they 
 are dark blue, use a deeper tint of Cobalt, and shadow with 
 Indigo. If " deeply, darkly, beautifully blue" (as are some 
 children's eyes), the effect can be heightened by using 
 French Blue ; but carefully, as it is a powerful color. 
 
 Gray Eyes. — Define them delicately with India Ink and 
 a slight tinge of Cobalt. If of a bluish-gray, use Indigo in 
 lieu of the Cobalt. Add White for the illuminating. Gra}' 
 eyes often change to yellow-hazel as the person grows older, 
 and are to be painted in this transition state by tinging the 
 illuminated part slightly with Yellow Ochre, which will pro- 
 duce a greenish-yellow tone. 
 
 Light (or Yellow) Hazel Eyes. — Use Yellow Ochre 
 and Neutral Tint for the local color. Shadow with Van- 
 dyke Brown, and illuminate delicately with White added to 
 the local. 
 
PAINTING THE CHEEKS. 
 
 65 
 
 Dark (or Brown) Hazel Eyes. — For the local color, use 
 Vandyke Brown, or, if the print is dark, Burnt Sienna. 
 Shadow with Sepia. Illuminate with Burnt Umber and 
 White ; sometimes Burnt Sienna and White. 
 
 Black Eyes. — Although all dark-colored eyes are gener- 
 ally called " black," reference is now specially made to that 
 description of eye which has its iris of so deep a brown as 
 to be scarcely distinguishable from the pupil! They are 
 peculiar to brunettes, and people generally who are from 
 tropical countries. Use Sepia and Vandyke Brown for the 
 local color. Shadow with the same mixed with Lampblack. 
 Illuminate with Burnt Sienna and Chinese White. 
 
 Painting the Cheeks. 
 
 The nearest approach to the color of the cheeks will be 
 found in a mixture of Pink Madder and Vermilion, either 
 color predominating according to the subject. It should be 
 kept in mind that children should have more Vermilion, 
 adults more Pink Madder, and old people more of a purple 
 tone, — this last being made by adding a little Cobalt to the 
 former mixture, provided the photograph itself does not give 
 a bluish tone. 
 
 Remember that the use of Carmine or Crimson Lake is 
 not recommended for carnations ; the one being too bright, 
 the other too purple ; and both are fugitive. On the con- 
 trary, all the Madders are durable, and in every respect 
 better. Pink and Rose Madder, seeming to differ only in 
 intensity, may be used according to the option of the 
 student. Either can be used for men, but Vermilion should 
 be added for women and children. 
 
 In applying the carnations, observe the -grades of color 
 and light on the cheek-bones ; and do not lay out the cheek- 
 tint in a circular, but in a triangular form, having its angles 
 at the temple, lower jaw, and the nostrils. In no case should 
 
 6* 
 
66 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 the carnations be washed on, but always stippled; and in 
 very large pictures they can be hatched. 
 
 Painting the Chin. 
 
 In nature, the chin being somewhat of a redder tone than 
 the surrounding color, it is to be treated in like manner as 
 the cheeks, though in a very slight degree ; and care should 
 be used not to commit the error of over-tinting this feature. 
 
 Painting the Lips. 
 
 The upper lip being nearly always in shadow, is both 
 darker and less bright in color than the lower lip. If the 
 mouth in the photograph be not too dark, use Indian Red, 
 with a little Crimson Lake, for the upper lip ; if dark, use 
 Rose Madder, heightening it (if necessary) with Yermilion. 
 For the lower lip, wash it first with thin Vermilion, or 
 Orange Chrome and Rose Madder, and in either case model 
 and shade it by stippling with Pink Madder. Observe that, 
 in painting both lips, the more distant parts are to be less 
 vivid in color. 
 
 The lips of children require more Vermilion, and of aged 
 persons more Pink Madder, — not unfrequently approximat- 
 ing to a purple hue. 
 
 It will be advantageous to remember, in using all the car- 
 nation tints, that, as these reds will lose somewhat of their 
 intensity by time, they should be painted a little brighter 
 in color than they are in nature, to allow for this loss. 
 
 The painting of the mouth is perhaps the most delicate 
 and hazardous of all the features, on account of its variable- 
 ness of expression. In defining the partition-line between 
 the lips, the slightest deviation will alter its character and 
 damage the portrait. Especially so with the corners of the 
 mouth, wherein most of the expression lies. Consequently, 
 it behooves the student to study well its distinctive marks, 
 
PAINTING THE NECK AND BOSOM. 
 
 67 
 
 as photographed, before commencing, and work throughout 
 with the utmost care. 
 
 Painting the Mars. 
 
 In painting the ear, which is semi-transparent, let the 
 shadows be made warm and inclining to red. The inside of 
 the ear should be colored with Pink Madder and Indian or 
 Venetian Reds, and the tips with Rose or Pink Madder 
 alone. 
 
 The ear should always be well toned down, in order that 
 it may be secondary to the more important lights. A large 
 or prominent ear is, in nature, ever an ugly, unsightly ob- 
 ject; it is an organ without being a feature. If practicable, 
 it is more judicious to partially cover it with the hair, — 
 which can be done in most pictures without materially 
 changing the drawing. 
 
 Painting the Ifeck and Bosom. 
 
 The general tint of the neck, it will be observed, is, in 
 nature, much below the general color of the face, and inva- 
 riably of a grayer tone. The flesh-wash might therefore be 
 somewhat reduced for the neck, and the pearly tints added 
 to a more considerable degree. The clavicles or collar-bones, 
 peering through the flesh, are to be sometimes tinged slightly 
 with Pink, but great care should be used to avoid rendering 
 them too distinct and angular. The shadows of the bosom 
 are .usually of a bluish tint. 
 
 Although a well-curved neck, and round, plump shoulders 
 do not, by any means, appear in the majority of photographs 
 of ladies so taken, the colorist may very safely assume the 
 privilege of correcting the drawing of his picture, so as to 
 produce these desirable elements of physical beauty. Few 
 ladies will object to any roundness of the neck or graceful 
 droop of the shoulders which it may be possible for the 
 
68 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 artist to bestow on their pictures. Some delicate touches 
 of Pink Madder can be put on the extreme point of the 
 shoulders; whilst Indian Red and Cobalt will serve to 
 shadow the flesh around the arm-pit. 
 
 Painting the Arms and Hands. 
 
 The foregoing remarks apply somewhat to the painting of 
 the arms, although the lower arm often partakes of a very 
 slight purple hue. Indian Red alone can be used for the 
 first tints, working over them, when necessary, with Blue ; 
 and observing the reflected lights, which are always to be 
 kept warm. The elbows should be tinted with Pink Madder, 
 but delicately; and any disagreeable angularity should be 
 rounded off — as before observed, concerning the shoulders. 
 
 The Hands, in most photographs, by reason of their dis- 
 tance from the focal point of the camera (generally directed 
 to the face), are disagreeably enlarged; and in most cases 
 partially shadowed. For these reasons, it is often desirable 
 to cut them down, shorten the fingers, cover them w T ith thin 
 drapery, or "paint them out' 7 entirely. 
 
 The division-lines of the fingers may be drawn with Brown 
 Madder and Pink Madder, or Sepia and Crimson Lake. The 
 tips of the fingers, the knuckles, and the outside of the 
 hands, are more rosy than the other parts, and require to 
 be hatched with a little Pink Madder. 
 
 A liberal use of Cobalt in the hands is also recommended 
 ■ — particularly for those of women and children — in order to 
 attain clearness, and the appearance of veins. This effect 
 is also more necessary for female hands, the skin of which 
 is intended to seem very fair and transparent. 
 
 The general tone of color in the hands should be very 
 much below that of the face (except when the head rests 
 upon one of them), so that they shall not first attract the 
 beholder's eye — which ought to be drawn involuntarily to 
 the face — the portrait ! 
 
GRAYS AND PEARLY TINTS. 
 
 69 
 
 Grays, Pearly Tints, etc. 
 
 The uneducated eye sees nothing more in the human 
 face than the general or local color denominated "flesh;" 
 but among artists the varied hues which go to make up 
 the entire complexion — in addition to the shadows and car- 
 nations — are known as "pearly tints," "grays," "middle 
 tones," &c. 
 
 These, intervening between light and shadow, should 
 never be made so decided or violent as to impress the spec- 
 tator with the notion of an actual presence of blue, or pur- 
 ple, and sometimes green; but while the effect must be com- 
 plete, the tints themselves by which said effect is obtained 
 should be worked in very adroitly and with as much clean- 
 linens as possible. 
 
 The delicate shadows of the forehead contain more gray 
 than those of the lower face; the half-shadows under the 
 eyes are more inclined to purple; but whenever the deep 
 shadows blend into the local flesh color, there will also be 
 found a lilac or a gray, according as the complexion is light 
 or dark. With many artists the lilac or pearly tint is in great 
 favor, especially where the complexion is delicate and the 
 skin transparent, as in children. 
 
 The various degrees of these tints will be found by mix- 
 ing Cobalt with Indian Red and Pink Madder, to obtain 
 hues of lilac, purple, and gray ; and these can be neutral- 
 ized to a cold tone by adding a very little yellow. 
 
 Neutral Tint alone furnishes a beautiful cool gray, and is 
 especially useful for softening the edges of hair and blend- 
 ing it into the flesh; but Cobalt should be added as it ap- 
 proaches the highest light. Much of the gray effect is ob- 
 tained by simply working Cobalt over the reds previously 
 laid, but this must be done understandingly, or dirtiness is 
 sure to result. 
 
 It will, perhaps, surprise the student to learn how much 
 
70 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 of a good painting is made up of shadows, gray and pearly 
 tints, and how far they go towards forming one harmoni- 
 ous whole. Grays are not intended to hide the local color, 
 but rather to be passed over it as a glaze ; and, therefore, 
 in laying them on, particular care must be taken that the 
 under-tints be not disturbed ; otherwise the grays will be 
 muddled and rendered opaque, which is always to be avoid- 
 ed, as it is intended to show the flesh-color under them. 
 
 The student will note, that the delicate blending of these 
 pearly tints into the flesh and shadows, gives softness and 
 rotundit}^ to the work; for, if the shadows be left hard 
 against the lights, not being duly graduated into them with 
 the pearly tint, the pictures will appear crude and harsh, 
 wanting the connecting link which these intermediate tints 
 form. 
 
 These tints appear to differ also according to complex- 
 ions, but the difference is carried more through the local 
 color which they are laid upon, than any real alteration in 
 themselves ; as a consequence, therefore, w r hen the flesh is 
 very powerful in color, the grays must be correspondingly 
 strong. 
 
 The following observations, by Prof. George Barnard, are 
 no less appropriate than valuable in this place : 
 
 " Respecting the colors or tints of flesh when examined 
 closely, we shall, doubtless, find that many of the most beau- 
 tiful and delicate of the tones on the human face are refera- 
 ble to the effect of simultaneous contrasts ; thus, at the edge 
 of shadows on a skin of warm, rosy color, is observed a cool 
 gray and sometimes even a cool greenish tint, these becom- 
 ing more particularly visible when the surface is rounded 
 like the face. Where the light passes into half-light, or where 
 the light and shade meet, there will be these cool tones ; 
 and, if the complexion is red, they will, from the comple- 
 mentary action, have a tendency to green, however unnatu- 
 ral such a tint may be considered on the face. If the com- 
 
TOUCHES. 
 
 71 
 
 plexion incline to yellow, or orange rather, the edge of the 
 shadow will incline to bine. Some portion also, of these 
 peculiar gray tints, may be owing to the semi-transparent 
 nature of the skin, as well as the degree of gloss on its 
 smooth surface, which reflects the cool lights of the sky. 
 When these slightly green or gray edges of shadows are 
 put in, they must be decided in their form and position, 
 and pure in tone, or they will lose all effect. If dirty or 
 undecided, it is almost needless to add they are worse than 
 useless." 
 
 Touches. 
 
 By the term " touches " we designate the darkest parts of 
 the features where the expression is concentrated, the high 
 lights, and other salient points which give life, spirit, and 
 intelligence to the whole countenance, and decide its por- 
 trait and character. 
 
 Some of these must be defined at first, in order to pre- 
 serve the drawing of the photograph, whilst others are to 
 be added at the conclusion, as a coup de grace. Among the 
 former may be mentioned the upper eyelashes, nostrils, line 
 of partition between the lips, and the line under the chin 
 and ears. Burnt Sienna and Brown Madder, or Lake and 
 Sepia, furnish mixtures suitable for this purpose. When 
 the shadows are very dark (as they are indeed too often), 
 use Yermilion thinly to bring up the dark parts. 
 
 Among the after-touches, the points of high light on the 
 forehead, and bridge and tip of the nose, may be obtained, 
 in part, by rubbing out the flesh-wash nicely with clean 
 India-rubber ; but this must be done softly, so as not to mar 
 the surface of the paper. This effect may also be further 
 heightened by applying Flake White, with great delicacy. 
 The after-touches about the mouth, which is the most change- 
 able of all the features, must be very carefully done, as they 
 will determine the general expression. 
 
72 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Other of the after-touches in water color painting are pro- 
 duced by simply going over the part with a very thin solu- 
 tion of gum Arabic. As water colors dry without gloss, 
 this application gives depth to the extreme shadows, and 
 adds a general brilliancy ; but guard against a tendency to 
 overdo it, for, on the whole, the less gum that is used the 
 better. In finishing the eyes, hair, jewelry, and anything 
 which has a gloss in nature, it can be used more freely, and 
 is indispensable. 
 
 The Selection of Colors for Drapery. 
 
 It is not at all an unfrequent circumstance that photo- 
 graph painters are desired, and even necessitated, to choose 
 the colors for the drapery of the work in hand ; although 
 the general practice is to obtain full directions, on all points, 
 from the originals or their friends. This is decidedly the 
 safest plan, as it is not impossible that the painter might 
 select a color which the original never wore (perhaps dis- 
 liked) ; whereas the painter's duty aims to realize the exact 
 life-look of his subject. 
 
 The object of all decoration in dress being to improve 
 or set off to the greatest advantage the personal appearance 
 of the wearer, it follows that the colors employed should be 
 suitable to the complexion, in perfect harmony with the rest 
 of the attire, and have reference also to age and condition. 
 
 In regard to pictures of men, there is scarcely room for 
 choice ; and hence the student will have no difficulty in 
 adapting the few sober colors, which the palette affords, in 
 addition to the " customary suit of solemn black.'' But for 
 pictures of women and children, the opportunity of selec- 
 tion is a great one, and furnishes ample scope for the dis- 
 play of knowledge and taste. 
 
 For the benefit of those who have not previously regarded 
 colors in a scientific or artistic light, it may be very proper 
 
SELECTION OF COLORS FOR DRAPERY. 
 
 73 
 
 to add some general directions relative to the juxtaposition 
 of complexions and their appropriate drapery-colors. 
 
 The following paragraphs are condensed from the excel- 
 lent treatise by M. E. Cpievreul, the Philosopher of Color, 
 and the best of all authorities on this subject. 
 
 Red Drapery. — Pink-red cannot be put in contact with 
 the rosiest complexions without causing them to lose some 
 of their freshness. If it is unavoidable, however, separate 
 the pink from the skin in some manner ; and the simplest 
 way of doing this is, to edge the draperies with a bordering 
 of lace or tulle, which produces the effect of gray. 
 
 Dark red is less objectionable for certain complexions 
 than pink-red, because, being higher than this latter, it 
 tends to impart whiteness to them on account of the con- 
 trast of tone. 
 
 Green Drapery. — A delicate green is favorable to all 
 fair complexions which are deficient in rose tint, and which 
 may have more imparted to them without objection. But 
 it is not as favorable to complexions that are more red than 
 rosy, nor to those which have a tint of orange mixed with 
 brown, because the red they add to this tint will be of a 
 brick-red hue. In the latter case a dark green will be less 
 objectionable than a delicate green. 
 
 Yellow Drapery. — Yellow imparts violet to a fair skin, 
 and for this reason it is less favorable than the delicate 
 green. To those complexions which are more yellowish, it 
 imparts white ; but this combination is very dull and heav3 r , 
 if used for a fair conplexion. 
 
 When the skin is tinted more with orange than yellow, 
 we can make it roseate by neutralizing, the yellow — which 
 makes it thus appropriate for brunettes. 
 
 [Pale yellow or greenish-yellow suits no one, especially 
 those with pale complexions. Its effect is to diffuse, by con- 
 
 7 
 
74 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 trast, a purple hue over the complexion, and this is certainly 
 no addition to beauty.] 
 
 Violet Draperies. — Yiolet, the complementary of yel- 
 low, produces contrary effects ; thus it imparts some green- 
 ish-yellow to fair complexions. It augments the yellow tint 
 of yellow-and-orange skins. The little blue there may be in 
 a complexion it makes green. Yiolet is therefore one of the 
 colors which harmonize least favorably with the skin ; and 
 especially if it is not sufficiently deep to whiten it by con- 
 trast of tone. Mauve, and its varieties, are also included 
 in this category. 
 
 Blue Drapery. — Blue imparts orange, which is suscepti- 
 ble of allying itself favorably to white and the light flesh 
 tints of fair complexions, which have already a more or less 
 determined tint of this color. Blue, especially sky-blue, is. 
 consequently suitable to most blondes ; but will not suit 
 brunettes, since they have already too much of the orange- 
 tint. 
 
 Orange Drapery. — Orange is too brilliant to be elegant. 
 It renders fair complexions blue — whitens those which have 
 an orange-tint — and gives a green hue to those of a yellow 
 tint. 
 
 White Drapery. — Drapery of a lustreless white, such as 
 cambric muslin, accords well with a fresh complexion, of 
 which it relieves the rose-color ; but it is unsuitable to com- 
 plexions which have a disagreeable tint, — because the effect 
 of white is to exalt a color by raising its tone — and hence 
 whatever may be objectionable in the flesh-tint, the contrast 
 with white will only render it more so. 
 
 Yery light-textured fabrics, however, such as lace or open- 
 worked drapery, produce an entirely different result. They 
 appear more gray than white; the threads, which reflect 
 ' light, and the interstices, which absorb it, producing the ef- 
 fect of a mixed surface of black and white. In this respect, 
 
COLORS FOR HEAD-DRESS. 
 
 75 
 
 all white drapery which allows the light to pass through its 
 interstices must be regarded as being gray rather than white, 
 and can be used for the purposes of gray. 
 
 Black Drapery. — Black draperies, lowering the tone of 
 the colors with which they are in. juxtaposition, whiten the 
 skin. But while this lowering does not take place to an}^ 
 very great extent, unless the black is in actual contact with 
 the color, it has the effect of heightening the cheeks, if the 
 white skin intervenes ; the former appearing redder, and the 
 latter whiter than they would if the black drapery did not 
 exist. 
 
 No matter whether the complexion be dark or fair, the 
 color should never be placed next the skin, but should be 
 parted from it by the hair or by a ruche of tulle, which pro- 
 duce the neutralizing effect of gray. 
 
 Colors for Head-Dress. 
 
 If we notice the tints which are generally considered as 
 harmonizing best with light or dark hair, we will discover 
 that they are those w T hich produce the greatest contrast. 
 Thus, sky blue, which is known to accord well with blondes, 
 is the color approaching nearest to the complementary of 
 orange, which is (philosophically considered) the basis of 
 the tint of their hair and complexions. 
 
 In the same manner, yellow, and red — more or less orange 
 — are two colors which- accord very favorably with black 
 hair. These colors, yellow and orange red, contrasting by 
 color and brilliancy with black ; and their complementaries, 
 violet and blue green, in mixing with the tint of the hair, 
 are far from producing a bad result. 
 
 The student will not forget, that his colors must 
 be chosen as a harmonious vihole ; for a color may be favor- 
 ably adapted to the hair, and yet produce a disagreeable 
 effect with the skin, and vice versa. 
 
76 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Fainting the Drapery. 
 
 The quality and sort of drapery being already indicated 
 in the photograph, the student will find that his special at- 
 tention is required while coloring, in order to preserve the 
 natural folds and other general characteristics of the fabric. 
 As the application of his local color will, to a certain extent, 
 obliterate many of the lighter lines of the photograph, he 
 will also perceive how very advantageous it is to possess 
 himself of a previous knowledge of the manner in which va- 
 rious fabrics — cloth, silk, satin, velvet, linen, damask, &c. — 
 break up into folds ; together with their characteristic lights 
 and shadows. 
 
 This knowledge is furthermore absolutely necessary, from 
 the fact that in many photographs the lights are so intense, 
 and the shadows so deep, that all the intermediate lines dis- 
 appear, and the student is left to depend wholly on his own 
 ability to supply the deficiency. Indeed, experience teaches 
 that, occasionally, in restoring pictures from old 'types, the 
 artist must supply the drapery entirely. 
 
 With this exigency likely to occur, the diligent student 
 will feel it a duty to inform himself concerning the funda- 
 mental rules on this subject. Let him remember that dra- 
 pery is intended to cover, but not hide the form ; and that 
 as the inequalities of the stream-bed are discoverable by the 
 rippling water that runs over it, so the posture and shape 
 of the members ought to be discernible by the folds of the 
 garment that covers them. The drapery should cover the 
 body as if to show it. 
 
 Endeavor to comprehend the rationale of drapery; how 
 the folds originate from those points where it is held, en- 
 larging as they recede, spreading where unconfined, or 
 changing their course where they meet with resistance. On 
 the whole, Drapery is one of the most important branches 
 of our art, and accordingly demands attention and study — 
 
PAINTING THE DRAPERY. 
 
 77 
 
 contributing very materially to the life, to the character, and 
 to the success of the picture. 
 
 The practical operation of drapery-painting is reducible 
 to two General Methods, the choice being left to the student, 
 who will decide according to the folds, whether they be dis- 
 tinct (1) or obscure (2) in the photograph on hand. 
 
 First. — Go over the fabric with a thin wash of the local 
 color, principally to moisten the surface. Then define the 
 folds, beginning w T ith the larger ones which give shape to 
 the masses. After these are completely absorbed, proceed 
 with additional washes — three should suffice for any case — 
 until a proper weight or. body of color has been reached; all 
 of which must be governed by the photograph itself, and 
 keeping in view the tone desired for the drapery to be when 
 finished. Upon this basis the deeper shadows are to be 
 worked, before it is entirely dry, so that their edges will 
 blend into the local color. The high lights should not be 
 laid on until the previous work is entirely dry. 
 
 By laying the washes one over the other, as directed, (in- 
 stead of applying the local with its requisite strength at 
 once,) the effect of texture is gained, and an evenness of 
 tint, which would not result otherwise. If the photograph 
 be very strong in the shadows, and bright in the lights, 
 there will be no necessity for defining the former at all until 
 the local color has been decided, because (it may be pre- 
 sumed,) they will be sufficiently discernible through the 
 local color. 
 
 The shadow-tint should, in all cases, not be too strong or 
 thick, as it is intended only partially to obscure the local 
 color, not to hide it ; which it would do if it were made too 
 powerful, besides imparting a hard, patchy appearance. 
 
 In shadowing, never work across the folds, but alwa}^s 
 carry the brush in the direction which they run ; and from, 
 not to, the outline. A camel's-hair brush is perhaps better 
 adapted for laying in the draperies than a sable one, because 
 
 7* 
 
78 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 the color flows from it more freely, and the markings of the 
 brush are not perceptible. 
 
 Second. — This is only a reverse manner of working, neces- 
 sitated by the want of definition in the photograph — bad 
 focussing, weak negatives, or over-toning. 
 
 In this method, work up the folds — guided by your du- 
 plicate photograph, which this process renders necessary to 
 have at hand— until they are sufficiently distinct to permit 
 a good wash of the local color. In order to soften the edges 
 of the shadows in defining the folds, it is preferable to lay 
 them out broadly at first, with a rather thin tint, adding the 
 stronger touches inside ; and others, if necessary, still inside 
 the last. There are instances, however, where the edges of 
 the fabric overlap, as in gentlemen's coat-collars, &c, when 
 harder lines should be used. The student should also guard 
 against too great minuteness in detailing every fold ! He 
 must omit repetitions and continuations, and endeavor to 
 maintain breadth and characteristic variety of line. 
 
 The shadows being fully defined add another wash or so, 
 of considerable strength, and the work should be complete. 
 
 In making the wash over a shadow already defined, it 
 must be done at once, with one sweep, not allowing the 
 brush to work back — or twice over the same spot — else the 
 shadows may wash up, and the smoothness of the work be 
 destroyed. Remember that each wash must be completely 
 absorbed, and partially dry, before another follows, and en- 
 tirely dry before the high lights are added. 
 
 As a general rule in regard to draperies, it may be re- 
 marked that the lights and the middle tints are always cool, 
 and the shadow colors should be warm. 
 
 Painting of White Drapery. 
 
 That portion of every photographic picture designated 
 (and intended to represent that which was in the original 
 
PAINTING OF WHITE DRAPERY. 
 
 79 
 
 subject) "white," will upon examination, prove to be any- 
 thing but white. This is readily discovered by laying a piece 
 of clean white paper beside it : the discoloration is attribu- 
 table to the action of the various chemical processes which 
 the photograph must undergo, and somewhat to the print- 
 ing. Hence it becomes as necessary to paint white (although 
 the picture is supposed to be upon white paper) as it is airy 
 of the acknowledged colors. 
 
 In treating white drapery : for the middle shadow tints 
 use a gray composed of Cobalt and a little of Indian Red ; 
 or Cobalt and Burnt Sienna ; and the shadows with Cobalt 
 and Vandyke Brown, or Neutral Tint and Yandyke Brown, 
 if necessary for the deeper effects. Another useful gray for 
 delicate shadows is made of Cobalt, Raw Sienna, and Rose 
 Madder. 
 
 For all ordinary purposes use Chinese White on the high 
 lights ; although Flake White is very often preferable (espe- 
 cially for the smaller pictures), as it is more delicate, and 
 will not give the lights such a solid appearance. In paint- 
 ing laces, however, and all articles which want the effect of 
 body, and need to be manipulated with touches, Flake should 
 give place to Chinese White, the former being deficient in 
 body. 
 
 When white drapery occurs in actual contact with any 
 other — especially the dark colors, as a linen bosom under a 
 black vest — the strong contrast causes the edges of each to 
 appear very hard. Consequently it becomes necessary to 
 interpose a connecting tint that will modify the harsh con- 
 trast and give softness to both. This can be done by break- 
 ing down the edges of the white with gray — one of the above- 
 mentioned — according to circumstances. White drapery is 
 usually modified by the colors of surrounding objects and 
 background, and the shades and middle tones also partake of 
 the same. 
 
80 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 The Use of the Simple Colors. 
 Yellow Draperies. 
 
 The principal of these are as follows : 
 
 Lemon Yellow. — Which may be shadowed with Roman 
 Ochre and Vandyke Brown; it is semi-opaque, and does not 
 answer for delicate washes. 
 
 Indian Yellow. — Which is very warm ; and the shadows 
 of which should be brown, slightly purple — Vandyke Brown 
 and a little Purple Madder. 
 
 Yellow Ochre. — Which is a pale, sober tint ; the shadows 
 of which can be made with Raw Umber and Roman Sepia. 
 
 Cadmium. — Which is a rich orange tint ; can be shaded 
 with Cadmium itself, Burnt Sienna, or Sepia, for depth. 
 
 Roman Ochre. — Which is a brownish-yellow, semi- 
 opaque ; and can be shaded with Burnt Sienna and Vandyke 
 Brown, using them separately in the order named. 
 
 For the high lights of all yellows, add Chinese White to 
 the local color. 
 
 Med Draperies. 
 
 Under this general head may be classed three principal 
 divisions, as follows : 
 
 Pink. — Is simply a reduction, with water or Chinese 
 White, of Lake or Carmine ; although Rose or Pink Mad- 
 der alone answer much better for this color. It may be deli- 
 cately shadowed with its own stronger tint, or a lilac by add- 
 ing Cobalt to the local color, and the deeper shadows with 
 Scarlet Lake. The lights can be heightened with a thin 
 over-wash of Flake White. The delicateness and perma- 
 nency of the Madders render them by far the most desirable 
 for Pink. 
 
DRAPERIES — SIMPLE COLORS. 
 
 81 
 
 Crimson. — Lake will be found sufficient for all ordinary 
 purposes and susceptible of beautiful effects. Carmine is 
 more brilliant and powerful, though not so desirable. The 
 addition of Sepia will shadow the Lake. If Carmine is used, 
 the addition of Lake will do for the lighter shadows, and 
 Sepia and Lake for the heavier ; sometimes Vandyke Brown 
 and a little Black. For high lights in either case, add White 
 to the local color. 
 
 Scarlet. — The different hues can be produced with the 
 Vermilions. Scarlet Vermilion and Carmine make an ex- 
 cellent, but opaque, tint ; whilst another, more transparent — 
 for silks, &c. — can be formed with Indian Yellow and Car- 
 mine. Vermilion, if used alone, may be increased in bright- 
 ness by laying under it a strong tint of Cadmium or Indian 
 Yellow. The shadows of scarlet may be of Lake and Sepia ; 
 and for the high lights, add Indian Yellow or Cadmium and 
 Chinese White to the local color. 
 
 The other reds, Light, Indian, and Venetian, are not likely 
 to be desired in photographic draperies ; at least not for gen- 
 eral application, although they may serve well as bases, and 
 as first-washes for other reds. 
 
 The lied parts having been translated to dark in the pho- 
 tograph — and which are to be painted red again — are as- 
 sisted by a wash preparatory to the local color. Vermilion, 
 especially Scarlet Vermilion, and sometimes Orange Chrome, 
 may be used to "kill" the blackness. When the picture is 
 to contain a large quantity of red, it is always best to put 
 on the red local before finishing the carnation, in order to 
 judge their tone. 
 
 Slue Draperies. 
 
 Excepting as an accessory, blue is regarded to be a cold, 
 disagreeable color, and extremely difficult to harmonize with 
 others ; at least within the limits of a photographic painting. 
 Therefore, if blue must be used, the student should endeavor 
 
82 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 to ".kill" it as far as possible with warm, brownish shadows. 
 Another remedy is, to make the local color negative or only 
 of a blue-fs/i color ; and use pure blue only in the highest 
 lights. Thus, in painting military uniforms, the tone may 
 be rendered warm by killing the mass of raw blue with a 
 slight addition of Lake. Blue is often a favorite color with 
 ladies, and hence, if it is compulsory to paint a dress blue, 
 the colors of all the accessories should be determined with 
 a view to destroy its obtrusive predominance. 
 
 The respective merits of the blues have been elsewhere 
 mentioned. In draperies of this color the lights and half- 
 lights are cold and the shadows must be warmed with Lake, 
 or Lake and Sepia ; and where the blue approaches purple, 
 with Orange. Cobalt may be used for the lighter tints of 
 local color; French Blue for the more intense, and to this 
 add Indigo for the deepest. 
 
 When black — black lace, for instance — is contrasted with 
 a deep blue, the former should be made very warm; and in- 
 stead of actual black, warm browns may be used — as these 
 by contrast will appear black. 
 
 Use of the Compound Colors for Draperies. 
 
 Green. — Is a very powerful color, and a disagreeable one 
 if used in large masses. The simple compound of a yellow 
 and blue will suffice in most cases, but if variety is desired, 
 the different shades of green may be formed thus : Indian 
 Yellow with Indigo, or Prussian Blue, will form good greens 
 (the Prussian Blue making the brighter) ; Gamboge and Co- 
 , bait form a pea or cold, light green; Gamboge and Prussian 
 Blue form a sea-green; Boman Ochre, Indigo, and Sepia, 
 form a drab or dull green ; Indigo and Burnt Sienna a rus- 
 set green, which may be warmed with Gamboge or Indian 
 Yellow; Baw Sienna or Yellow Ochre and Indigo, a sober 
 green. 
 
DRAPERIES — COMPOUND COLORS. 
 
 83 
 
 The pigment known as Prussian Green furnishes to hand 
 a splendid green for drapery ; and is a beautiful and suitable 
 tint for curtains, cushions, and dark silk dresses. Its proper 
 high light is the prepared Emerald Green, which can be 
 still farther heightened with Chinese White. 
 
 Purple. — The various hues of purple — lavender, violet, 
 lilac, &c. — are formed with the blues and crimsons. Enough 
 has been said of these, as simple colors, to direct the stu- 
 dent's choice in compounding them. The lighter and more 
 delicate can be produced with the Madders and Cobalt ; the 
 darker and stronger with Carmine or Lake and Prussian 
 Blue or Indigo. French Blue and Crimson Lake form a 
 very bright and clear shade, which is of great use. All pur- 
 ples may be subdued with Sepia. Make the shadows with 
 local color and Madder Brown ; and, if they are to be very 
 heavy, the dark shade may be obtained with Madder Brown 
 and Purple Lake. High lights, local color and Chinese 
 White. 
 
 Orange. — The ordinary compound is formed in various 
 degrees by mixing the yellows with Vermilion or the Crim- 
 sons; and also in the already prepared Orange Chrome. 
 Cadmium, with Carmine and Lake, produces gorgeous 
 tones. Shadows are Carmine or Lake, added to the local 
 color, and qualified with warm Sepia ; the lights require a 
 preponderance of White. 
 
 Maroon. — A very fine hue of this color exists in Madder 
 Brown alone. Others are formed of Sepia and Lake, with 
 or without the addition of a little Cobalt ; and also with 
 Lake or Madder Brown and Burnt Sienna. Modify the 
 shadows with Vand}^ke Brown and Sepia. 
 
 The Browns. — Under the head of Pigments, their Quali- 
 ties and Adaptations, much has been said concerning the 
 various browns. It is not, however, a generally desirable 
 
84 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 color for dress in pictures, and seldom used, except to give 
 variety, or where its use ma} 7 be necessary on account of the 
 number of figures in the picture. The Browns as already 
 prepared, either alone or by intermixture, will suffice, and 
 should be selected according to the photographic Uase on 
 which they are to be laid. u Snuff-colored " brown, used for 
 very old-fashioned coats, may be found in Burnt Umber or 
 Yenetian Red and Lampblack. Work the shadows with 
 the deeper kinds, lowered, if necessary, with Neutral Tint 
 or Lampblack. For high lights add White. 
 
 Black. — This may almost be considered the universal 
 color for male apparel, and is in constant demand by the 
 photograph painter. The very best transparent black for 
 cloth, silk, and other black fabrics (except velvet) is the 
 compound of Indigo, Lake, and Sepia, which, if property 
 mixed, and the right tone obtained, will produce as fine a 
 color as can be desired. Instead of Sepia, the use of Gam- 
 boge has been advised, but the working qualities of the for- 
 mer are so very superior to those of the latter, that the first- 
 named is most generally used. 
 
 The preparation of this valuable compound is a matter of 
 no little consequence, and of some difficulty in obtaining 
 just the depth and tone wanted. To succeed well, the stu- 
 dent will find that it must be done systematically, and that 
 if the three are mixed together hodge-podge, he will be com- 
 pelled to add a little of one, and then another, to obtain the 
 desired tone — and dirtiness will be the result. Instead of 
 that, choose one of the following methods, as suits best, and 
 proceed understandingly : (1.) With Indigo and Lake form 
 a deep purple, then add Sepia until a satisfactory black is 
 produced. (2.) With Indigo and Sepia make a deep green ; 
 neutralize this by adding Lake. (3.) With Lake and Sepia 
 make a strong maroon; neutralize this by adding Indigo. 
 Perhaps the chief difficulty will be in knowing just wlien to 
 
GOLD, JEWELRY, AND PRECIOUS STONES. 
 
 85 
 
 stop adding the color which neutralizes the others into black- 
 ness ; and to this end the mixture should be constantly 
 stirred with a brush, so that its depth and tone are under- 
 stood while the third is being added. 
 
 The shadows are to be worked with local color used 
 strongly, and deepened with Indigo, if necessary. The 
 lights must be put on with pure gray — Lampblack and 
 White — used sparingly. 
 
 Lampblack should not be used much in draperies, for the 
 simple reason that it is opaque and will necessarily obliter- 
 ate the shadows of the photograph, whereby many of the 
 lines and folds of the drapery would be lost. It may be 
 used, however, for the very deepest shadows in connection 
 with the compound black ; and also for the local color of 
 black velvets — in which case all the lights are to be worked 
 on afterwards with normal gray. 
 
 Gold, Jewelry, and JPreeions Stones. 
 
 The gold ornaments, almost inseparable from photographs 
 of women, and the buttons and tinsel upon military uni- 
 forms, should not be painted too bright, as gold is of a 
 rather quiet and unobtrusive color. Roman Ochre furnishes 
 the best local color, except for Etruscan gold, which requires 
 Indian Yellow as its local; and the shadows may be put 
 in with Burnt Umber, and Burnt Sienna for the stronger 
 touches. The high lights demand Indian Yellow and Chi- 
 nese White, on account of their unmistakable permanency 
 and brilliant effect, — and this may be further increased by 
 very small after-touches of pure White. 
 
 To delineate. the ornamental work of gold jewelry, there 
 is no more effective manipulation than dots, the high lights 
 on which give the appearance of raised points, carved sur- 
 faces, etc. ; but they should be naturally located on the jew- 
 elry, where it might be supposed the surface would be raised, 
 
 8 
 
86 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 or points occur. This is specially true when the ornament 
 is small, or indistinct ; these high-light dots are sufficient to 
 impress the imagination and create a form, though none 
 really exists. 
 
 Precious Stones. — For the various colors of the precious 
 stones, the student is advised to examine the originals and 
 copy his local color from the stone itself, as instructions 
 herewith may be for the most part insufficient. The photo- 
 graph will be found to have given a dark basis for most 
 stones, and the use of body-color becomes necessary. The 
 Red Corals will also require preparatory bases of Vermilion. 
 Garnets will photograph like jet, and yet often be entirely 
 white. 
 
 The beauty of the stone nearly always centring in its bril- 
 liant high light, the student will see that his important task 
 is comprised in designating the exact tint of these high lights, 
 which are not always found by adding Chinese White to the 
 local color. In general, however, this is practicable ; and 
 the light should be increased by an additional touch of al- 
 most pure white. Gum Arabic should be applied freely, and 
 no efforts spared to produce the most intense effect. 
 
 Accessories— General Remarks. 
 
 Although the subject of accessories might, with propriety, 
 be included under the general head of Background Painting, 
 it is a subject of sufficient importance to merit a special 
 chapter. 
 
 By the term accessories is meant the various auxiliaries • 
 introduced in the picture to assist the position, explain the 
 idea, relieve the figure, etc. — such as curtains, tables, chairs, 
 footstools, libraries, flower- vases, and whatever may be sug- 
 gested by the subject in hand. 
 
 To elaborate these accessories overmuch is a very com- 
 mon error with beginners, who lose sight of the fact that it 
 
ACCESSORIES. 
 
 87 
 
 detracts from the importance of the figure. On the contrary, 
 by treating accessories with breadth and freedom, and mass- 
 ing them judiciously, we obtain a result at once advantage- 
 ous to the figure, and easily practicable as to finish. When 
 such an effect is obtained, there is no difficulty in fixing upon 
 the necessary degree of elaboration, as it is then easity per- 
 ceived how extreme detail would be injurious. (The fore- 
 going remarks apply as well to Landscape : there should be 
 no precise definition of leaves in the nearest foliage ; no mi- 
 nute laying out of branches ; but rather truthfulness of form 
 and completeness in massing the foliage.) 
 
 In simple bust pictures, the introduction of any accessory 
 is, to say the least, injudicious. Nothing will be more suit- 
 able for such pictures than a plain background ; but in 
 larger pictures some kind of accessory frequently becomes 
 indispensable. For instance, where the arms are introduced, 
 some object, as a chair or table, or both, may be necessary 
 to account for the position ; but it should be constantly re- 
 membered that unless the accessory does assist the composi- 
 tion, or relate to the age, position, or character of the per- 
 son represented, it must be omitted. 
 
 It is not an uncommon thing to see pictures so overloaded, 
 with gaudy bed-furniture curtains ; walls entirely covered 
 with lines and panels ; vases filled with artificial flowers ; 
 columns and plaster of Paris statues ; windows, arches, old 
 fashioned furniture, etc.; while the colors of these may be 
 so glaring, and the details of form so precise, that it is well- 
 nigh impossible to determine the actual intention of the 
 photographer or the colorist — whether it be to display the 
 figure or the accessories! — and of course rendering the por- 
 trait wholly a matter of secondary importance. 
 
 The accessory most usual in common practice, besides the 
 chair or table which nearly all figure photographs contain, 
 is the introduction of a curtain ; and it must be conceded 
 that this can be made of very great use in assisting the gen- 
 
88 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 eral effect. Jn undertaking to put in a curtain, the first im- 
 portant thing is to be able to draw an outline, and obtain 
 folds which will really imitate nature, so as to produce a 
 graceful flow, and avoid stiffness. After that, the addition 
 of cord and tassels, if desired, will claim a like degree of 
 attention. 
 
 As already mentioned in the chapter on painting drapery, 
 the general line of the folds and masses should indicate the 
 nature of the fabric; whether it be intended for velvet, bro- 
 cade, cloth, etc. Brocade will be more easily distinguished 
 and represented by the lines and figures that should be 
 worked upon it — another point to study ! White lace cur- 
 tains may sometimes be introduced with excellent effect, but 
 must never be painted as though it was essential to define 
 their every interstice. It will quite suffice to give a certain 
 amount of detail along the edges and on the higher lights, 
 but it should be left to the imagination to supply the rest. 
 
 Painting of Curtains. 
 
 It being quite probable that the student will be employed 
 more on curtains than on any other of the various accesso- 
 ries, a few practical methods for producing them are here- 
 with given : 
 
 Bed Curtain. — Mark out the folds and shadows with Se- 
 pia ; then lay on a wash of Carmine or Crimson Lake ; and 
 over that, when dry, others of the same, until a proper 
 strength is reached. Deepen the shadows with Sepia and 
 Lake, or Madder Brown. Whenever it becomes necessary 
 to break down a curtain that appears too glaring, lower the 
 red tint by hatching with broad touches, of Madder Brown 
 — or still more, with Sepia alone, or with Lake. If that does 
 not throw it back sufficiently, hatch it with Blue, which will 
 make it retire considerably further. For high lights, mix 
 Chinese White with the local color; or touch them on with 
 
CURTAINS — FURNITURE. 
 
 89 
 
 Colored Crayon (in cedar-wood), or hard pastel of the proper 
 tint. 
 
 Amber-colored - Curtain. — Wash with Indian Yellow mod- 
 ified with Burnt Sienna; shadow with Burnt Sienna, and 
 afterwards with Yandyke Brown lowered with Sepia. High 
 lights, Indian Yellow and Chinese White, or Yellow Crayon. 
 If it is desired to give it a retiring effect, paint a black pat- 
 tern upon the curtain, or cross it with fine diagonal lines. 
 
 Green Curtain. — The already prepared Prussian Green is 
 a very good local color for a brilliant, strong and cool tone. 
 Shadow in the same manner as for green drapery, using 
 Emerald Green for the high lights. 
 
 For other hues appropriate to curtains, see " Compound 
 Colors for Draperies ; " and bear in mind that the Secondary 
 hues are as decided as strict judgment can permit for use on 
 curtains. The purer and unalloyed tones of yellow, blue and 
 scarlet-red, are too attractive for the subsidiary position of 
 a curtain, and would doubtless overwhelm any figure. The 
 more grateful hues of purple, green, and brown ; or the Ter- 
 tiary Compounds, and even the neutrals, will be found much 
 more proper and useful. 
 
 Furniture. 
 
 The wood-work of furniture may be represented as Ma- 
 hogany, Rosewood, Walnut, or Oak, according to the local 
 color used. Yenetian Red or Light Red will produce the 
 Mahogany color; Crimson Lake and a little Sepia wilt give 
 the various tints of Rosewood ; Burnt Umber, lowered with 
 Sepia, will furnish the Walnut color; and for the Oak use 
 Yellow or Roman Ochre, as the case requires. Warm Sepia 
 and Lake also form a good furniture tint. Madder Brown 
 may sometimes be used when the basis is dark. 
 
 The high lights on furniture are grayish-blue, and should 
 be touched on with distinctness. A few delicate after- 
 
 8* ' 
 
90 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 touches of white increases the brilliancy of the lights, which 
 is very essential in correctly representing the highly pol- 
 ished wood. The free use of Gum Arabic, is as necessary to 
 imitate furniture in a picture as varnish is. to complete the 
 thing itself. 
 
 The color of the velvet, damask, or cloth furniture- 
 cushion, should be discreetly chosen ; as, in many pictures, 
 it is the only place for the introduction of a positive hue 
 with which to harmonize the flesh or drapery. • 
 
 Carpets and Table Covers. 
 
 These should, for the most part, be kept in great subjec- 
 tion to the figure. If it is decided to work up, in detail, the 
 various parts of the pattern-figure, the colors should not be 
 applied with too great nicety and precision ; and no attempt 
 should be made to work out the exact pattern— else the re- 
 sult will look like a piece of mosaic work, and the effect be 
 hard and disagreeable. 
 
 While the student is recommended, as a general rule, to 
 treat the figures of carpets indifferently when they occur in 
 shadow, along the edges of his picture, however, he must 
 also be able to concentrate his light in a particular spot by 
 working out with more distinctness, and with brilliant col- 
 ors, the pattern as defined by the photograph. With this 
 idea in view, let him work the carpet in full light only at 
 the feet of the figure, the borders being kept in shadow — 
 especially that which lies along the bottom or front of the 
 picture. If this is in shadow, and the light kept up at the 
 feet of the figure, it necessarily follows that the figure will 
 be thrown back, and so placed as to attract the eye instantly, 
 involuntarily, and pleasurably. 
 
 An exception to the foregoing occurs when it is necessary 
 to make a tessellated floor, which, so far as light and shadow 
 are concerned, can be regulated in the manner spoken of ; but 
 
REPETITION OF LIGHT AND COLOR. 
 
 91 
 
 the geometrical drawing, according to the rules of perspec- 
 tive, must be rigidly maintained throughout. The tessel- 
 lated floor is seldom introduced into photographic paint- 
 ings, however, and scarcely demands particularization here. 
 It is mainly suitable for halls, terraces, porticos, etc. 
 
 The handling of the brush, in working on carpets, should, 
 as much as possible, be performed with short horizontal 
 lines ; if the lines and touches are perpendicular, the carpet 
 (or floor) will seem to run up toward the back part of the 
 picture. 
 
 The same general ideas mentioned, for curtains and car- 
 pets, are equally applicable to table-covers. The. student 
 will guard against over-finish and flatness. The part of the 
 cover next the sitter alone should receive attention, suffer- 
 ing the other side to remain in shadow. If the cloth be 
 figured, avoid such color and detail as will lose the hand 
 that may rest upon it. The cloth should hang in easy folds 
 at the side, and the tone of color be subdued as it ap- 
 proaches the floor. Being of minor importance, it should 
 comprise very little variety of color, with the high lights 
 few. 
 
 Repetition of Light and Color. 
 
 An open window or door, affording a glimpse of land- 
 scape outside, may sometimes be introduced to great ad- 
 vantage, for the purpose of extending the light, which would 
 otherwise be confined to the figure, as well also for the repe- 
 tition of color. For instance, if the interior color be dark- 
 toned, the introduction of a few warm tints into the sky (as 
 seen through the window or door), serves to repeat the color 
 of the flesh ; while other tints of ground and foliage may 
 repeat the color of the draperies — and thus, by contrast or 
 complementary effect, the value of the whole is enhanced. 
 
 Concerning this repetition of color, it may be observed, 
 that it is not intended the color is to be repeated with ex- 
 
02 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 actly the same tint in any case whatever, but by one of its 
 kind in general. The object of this being to raise or to 
 lower the tone of the colors upon the figure, reds, yellows, 
 and blues are to be regarded as general colors, and not as 
 individual tints of any one color. 
 
 Haclzgroimds— General Remarks. 
 
 A consideration of most vital importance in the manage- 
 ment of a picture, is the background ; by which term may 
 be understood everything seen beyond the plane on which 
 the principal figure or figures are arranged. 
 
 It should, in general, be of a negative character, and re- 
 tiring, in order to give prominence and force to the subject 
 painted. It affords the student an opportunity of showing 
 his originality in the introduction of striking and ingenious 
 devices, which shall add a grace and interest to the figure, 
 — giving vigor and point to some parts, softness and repose 
 to others, and union, harmony, and effect to the whole. 
 Whatever is introduced, therefore, should be in perfect 
 agreement with the character of the subject in hand. 
 
 The chief technical resources of background painting are 
 to be found in Landscape. Architecture, and Drapery. 
 
 Originally, it will be found best that the ground should 
 be of a tone midway between the highest lights and the 
 deepest shadows of the picture, in order to give due relief 
 to all parts, and produce the best results in coloring. But 
 this is not always the case, and, except when the photo- 
 graph has a white ground, the student is unfortunate (as 
 photograph painters usually are) in not being able to select 
 his tint of background, but must yield, whatever desire he 
 may have, to the necessities of the case. 
 
 In painting backgrounds, two essential points are to be 
 observed — tone and color. The color is to be chosen in the 
 same manner as those of draperies, with respect to the head 
 
BACKGROUNDS — GENERAL REMARKS. 93 
 
 and figure. The tone must be always different from the mass 
 it supports, and of which it is the ground, so that the ob- 
 jects coming upon it may not seem transparent, but solid 
 and raised — " relieved." The color of the hair of the head 
 usually determines the tone of the ground in portraits or 
 vignette pictures. 
 
 When the ground is neither a curtain or a landscape, but 
 is plain and like a wall, it should consist of broken tints, 
 and not of one uniform color, and it should be lighter in 
 some parts than others, so that the figure may not appear 
 inlaid. 
 
 After the head and drapery are painted, it is the back- 
 ground which completes the picture, and its use is not 
 merely to throw out the principal object, but (as before 
 mentioned) to control and harmonize the whole. 
 
 The student must ever remember this as a standing rule : 
 to relieve his figure and accessories by placing light against 
 dark and dark against light. Hence, if the head or figure 
 to be painted has one side of the face in shadow, his back- 
 ground must be kept lighter against that side, and made 
 darker against the other side which has the higher light 
 upon it. 
 
 It is also a good plan to keep the warmest colors near the 
 centre of the picture, and the blues and colder colors out- 
 side. 
 
 There are two principal methods of relieving a figure: in 
 one the light is on the figure ; in the other, the figure ap- 
 pears dark on a light ground. For portraits, the former is 
 best adapted ; and the tint of the background (the tone of 
 which is always to be kept low, in order to throw out the 
 head), may be varied through all possible gradations, from 
 the shadow thrown upon a light-tinted wall to the depth and 
 obscurhVy which surrounds a figure placed just within an open 
 door. Light backgrounds involve less labor, but they have 
 not the force of dark ones, for that light will always appear 
 
94 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 brightest which is surrounded with the most intense dark. 
 Certain parts of the figure may sometimes almost be lost in 
 the ground, whilst other parts should come sharply out of it. 
 
 Backgrounds — Practice; I Directions. 
 
 With the foregoing remarks upon the nature and charac- 
 teristics of backgrounds in general, more special directions 
 for painting the same may now be given. 
 
 In general practice, it is advisable to use negative grays, 
 blues, and purples, especially for pictures of fair persons 
 and children. Dark complexions should have dark back- 
 grounds, inclining to red or warm brown. Olive greens 
 give additional value, too, by throwing up the reds of the 
 face. Never use a cold, blue-green, although the use of this 
 color may otherwise vary from a yellow-green to a drab. 
 
 The gray, blue, and purple tints above mentioned, can be 
 used to most advantage in vignette-head pictures, to be 
 painted on white grounds. In these instances the back- 
 ground should be made to represent clouds — atmosphere — 
 (giving the head an appearance as if seen against the sky), 
 and can be manipulated as follows : 
 
 Having selected and prepared your cloud-color, proceed 
 with a light tint of the same over all the space intended, re- 
 membering to ky out the edges with convolutions and 
 broken forms, as seen in nature ; then, as quickly as possi- 
 ble, go around the edges of this with a moist brush, absorb- 
 ing part of the color, and, thereby, blending the cloud-mass 
 with the clean paper. In doing this, break up the upper 
 edges into delicate traceries, but occasionally leave some of 
 the lower parts heavy in color, to represent the shaded side 
 of the cloud. In laying the wash, occasional specks and 
 lines should be reserved white, like openings, which are 
 very effective in the end. 
 
 When this is absorbed, lay on another and darker tint, 
 
BACKGROUNDS PRACTICAL DIRECTIONS. 
 
 95 
 
 keeping it some distance within the outline of the first 
 wash, but not always at a regular distance. Neither should 
 there be a uniformity of convolution or shape, as nothing of 
 the kind exists in the natural clouds which are being imi- 
 tated. Add a third and still darker wash, at the proper 
 time, inside of the edge of the second. Three washes are 
 amply sufficient, although the number and strength of color 
 must always be regulated by the work in hand. 
 
 Perhaps one, or, at most, two washes will be found quite 
 sufficient against the dark side of the face if three be used 
 to relieve the light side ; they should never be alike. 
 
 If the clouding is to be composed of more than one tint, 
 all must be prepared and everything ready before commenc- 
 ing the wash ; and, if tl;e work is to be finished by hatching, 
 the selection of these wash-tints must be done not only with 
 reference to the hatching-color, but also w r ith reference to 
 the subject, so as to avoid muddiness in the end. 
 
 For a shadow-cloud (or rather a shadow upon the cloud) 
 to relieve the dark side of the face — just as it would be 
 proper to execute a shadow upon a wall-background — it 
 may be necessary to increase the strength of color, or use 
 an additional darker one. 
 
 [Although the foregoing method of producing back- 
 grounds by washing is expeditious, and may suffice for pic- 
 tures that are not intended to be wrought finely — and may 
 also do for the beginner in photograph painting — it is in- 
 complete, and lacks the artistic finish which is essential to 
 an excellent picture, especially a vignette-head on a white 
 ground. 
 
 If, however, the work is to be elaborate and complete, the 
 best aerial effect will be obtained by hatching over the en- 
 tire cloud surface. This will require a very great amount 
 of time, patience, and labor; but, if the proper handling 
 has been used, the superior result will amply repay.] 
 
 Cloudings for children's heads should be composed of 
 
96 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 whatever tints harmonize best with the face;, and it will be 
 found that a subdued green can be introduced freely with 
 good effect. For women, the tints should be more sedate, 
 but still fresh and variegated ; and for men, the cooler and 
 stronger grays, drabs, and greenish-browns will be appro- 
 priate. 
 
 The shaded side of the face is always greatly relieved, 
 and a good general effect produced, by throwing a moderate 
 shadow upon the clouding at a little distance from the head, 
 as has been previously mentioned. It should be worked 
 along the lower edge of the clouding, and, as it were, seem 
 to rise, losing itself in the general tone as it rises. If the 
 shaded side of the face be very dark, it can be made to lose 
 one-half its blackness by putting in this effect of shadow- 
 cloud sufficiently strong ; but care must be used, so that, 
 w T hile a due strength of color is used, the idea of atmosphere 
 be not destroyed ; or, that which is intended to be aerial 
 may prove " of the earth, earthy." 
 
 Indeed, all the hatching and stippling, to obtain a cloud- 
 effect, must be done with comparatively faint but decided 
 lines and. touches ; and the former should never intersect 
 each other at right angles, or run too much in parallel lines. 
 Crossed hatching lines, drawn somewhat less than forty-five 
 degrees from the right and left of a perpendicular, produce 
 the aerial effect, if not too distinctly drawn. They should 
 be light or heavy, according to the depth of the wash upon 
 which they are worked. The edges of the clouds must 
 always be lighter and more delicately handled than the 
 centre parts. 
 
 Opaque Backgrounds. 
 
 Although it is the practice of some artists to surmount 
 the difficulties arising from very dark backgrounds in the 
 photograph, by painting them entirely in u body color" 
 (mixing all the colors with Chinese White), the practice is 
 
OPAQUE BACKGROUNDS. 
 
 97 
 
 considered inartistic, and open to many objections. It is 
 not meant here that bocty color is never to be introduced, 
 but the exclusive and entire use of it is not advised. 
 
 Water color painting is, par excellence, a mode of using 
 transparent pigments on a white ground; consequently any 
 attempt to engraft the beauties or capabilities of other styles 
 totally different in this important quality, cannot end other- 
 wise than in a loss of the chief beauty of water colors. This 
 is the theory of its application to photographic painting. 
 
 The handling of the body-color method must necessarily 
 be akin to the practice of oil rather than water ; and though 
 it gives more power than the general style, it causes a total 
 sacrifice of all the beauty of transparent color. It destroys 
 the general softness of the picture, and is certain to make 
 the head or figure look "inlaid," or as if cut out and pasted 
 against the ground. 
 
 If the background is to be made an important feature of 
 the picture, it is infinitely better to have the photograph 
 taken with a white ground at first ; or else have the figure 
 cut out and printed without the original background, as all 
 photographers understand. Then the artist has a basis upon 
 which he can exercise his choice, and a field is opened to 
 him in which to display his ability in the true style of water 
 color. But when the ground is to be plain and of one shade, 
 very beautiful effects are afforded with soft pastel, to which 
 attention is now directed. 
 
 backgrounds in Pastel. 
 
 The objections generally urged to opaque grounds must 
 be yielded in this species of work ; for, while there is no 
 better way of covering over a scratched or speckled surface 
 in the photograph, there is also no other means of produc- 
 ing a new one which can rival it in evenness of tint or shade, 
 softness and atmosphere. 
 
 Perhaps the most valuable characteristic of pastel is its 
 
 9 
 
98 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 great use to the artist when he has in hand a copy of some 
 old daguerreotype that has a horrid background of streaks, 
 dust-marks, scratches, stains, etc. Whether the copy is to 
 be worked in India-Ink or color, he will be surprised to find 
 how readily and expeditiously he can get rid of an abomin- 
 able task, in which, but for pastel, he would be compelled 
 to exhaust his patience by stippling to smoothness. 
 
 Gray Pastel — For India-Ink Work First touch out 
 
 all the spots, lines, etc., that appear white ; then, by washes 
 of Lampblack, bring the photographic ground to about the 
 tone, or, if anything, darker than the shade of the pastel 
 about to be used. For this particular purpose Lampblack is 
 superior to any other pigment, on account of its " body," 
 which creates a "tooth " on the surface, to catch and hold 
 the pastel when subsequently applied. 
 
 In preparing the ground for the pastel, it should be done 
 as evenly as possible, and as the powder is not to be rubbed 
 on too thickly, it is plain that the more equal in tint the 
 basis is manipulated, the smoother in surface and tone will 
 be the finished ground. 
 
 No attempt must be made to apply the pastel until the 
 washes have become entirely dry, else the powder will 
 "cake" instantly, and the wash will "rub up." Neither 
 should the fingers or hand be allowed to touch the surface, 
 when dry, as they are likely to impart just enough grease 
 to keep the pastel from adhering ; indeed, the sure prevent- 
 ive is to wash the finger or fingers intended to be used in 
 rubbing the powder. 
 
 Now crush the pastel to a fine powder with the spatula, 
 or by rubbing it on a piece of moderately smooth board, or 
 card-board, and mix the shades according to what the work 
 demands. Place the drawing-board in a horizontal position, 
 or nearly so, and with the spatula gently sprinkle a quantity 
 of the powder upon the surface. Then apply it to the part 
 previously washed, by rubbing it with the finger over the 
 
BACKGROUNDS IN PASTEL. 
 
 99 
 
 broad spaces, and carry it into such corners as the finger 
 cannot reach, with the aid of a Stump. Spread what is there 
 as far as it will go before adding more, and if the ground- 
 wash is even, it can be rubbed very thinly. 
 
 Always put on the lighter shades first, and rub the darker 
 ones into them, finishing with the deepest. The finger should 
 be worked with a circular motion, bearing very lightly on 
 the paper, and leaving no marks or any trace whatever of 
 how the powder was applied. Do not press the finger too 
 heavily on the powder when the spreading is commenced, 
 or it will likely not spread well from that particular spot, 
 and smoothness will be impaired. 
 
 Remember the general rule, to apply the shades of the 
 pastel light against the dark side of the face or figure, and 
 vice versa ; and, if the shadow be thrown in correctly, the 
 effect will be wonderfully soft and atmospheric. 
 
 In applying the pastel powder, if some of it is accidentally 
 rubbed beyond the limits of the space to be covered, or upon 
 the figure, it can be removed with a dry brush, or soft India 
 Rubber, used very lightly. 
 
 About three tints of normal gray (as it is found in boxes) 
 will be sufficient to compose a good background for India- 
 Ink work ; but, instead of obtaining the very deepest tones 
 by use of the soft pastel, it may be preferable to grind down 
 some hard, black (Conte) crayon, which will produce a less 
 sooty effect. 
 
 To avoid the inlaid effect, and give nature's softness to 
 the outline of the figure, go all around the edges with a 
 moistened (not wet) brush; this will just sadden the tone of 
 the pastel where it comes hard against the figure, and give 
 a more pleasing result. 
 
 Should it become necessary to add other washes to the 
 drapery, curtain, or anything else, after the pastel has been 
 laid, be very careful that the motion of the brush shall keep 
 the flow of the wash from the edges of the part to which it 
 
100 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 is being applied ; otherwise, if the color strikes the pastel, it 
 will spread instantly, and the work be damaged. 
 
 If facility is once attained in the application of pastel, 
 the student will be not only surprised and pleased with the 
 beautiful finish which this smooth background gives to his 
 picture, but also with the very simple and easy process by 
 which a result so excellent was obtained. 
 
 For Colored Work. — The foregoing directions apply 
 also to the use of Colored Pastel in manipulating grounds 
 for painted pictures ; except that, if the finished ground is 
 to be of a light tint, it will be advisable to give the paper 
 its required u tooth," by adding a little body color (Chinese 
 White) to a suitably colored wash. If for browns or stone 
 color, the" Lampblack will answ r er as well. 
 
 [glT 3 Pictures with pastel backgrounds should always be 
 set off with a tvhite-edged mat, and framed at once, to keep 
 them from being touched or rubbed, and the dust; or be 
 w r ell covered with tissue or soft Manilla paper. 
 
 Landscaxje Backgrounds . 
 
 Landscape painting is an art in itself. It is so distinct 
 and separate, as a department of the water-color art, that 
 no attempt will be made to treat of it at length here, and 
 the student is advised to consult works written especially 
 on this branch, or seek instruction from competent teach- 
 ers. This book will, doubtless, be studied by many who 
 have neither of those advantages by which to obtain this 
 particular knowledge ; and it may not be amiss, therefore, 
 to treat a few items under this head, however brief they 
 must necessarily be. 
 
 In order to obtain the forms with which this description 
 of background must be composed — if it is desired to origi- 
 nate one of his own, and not to copy the design of another 
 
LANDSCAPE BACKGROUNDS. 
 
 101 
 
 — there is but one rule for the student's guidance : " Study 
 Nature ! " and, as she is read, so let her be depicted. 
 
 The general design being settled, and his drawing made, 
 he must endeavor to obtain a handling of the brush which 
 will indicate foliage, and varying according to the peculiar 
 characteristics of the tree or bush he would represent. It 
 may be said, that no two persons ever painted a tree with 
 precisely the same feeling. The difference observable in 
 the representation of foliage, as painted by various artists, 
 is very considerable. 
 
 Some artists employ the color as wet as possible, and 
 merely blot in the forms of the trees, mingling light and 
 shadow together, and trusting to the lights intended to be 
 taken out r bj rubbing with a moist handkerchief, when the 
 wash is dry. 
 
 Others use their color in a state almost dry, and the hairs 
 of the brush, spread abroad like a fan, are made use of rather 
 to scumble the forms in, than to define them properly. The 
 distinguished English water-colorist, Rowbotham, advises 
 that a medium between these extremes is the best to be pur- 
 sued. 
 
 In a former chapter, on the properties and adaptations of 
 pigments, many are spoken of as being the constituents of 
 various greens, suitable for landscape, to which the student 
 can now refer, and, by practising somewhat, he will discover 
 their adaptations to the different parts of the background. 
 
 He must not, however, lose sight of the fact that his 
 trees, etc., are only auxiliary to the idea centred in the 
 figure, and that his landscape effects should be of secondary 
 importance. If, by study and practice, he happily succeeds 
 in obtaining the correct position and form of natural objects 
 — evincing in the handling thereof that easy, broad, and 
 "sketchy " manner so peculiar to the water-color art — it will 
 be found that comparatively little work is required to fur- 
 nish that which will suggest to the imagination a much more 
 
 9* 
 
102 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 pleasing result than, with extraordinary labo*r, could have 
 been produced to satisfy the eye. 
 
 These remarks are particularly applicable, where it is pur- 
 posed to execute the landscape ground in one tint, as, for 
 instance, an India-Ink picture. Let the figure be photo- 
 graphed against a screen that will produce an ordinary tone 
 of gray ; then, with various shades of Lampblack washes, 
 throw in the forms of trees, shrubbery, rocks, water, vines, 
 clouds, etc. (according to design) ; strengthen these with 
 shadow-washes blotted in, deeper and various, according to 
 circumstances. With a smaller brush and thicker color, 
 trace the shadows on trunks, branches, stalks, stones, and 
 add the more delicate, as well as decided, lines in the fore- 
 ground ; remembering that the merest spots of color and in- 
 difference of line, if aptly given, will appear to the. mind's 
 eye as the graceful abandon of nature. The lights should 
 be done with pure gray, and certain salient points with 
 touches of Chinese White. If properly done, this method 
 will be found quite useful and popular ; and, if the student 
 has previously acquired the necessary manipulation and the 
 ability to reproduce nature's forms, he will find itf more of 
 pleasure than labor. 
 
 The chromo-lithography of the present day serves an in- 
 estimable purpose to the student who aims to possess him- 
 self with the true ideas of landscape in water-color, afford- 
 ing constant opportunities for stud3 T ing the color and effects 
 of the great English masters ; and to a minute examination 
 and imitation of these works — as well as the writings of 
 Barnard, Penley, Rowbotham, and others — the more ambi- 
 tious are referred. 
 
 Beyond all question, the ability to complete a good land- 
 scape background will demand of the beginner, as it does 
 of the artist, study, attention to nature's forms, and care in 
 the arrangement of all the parts. Above all, he should 
 endeavor to attain a degree of u feeling" for the subject, 
 
GENERAL METHOD OF PAINTING. 
 
 103 
 
 and imitate nature ; not with a mincing particularity, but 
 with a dignity, ease, and breadth, that will bring the imagi- 
 nation and the eye into complete harmony. 
 
 General Method of Painting. 
 
 - Having alreacty given the manner of painting the various 
 details, it may be considered advisable, if not essential, to 
 recommend to beginners a general method to be pursued in 
 treating the whole. Not that there is (as in oil painting) a 
 certain order of proceeding, but, first, because this work 
 will doubtless be used by persons having no opportunity to 
 witness the manipulations of professional colorists ; and, 
 second, because it affords a place to record certain inci- 
 dental directions which cannot be properly classed under 
 any other particular heading. It is not intended, by any 
 means, to furnish an unalterable programme, but merely a 
 light upon the student's pathway, enabling him, in a little 
 while, to travel alone. 
 
 It may not be inappropriate, just here, to call the student's 
 attention to a matter which, if not of necessity, is certainly one of 
 advantage, viz., the order in which his colors are rubbed on the palette ; 
 for a judicious and exact arrangement, in respect to the various hues 
 and tints, affords considerable assistance in after-practice. In time, 
 the student will be best able to judge for himself, but, at present, he 
 is recommended to place his Cobalt in proximity with Indian Ked, 
 Vandyke Brown, Light Ked, Pink Madder, and Madder Brown ; 
 Neutral Tint adjoining Vandyke Brown and Light Ked ; Indian 
 Yellow between Venetian Ked and Prussian Blue; Crimson Lake 
 between French Blue and a little Sepia; Burnt Sienna between In- 
 digo and Madder Brown; Yellow and Koman Ochre side by side ; 
 and the browns (the Sepias, Umbers, Bistre, etc.), by themselves — 
 those least used on the under side of palette. India-Ink and Lamp- 
 black on a separate palette ; also another piece of porcelain for mix- 
 tures in body-color. These are arranged in conformity with the mix- 
 tures given generally in this work. The Vermilions, Whites, Em- 
 erald Green, and Orange Chrome should be rubbed fresh. 
 
104 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 L With a clean brush and pure water, go over, thor- 
 oughly, all the flesh parts of the picture. 
 
 2. Whilst that is becoming absorbed, and partially dry, 
 compound the flesh-wash according to the tint of nature — 
 keeping in view the tone of the photograph (whether light 
 or dark, brown or purple) — and apply it expeditiously with 
 a good large brush. Commence with the parting of the hair, 
 and, as the wash flows down, carry it into all the corners 
 and upon the ears ; but carefully avoid washing it inside the 
 line of the eyes. Keep an abundance of the wash-color afloat 
 and constantly moving, so as to avoid streaks — the result of 
 too rapid absorption or drying. The rapidity of the flow can 
 be regulated by the inclination of the board or easel. If one 
 application of the wash produces a too feeble tone, do not 
 apply the second until the first is thoroughly absorbed ; and 
 whatever deficiencies in tint become apparent after the first 
 wash, should be corrected in applying the second. As the stu- 
 dent will find the subsequent painting has the effect of less- 
 ening the strength of the flesh-wash, it will be found of ad- 
 vantage, in the first place, to compound it to a degree over, 
 rather than under the tone ultimately desired. It will also 
 dry much paler, and, if anything, the yellow should pre- 
 dominate. Securing a good flesh-wash greatly assists the 
 subsequent work, and the production of a successful pic- 
 ture. 
 
 3. Go over the lower lip with a limpid w r ash of Yermil- 
 ion ; if very dark, Rose Madder and a little Orange Chrome 
 may be used. Be careful to produce no hard edges. Indian 
 Red is the generally accepted color for the upper lip (it being 
 for the most part in shadow), and it is often necessary to en- 
 liven this Red with Lake, or a previous w ash of Yermilion. 
 
 4. Detail the most important shadows of the face, and, 
 as near as possible, to their full strength, with the general 
 shadow color, the red predominating. Many of the shadows, 
 particularly those under the chin, and sometimes the lighter 
 
GENERAL METHOD OF PAINTING. 
 
 105 
 
 one on the brow, can be put in with Indian Red alone. The 
 other general shadows are in the socket of the eyes, on the 
 lower part of the nose, and under it, and below or behind 
 the ear. The shadows are to be partly washed and partly 
 hatched. 
 
 It is here necessary to remind the student of one very 
 essential point : Keep all the flesh-shadows transparent. 
 Endeavor to manipulate the color so as to be able to look 
 into the shadow ; and, as photographers rarely arrange their 
 screens so as to save the artist this labor, it is important 
 that the matter be understood and attended to. Therefore 
 when blackness occurs beneath the eyebrows, under the 
 nose, behind the ear, under the chin, or on the shaded side 
 of a three-quarter face, a thin wash of Yermilion, Light or 
 Venetian Red, will suffice. If the shadow is intensely dark, 
 use the color stronger — avoiding a heavy or daubed appear- 
 ance — the Yermilion, too, being opaque. If the shadow is 
 of an ordinary degree, the last-named are preferable. If a 
 greenish tinge is wanted in the shadow, use a mixture of 
 Olive Green or Brown Pink and Pink Madder. 
 
 The fourth topic of this chapter properly includes also 
 the reflected lights, which produce rotundity of the flesh- 
 parts. These should always be kept ivarm. For this reflex 
 light occurring on the outer edge of the shaded side of the 
 neck, and on the shaded side of three-quarter faces, use very 
 limpid Orange Chrome with a little Burnt Sienna; some- 
 times Scarlet Yermilion alone. 
 
 5. Now proceed to draw the lines of the eyelid, which 
 may be done with Burnt Sienna, Madder Brown, Lake and 
 . Sepia, or Indian Reel. The last is best adapted for chil- 
 dren. A mixture of the two first-named — sometimes allow- 
 ing one or the other to predominate, according to circum- 
 stances — is very useful. Do not draw the edge of the lower 
 lid too distinctly, as it tends to make it look contracted, 
 and the whole eye sleepy. 
 
106 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 With one of these mixtures the nostrils ma} 7 be indicated ; 
 although where thej^are very large, and transparency is re- 
 quired in the shadowed cavity, Yermilion should be used. 
 The partition line between the lips may also be drawn, but 
 as the exact course of this line is too often indefinite, it is 
 well to progress somewhat in otherwise painting the mouth 
 before defining this line with too great exactness ; the slight- 
 est error, in so doing, may alter the expression of this sus- 
 ceptible feature. 
 
 6. Paint the eyes; and as this feature is "the light of the 
 countenance, " and the very climax of the portrait, special 
 attention has already been given (in a previous chapter) to 
 the manner of doing it properly. The student need not be 
 urged to the importance of being able to paint good eyes, or 
 be reminded of how far they serve to make up an excellent 
 portrait. He may otherwise succeed in developing a good 
 picture, but badly painted eyes will always prevent his ren- 
 dering a good portrait. 
 
 T. The coloring of the cheeks, ear-tips, chin, and the in- 
 troduction of the carnations generally, may now be done. 
 The lips having already received a local wash, should be 
 heightened and finished with Pink or Rose Madder. The 
 partition-line between the lips and the corners of the mouth 
 can now be specifically defined. 
 
 8. Put on the local color of the hair, e} r ebrows, mustache, 
 or beard. If the picture is a large one, it is best to precede 
 the hair- wash with one of pure water. The form and direc- 
 tion of the hair is generally well indicated in photographs, 
 but as that of the eyebrow is not (throughout its entire 
 length), it is well to note here that they differ somewhat 
 from the hair of the head ; and are usually darker. They 
 are seldom or never perfectly "arched" in nature, so that 
 to paint them in that style is palpably wrong. They are 
 always heavier as they approach the nose, and instead of 
 being parallel with the eyelids, they are always nearest the 
 
GENERAL METHOD OF PAINTING. 
 
 107 
 
 eye at its inner angle. Be sure to avoid stiffness, and the 
 wiry manner in which the eyebrow is too often drawn. 
 
 9. Work on the blue shadows over the temples, at the 
 corners of the mouth, and under the lower lip — using Co- 
 balt. Also in men's faces, where may occur the bluish 
 traces of a clean-shaved beard. Most of this must be done 
 by stippling. 
 
 10. The face being considerably advanced, it is time to 
 wash on the local tint of the background ; although some 
 may prefer doing this before painting the hair. However, 
 as the hair still remains to be finished, this operation may 
 be considered timely here. By so doing, we can also better 
 determine the depth of color necessary for the face and 
 hair. The effect of the untouched part of the photograph 
 around the head is, to make the colors, by contrast, darker 
 than they really are ; but let a dark background be worked 
 in, and then the flesh tints, which, before this, appeared 
 dark enough, will now look considerably paler, as compared 
 with the dark background. 
 
 11. Whenever this is the case, as it most usually is, addi- 
 tional color should be added to the face; but this time it 
 cannot be washed, and must be hatched on — the lines fol- 
 lowing the direction of the features, and never crossing 
 each other at right angles. This exigency will remind the 
 student of our former observation respecting the advantage 
 of a strong flesh-wash at the commencement of the work. 
 
 12. The principal shadows of the face having been all put 
 in, and the lights scrupulously reserved, if it appears that 
 the high lights on the forehead (the chief one), tip of the 
 nose, and chin, are still insufficient to produce a good effect, 
 they can be increased in clearness by a slight "rubbing out" 
 of the flesh-wash, with a piece of very soft and clean India- 
 rubber. Great care, however, must be used in this opera- 
 tion, else the rubbing — which should be done by a light, 
 circular motion — will produce a hard edge around the light 
 
108 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 spot obtained ; whilst the surface of the paper will also be 
 made rougher than the rest of the face. [It may, perhaps, 
 be thought unnecessary to cover up the lights which are 
 afterwards to be taken out ; but it is universally acknowl- 
 edged that lights taken out from a body of color are much 
 more effective than those which are left during the paint- 
 ing.] This intensifying is sometimes effected by using 
 Chinese White ; but it is very heavy, and unless applied 
 w r ith extreme delicacy, produces a daubed effect. Flake 
 White, possessing less body, would be preferable. 
 
 13. Detail can now be given to the hair, whiskers, mus- 
 tache, etc. Remember the former directions to avoid a stiff 
 and wiry appearance of the lines. Such stray locks as may 
 lie against the face should be worked in a soft manner, using 
 the color with less strength, and leaving no hard edge-lines. 
 Where the hair is made to commence at the roots, at the 
 parting, and along the temples and ears, paint with delicacy 
 (always working from the roots), so as to almost blend the 
 hair with the flesh. Soften with gray the entire line of the 
 hair around the face. Also give some horizontal touches of 
 strong color in the eyebrows, where they approach the nose, 
 or where the hair naturally grows the thickest. If what has 
 already been done in the background is sufficient, the out- 
 line of the head may now be softened, to avoid the effect of 
 appearing "inlaid." 
 
 14. A general examination and correction may now be 
 given to the entire face. Soften and round such parts as 
 still require it. Remember that shadows indicate the form ; 
 therefore see that the stronger ones are very full and warm 
 in color, accurate in form, and let every shadow have a gray 
 edge. Keep the half-tints broad and cool. If any of the 
 shadows have been made too purple, neutralize them with 
 green; if too green, work on them with purple; if too blue, 
 hatch them with orange (Venetian Red and Yellow). The 
 deep shadow under the chin may have a little Sepia with it. 
 
GENERAL METHOD OF PAINTING. 
 
 109 
 
 If the hatching has been done with a too wiry effect, work 
 very lightly over it with a brush just moistened in plain 
 water, to blend and soften the lines. 
 
 Although there is a little of the greenish tint in nearly all 
 faces, it is noticeable that some contain a great deal — espe- 
 cially those of* women and children, where it serves greatly 
 to enhance the carnations. The edge of the shadow on the 
 forehead is sometimes greenish, and in female faces it may 
 be introduced delicately on the neck, and in rounding the 
 cheeks and chin. In like manner it may be used at the 
 angles of the eyebrows and nose. In compounding a green 
 for this purpose, make it of a rather yellowish tone. [In 
 recommending the use of green, however, we desire to ex- 
 plain to the student that this color is not to be used with 
 such force as to give to any part of the flesh an actual green 
 tone, but a merely gveeu-ish one ; and he should guard 
 against the habit of its over-use. Nothing is more distaste- 
 ful to a discriminating eye than this abuse of green, because 
 it suggests disease.] 
 
 Strengthen the touches if necessary; but exercise care 
 in giving definition to these, lest the expression become 
 changed. Perhaps the carnations need intensifying, and the 
 lips some additional roseate hue. Endeavor to .give these 
 last touches on the cheeks in the spot wdiich seems to be the 
 very outer point, and where the color naturally reaches a 
 climax. In females, and more particularly in children, these 
 few touches, if done properly with Pink Madder and a very 
 little Scarlet Vermilion, will produce that delicious effect 
 termed "waxy" or "peachy." 
 
 15. The face being now actually colored, it needs a gen- 
 eral finishing and softening with the "cool gray tint," — Co- 
 balt and Indian Red — or Cobalt and Pink Madder, the 
 "pearly" tint. Make all retiring and rounded parts gray.* 
 The general tint of the neck being paler than that of the 
 face, its shadows are also to be made cooler. This will ne- 
 
 10 
 
110 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 cessitate a liberal use of the gray before-mentioned, which 
 should be of a bluish tint as its application nears the bosom, 
 and upon the light side of the neck. Perhaps the working 
 of Cobalt alone over the Indian Red shadows will give the 
 desired gray tone in many places. It is not only proper, but 
 important to remind the student that a clean and bright 
 gray tone will only result when the blue is worked upon the 
 red ; but if in the opposite order, the gray will be muddy 
 and bad. This gray should be used plentifully around the 
 eyebrows, and every place where the hair comes in contact 
 with the flesh, in order to prevent harshness. The outer ter- 
 minations of the eyebrows may be so worked with gray as 
 to appear lost in the flesh. 
 
 16. Attention should now be given to the painting of the 
 drapery ; but, as full directions have been given elsewhere, 
 it is unnecessary to enlarge upon it here. However, atten- 
 tion has not yet been directed to the fact that rows of but- 
 tons, etc. — especially prominent on women's and children's 
 dress — increase in size as they become distant from the fo- 
 cal point, the face. Remember to correct this faulty draw- 
 ing and define them alike in size. 
 
 As a cardinal rule, the student should never " kill " the 
 flesh by the selection of an improper color for the drapery, 
 but rather choose such as will harmonize with and enhance 
 the tone of the flesh and improve the figure. 
 
 n. It may appear singular to the student, that nothing- 
 has thus far been said respecting the arms and hands, ex- 
 cept to assume that they have already received the flesh- 
 wash as noticed in Section 2. Our reason is, that when the 
 photograph contains arms and hands, it is preferable to re- 
 serve the painting of them until (at least) the local color 
 has been given to the surrounding drapery — or even until 
 it is finished, as, by so doing, the proper degree of color is 
 more likely to be obtained at a single painting. If painted 
 before, instead of after, the probabilities are that the strength 
 
GENERAL METHOD OF PAINTING. 
 
 Ill 
 
 of the drapery-color has rendered the flesh-tint too feeble, 
 and the work will have to be gone over a second time. Di- 
 rections for the painting of these having been given fully 
 elsewhere, it only remains to add here, that all the edges 
 should be softened against the drapery, and kept of a tone 
 subservient to that of the face. 
 
 [Indeed, it is a rare thing in photographic portraits, that 
 the hands and arms are found sufficiently well posed and 
 proportioned to add any beauty to the whole ; but, on the 
 contrary are, for the most part, too large in men, and so 
 lanky and angular in women, as to puzzle both photographer 
 and artist to render them, in any degree, picturesque.] 
 
 18. Painting chairs or table-covers, the introduction of 
 curtains or other accessories, and a general finishing of the 
 background, will almost conclude the student's labors. In 
 so doing, he will remember to soften the entire edge of the 
 head and figure against the background, and preserve such 
 a unity of idea that the eye of the spectator is drawn invol- 
 untarily to the portrait, and not misled by any over- 
 colored accessory. It is opportune, also, to warn the stu- 
 dent against bad taste in breaking down his picture with 
 too many accessories, or too much elaboration in the back- 
 ground : remembering that it is only proper to add curtains, 
 carpets, and the like, when it is desirable or necessary to as- 
 sist the position, or introduce a color as complementary to 
 the drapery of the figure, and, therefore, give it additional 
 beauty and power. 
 
 19. The work of painting being now finished, thin Gum 
 Water may be applied where it is necessary to produce bril- 
 liancy, and to give depth to the extreme shadows. But, 
 as heretofore advised, it must be used with great caution, 
 in order to avoid harshness and a vulgar effect. The less 
 that is used the better. 
 
 Sometimes the surface to be painted contains small specks, 
 little discolorations, or foreign matter in the paper, which 
 
112 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 must be got rid of; and which, if they have not been 
 totally obliterated in the process of coloring, should be 
 touched out of sight with opaque color, Flake or Chinese 
 White, tinted to suit the locality ; but this operation must 
 be clone with great delicacy, and the color used not too 
 heavy, else the touches will have the appearance of pimples. 
 Frequently it becomes necessary to use the eraser, after 
 which the spot must be burnished down, and sometimes re- 
 touched with body-color. 
 
 20. In conclusion, the attention of the student is called 
 to the fact that, as he is supposed to have been gazing unin- 
 . terruptedly at the picture before him, the eye is apt to 
 weary, and he may overlook deficiencies which he would 
 readily detect at another time with his vision afresh. 
 Therefore, it is recommended him to ease his eye by re- 
 versing the position of his picture, which can be done con- 
 veniently by viewing it in a mirror, and, this being done, 
 he will not only find the change agreeable to his eye, but he 
 will also be the better able to discover any existing faults, 
 which, otherwise, might have passed unnoticed. The use 
 of the mirror is especially an excellent method of testing the 
 correctness of his drawing in the background and accesso- 
 ries. 
 
 Indeed, during the whole work — say about once every 
 hour — it is advantageous to leave the easel, or cast the eye 
 upon something else, for a few minutes ; thereby relieving 
 the strain upon its focus and giving it rest. Furthermore, 
 after looking some time at a color the retina becomes fa- 
 tigued, and to a certain degree incapable of seeing it as it is ; 
 wherefore, unless it can be restored by looking at the color 
 compensatory to that by which the strength was impaired, 
 rest must be had. 
 
 Note. — The foregoing chapter has been written on the 
 supposition that there has been but one copy of the photo- 
 graph in hand, because it is more desirable that the stu- 
 
WORKING IN INDIA-INK. 
 
 113 
 
 dent should exercise care with one than indifference with 
 two. Nevertheless, the advantage of a duplicate, when it 
 can be had, is important, and which, if it does no good, it 
 .certainly can do no harm. 
 
 Working in India-Ink. 
 
 To those who are not conversant with the details of a pho- 
 tographer's labors, we may say, that very few negatives are 
 manipulated so perfectly as to render the prints made from 
 them totally free from speck or blemish, however slight. 
 These imperfections, arising from the use of indifferent 
 chemicals and bad handling, and sometimes from causes be- 
 yond the operator's knowledge and control, are much more 
 likely to appear in the production of large than in small- 
 sized negatives and pictures. 
 
 The presence of these imperfections, and the consequent 
 necessity of " touching them out " of sight in the photograph, 
 doubtless give rise to that description of artistic labor of 
 which this chapter treats. Commencing as a simple neces- 
 sity with the photographer, it has advanced, in the hands of 
 the artist, to results among the finest and most appreciable 
 in modern art. 
 
 The pigment known as India or Chinese Ink having been 
 always used by architects, engineers, and water-colorists, as 
 an acceptable black, was naturally adopted by the photo- 
 graphic profession ; and although its original use; — for Ori- 
 ental chirography — is as a positive black, it is susceptible of 
 giving, with clearness and beauty, all the shades between 
 black and white. 
 
 Notwithstanding it is beautiful, delicate, and transparent, 
 it will generally be found wanting in power for the deepest ef- 
 fects in large work — Lampblack being preferable — although 
 a certain degree of strength may be obtained by adding the 
 latter to the former, without impairing its characteristic 
 beauty and clearness. 
 
 10* 
 
114 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 The greatest difficulty, however, is to obtain a piece of 
 genuine India-Ink — most of that in the market being an 
 imitation. The spurious article will be found very highly 
 scented with musk, and containing so much gum, that it is 
 very hard, and too glossy. The possession of genuine Ink, 
 having a neutral tone, is no small advantage at the outset, 
 for the accomplishment of acceptable work. 
 
 [In recommending the neutral tone for Ink pictures, we 
 may, doubtless, antagonize the predilections of the few who 
 favor "warm" tones, but we are pleased to remember that 
 a large majority of the best artists work the neutral. The 
 " warm " advocates aim to imitate the purple-brown of an al- 
 bumen print — to attain by a process that which is simply a 
 result — and, in our opinion, fail. The attempt to manipu- 
 late "warm" tones generally results in producing only 
 muddy pictures ; whilst the neutral cannot fail to be clear, 
 clean, and brilliant.] 
 
 India-Ink Work (as it is commonly called) is simply 
 drawing with the brush and color, instead of the pencil or 
 crayon. It is therefore very conclusive that the student 
 who has the most knowledge of the art of drawing, will ac- 
 complish the most in India-Ink work. The principles which 
 govern light and shade — chiaro oscuro — comprise the very 
 foundation of success in this branch, and should be per- 
 fectly understood. 
 
 The advantage of color to assist in imitating an object is 
 wholly absent here; and a favorable result must depend en- 
 tirely upon the correctness which has been given to the 
 form, together with its lights, shadows, reflexes, strength, 
 or delicacy, and tone. Especially is this the case when 
 working up the pictured human countenance; and what- 
 ever be the knowledge or ignorance of facial anatomy, with 
 the student, it will become apparent in this branch of his 
 work. He may very often be required to display his abili- 
 ties upon faces which over-intense negatives have made 
 
WORKING IN INDIA-INK. 
 
 115 
 
 perfectly white and flat — devoid of half-tones, and perhaps 
 without any graduated shadows at all — in which exigenc}^ 
 he will at once discover the absolute necessity of acquaint- 
 ing himself (to some degree, at least,) with anatomical 
 drawing. 
 
 The order of procedure with Ink is about the same as 
 'with color: commencing by a definition of the heavy lines 
 of the face, and continuing the same with the hair; thereby 
 imparting a vigor quite different from the untouched pic- 
 ture. Such details in regard to the manner of working — 
 drawing — the features, respective!}^ as have alread}' been 
 given, will suffice to guide the student here; besides which, 
 the photograph itself will assist him more than in the for- 
 mer case, where it was partially obscured by local washes. 
 
 In using the pigment itself, the best form is that akin to 
 a wash. It should rarely be applied thick enough to accom- 
 plish the desired shade at once — except in positive lines, 
 such as occur in the hair. The weightier tones, required 
 to give strength to the deeper shadows, must be obtained 
 by successive applications of a moderately thin wash, else 
 transparency will be lost, and sootiness ensue. The stu- 
 dent should take as his motto, " Little Ink and much 
 labor." 
 
 The flesh must be worked as heretofore mentioned, and 
 reduced to evenness by going between and around the spots 
 and rough places, as photographed from the skin. In so 
 doing, commence with the stronger portions, and proceed 
 toward the higher lights, at the same time reducing the 
 strength of the Ink-wash. If the print is of neutral tone, 
 there will be no difficulty in obtaining a clear, silver-gray 
 light on the forehead, nose, and other prominent parts. It 
 is quite convenient to have two washes at hand — one toned 
 with blue (Cobalt), for use in the light parts, which should 
 be clean and brilliant. 
 
 In general the face can be finished before the drapery 
 
116 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 and background are touched; except it be a vignette head 
 on a white ground, in which case the washes that are to 
 serve as a basis for the clouding should be laid early in the 
 work. This will enable the student to estimate his tone and 
 strength of shade, which will appear much lighter after the 
 washes are completed. 
 
 The remaining portions of the picture are to be finished 
 according to instructions given in previous chapters. It 
 should be observed, however, that as the photograph gives 
 no true indication of the color of hair and eyes, it is well to 
 ascertain what they are, so that there be no uncertainty 
 whether to work them with a tendency toward light or dark, 
 as the case may require. Without this knowledge the pho- 
 tograph itself may induce grave errors; whereas it is in- 
 tended that, in Ink- work, the natural color shall be, as near 
 as possible, indicated by the tone and depth of shade. 
 
 The drapery in most instances will have to be done with 
 Compound Black. India-Ink lacks power, except when used 
 very thick, and that is not to be permitted, as it would totally 
 obscure the texture and smaller folds. Lampblack possesses 
 abundant strength, but is also too opaque; whereas the Com- 
 pound Black — Indigo, Lake, and Sepia — is no less transpar- 
 ent than powerful, fresh, and permanent. Nor has India- 
 Ink, of itself, a good tone for drapery; although it may 
 sometimes be used in vignette pictures, which, as a rule, do 
 not require, and should not have, the strength essential to 
 the drapery of a bust or figure with solid background. 
 
 The hands are most generally surrounded by the drapery, 
 and for this reason appear too white ; especially so as com- 
 pared with the face. It is therefore necessary to break this 
 whiteness by a wash, preparatory to further working; and 
 then, when being modelled, great assistance is derived by 
 rubbing out the lights as they occur on the knuckles and 
 joints. Remember, too, how the outer edges of the hands, 
 along the black drapery, need a blending touch of pure 
 
WORKING IN INDIA-INK. 
 
 117 
 
 (normal) gray. "Colored" gray must never be used in 
 Ink pictures. 
 
 Photographs to be finished as " India-Ink work," should 
 be printed a little darker than usual, from the fact that they 
 work up lighter, and in order to secure all the half shades. 
 Those are best adapted to this branch of the artist's labors, 
 and most easily finished, which abound in the half shades ; 
 which, being well developed, the student or artist will have 
 no difficulty in working up the high lights or graduating to 
 the deepest shadows. 
 
 If blue (Cobalt) has not been used in the modelling, as 
 suggested, to impart a brilliant tone to the delicate shading 
 about the highest lights, clearing them up to a beautiful 
 gray tone, it must be worked in now; but it must not be 
 carried so far as to disclose the presence of, and actually 
 look, blue. 
 
 In the smaller-sized pictures, it is often desired that the 
 cheeks be tinted; and, indeed (though it may not be strictly 
 artistic or legitimate), it is not to be denied that Pink Mad- 
 der is of great assistance in warming the tone, and giving 
 freshness and the effect of rotundity to the cheeks. 
 
 Sometimes, also, a delicate jirst-wash of Indigo may be 
 laid, with good results, for the clouding about a vignette 
 head; but it should not be done if the photograph has any- 
 thing of a muddy or brownish tone. The pure tint of the 
 Indigo conflicts with an}' tone but the neutral or gray, while 
 it also tests the cleanliness of the brush-work. 
 
 India-Ink work is always expected to be done on "plain" 
 paper ; but if it is desired to retouch or work up a face on 
 albumen paper, it will be necessary to mix a very little Gum 
 Arabic with the pigment, to give it adhesion sufficient to 
 overcome the "grease" of the albumen surface. 
 
 Copied Pictures. — Perhaps the most popular and impor- 
 tant use of the India-Ink process is for working up photo- 
 
118 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 graphed cojnes of old daguerreotypes, ambrotypes, minia- 
 tures, reproducing photographs, etc., — valued likenesses of 
 deceased friends — and, by this means, restore the faded or 
 injured picture, rendering it suitable to be framed. 
 
 As the imperfections* of the copy can, for the most part, 
 be more easily corrected and hidden by the India-Ink pro- 
 cess than with color, it is preferred. The specks and blotches 
 must be stippled over in the dark parts; and, in the light 
 parts, if the} 7 cannot be taken out by working, or with India- 
 rubber, they may be covered with Chinese White, or gray, 
 as the situation demands. In doing this, however, apply the 
 body-color lightly, so as to avoid touches that would resem- 
 ble pimples. 
 
 As a general thing, the working up of copies will require 
 more force than a photograph from life ; and more care too, 
 from the fact that the enlargement of the copy has produced 
 diffusion of the lines and a general indistinctness. Fre- 
 quently this extends to such a degree as renders it impossi- 
 ble to work without constantly referring to the original for 
 guidance ; and the student is advised, for these reasons, not 
 to undertake a copy unless he has the original, — or is other- 
 wise thoroughly posted. 
 
 The method of Pastel will probabty be employed more fre- 
 quently in doing these copies than for any other purpose, 
 and the student is now referred to the former chapter on 
 Gray Pastel for India-Ink Work. 
 
 * [Note. — The great majority of these old 'types having become 
 impaired by time and dust, or injured by rough and careless handling, 
 make horrid-looking copies. Every spot and scratch, if even invisible 
 to the eye on looking at the original, will magnify to a mountain in 
 the copy. If the copy is to be made from a carte de visite or any pic- 
 ture on paper, the surface of it, although seemingly very smooth, will 
 be found very rugged under the magnifying influence of the camera- 
 lens; and the lights and shadows of these surface projections, appear- 
 ing in the copy, will add greatly to the amount of labor to be done in 
 completing the picture. If the picture to be copied is on albumen 
 
WORKING IN INDIA-INK. 
 
 119 
 
 The Use of Other Pigments. — The difficulty already 
 mentioned of procuring the genuine India-Ink, and a dislike 
 of the poor imitations with which the market abounds, has 
 necessitated the adoption, to a certain extent, of other pig- 
 ments and compounds for this species of pictures; although 
 the old and familiar name of " India-Ink" still attaches to 
 the finished work. 
 
 Among these substitutes, perhaps the most useful and the 
 simplest, is Lampblack, with which (if the cake is perfectly 
 neutral in tone), the student will be able to produce every 
 gradation and depth of shade — though not with the delicacy 
 and clearness of good India-Ink. Lampblack is chiefly avail- 
 able for large work, and being opaque, also accelerates the 
 labor; because every touch of the brush produces an instant 
 and permament effect, whereas India-Ink dries considerably 
 lighter than when freshly applied. If a warm tone is desired, 
 add a little Sepia and Lake. An excellent combination is, 
 to add some Dragon's Blood to the Lampblack, and then 
 just enough of Indigo to correct or neutralize it. 
 
 The Compound Black — Indigo, Lake, and Sepia — is also 
 a favorite mixture for this purpose, and preferred to Lamp- 
 black for small-sized work, where fineness is more essential 
 than power. It may be composed with a cold or warm tone, 
 by allowing the first or the other two to predominate; and 
 this choice gives it the advantage of being applicable to al- 
 most any tone of the photograph. It is beautifully trans- 
 parent, and can easity be manipulated with clear and clean 
 results. 
 
 To obviate the fugitive quality of the Lake contained in the 
 mixture, and secure the utmost permanence, the Madders 
 can be used instead; although these will be found slightly 
 
 paper, much time and work can be saved the artist if photographers 
 will "roll," i. e. y press the picture a number of times, making it as 
 smooth as possible.] 
 
120 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 objectionable from the fact that they are deficient in power, 
 hard, and do not work so kindly. 
 
 In all descriptions of u India-Ink Work," after the neces- 
 sary shadows have been defined, the nse of White — Chinese 
 or Flake, according to the brightness required — must not 
 be forgotten for collars, laces, linen, and other pure lights. 
 Opaque gray (Lampblack and Chinese White) will also be 
 applied for the half lights, according to situation. Gum 
 Arabic, used sparingly, will produce the extreme depth of 
 shadow, and give lustre to the hair, eyes, jewelry, buttons, 
 etc. Remember, too, that upon black, more than on any 
 color, the Gum produces an instant and powerful effect. 
 
 Painting on Porcelain. 
 
 Whether plain or colored, porcelain pictures are avowedly 
 superior in softness, finish, and brilliant effect, to anything 
 wmich the photographic art has thus far accomplished. The 
 skill of the artist is here greatly aided by the delicacy of the 
 surface on which the photograph has been executed, and the 
 result is a pictorial effect far surpassing that of the finest 
 miniatures on Ivory, and produced at very much less ex- 
 pense. 
 
 Porcelain photographs intended for coloring, must be in- 
 variably made on plates which have a granulated, and not a 
 polished, surface. It would be folly to attempt the applica- 
 tion of water colors upon the latter, for general purposes ; 
 but it can be done, to a limited degree, after coating the 
 plate with a thin solution of white glue. The granulated 
 plates, however, which are specially prepared for the pur- 
 poses of coloring, give a sufficient u tooth " to hold the color, 
 and afford altogether a better opportunity for working. 
 
 For the most part, the handling is the same as for photo- 
 graphs on paper, except that the following points must al- 
 ways be kept in mind : You paint into the paper, whilst you 
 
PAINTING ON PORCELAIN. 
 
 121 
 
 paint upon the porcelain; the paper will abso?*b the color, 
 the porcelain will not. 
 
 Consequently, a less amount of the work can be clone by 
 washing than on a paper picture ; and by far the greater 
 part must be performed by hatching and stippling. 
 
 Even the small amount of washing necessary, must be 
 treated peculiarly, viz., it should be commenced with a full 
 brush, which should not be lifted from the plate until the 
 part to be washed has been entirely gone over, unless it is 
 absolutely necessary to do so for more color. It is best 
 always, when possible, to start with all the color required. 
 In washing, the brush should be moved regularly and 
 steadily; very slightly raised from the surface, or scarcely 
 resting its own weight upon it ; in a horizontal direction ; 
 and serving rather to guide the jlow of the wash than to be 
 the instrument for la3 T ing it on. 
 
 As there is no absorption, it will, in general, be found 
 necessary to make the wash considerably above the tone re- 
 quired when it is dry. Never go back with the brush to re- 
 touch any part of the surface not yet dry, as it will "wash 
 up " instantly. 
 
 In treating photographs on porcelain, it is quite essential 
 that all the color used should have a very little pure Gum 
 Arabic mixed with it, to give it strength and adhesiveness, 
 but the utmost watchfulness is required to avoid the temp- 
 tation of making a too free use of it. Porcelain painting is 
 so excessively tedious, that the student's patience is likely 
 to become exhausted, and so sure as he endeavors to obtain 
 " the more haste " by the over-use of Gum Arabic, he will 
 ultimately find it "the less speed," as his work will only 
 crack and peel off. Porcelains persecute patience ! 
 
 What has been said above concerning the use of gum, is 
 to be understood as applying to the transparent pigments, 
 rather than to those which are semi-opaque, and hot at all 
 
 11 
 
122 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 to the real body-colors: Chinese White, Vermilion, Orange 
 Chrome, and Emerald Green. 
 
 In hatching and stippling, let this be a fixed rule : Never 
 give an after-touch until the previous one is entirely dry ; 
 or, in other words, do not give two successive touches on 
 the same spot. Where additional depth and strength of 
 color is required, it must be obtained by successively work- 
 ing over; and it will be found no eas}^ matter to do this 
 with regularity of shade and evenness of surface. If this 
 can be accomplished, however, it will surprise the student 
 to discover what a solidity and strength can be attained, 
 after all, in the porcelain process ; and that in these qualities 
 it is no less capable than in those of delicacy and beauty. 
 
 While engaged in the work of painting, the hand should 
 not be permitted to rest upon the plate, as it will impart 
 grease, and interfere more with the adhesiveness of the color 
 than is the case on paper. If no rest-stick is used, and the 
 hand must find support on the plate, use a piece of paper 
 underneath it. 
 
 It will be found that the smooth and non-absorbent sur- 
 face will require the almost constant use of a rather dry 
 brush, and not much color in the lighter parts; in the 
 heavier parts the color must be quite thick, but not by any 
 means so thick as to make a daubed appearance. 
 
 The majority of porcelain pictures are done in vignette 
 style. This requires attention to the clouding about the 
 head, and affords a fine opportunity for delicate aerial ef- 
 fects. After the cloud-wash is dry, the edges can be beau- 
 tifully softened by gently patting them with the end of the 
 finger, covered with a handkerchief or cloth, and very slightly 
 moist. In addition to this blending, semicircular white spots 
 should be washed out with the brush, like openings ; and, if 
 done in imitation of nature, these simple expedients add much 
 to the general result. 
 
 If the picture is a copy, and contains any of the usual spots 
 
PAINTING ON PORCELAIN. 
 
 123 
 
 and streaks, they can be stippled out with Neutral Tint. 
 Gold should be done by first laying a base with Roman 
 Ochre, thick ; then add high lights of Indian Yellow and 
 Chinese White. All clear, brilliant u touches " will need to 
 be done with bod3^-color. 
 
 The correcting o f errors is easily done by moistening the 
 part to be altered, and washing off the paint with clean water. 
 This is a simple, though a nice operation, and must be done 
 so as not to damage the adjacent parts. Indeed, if the en- 
 tire progress which has been made in painting, does not 
 please, the whole may be washed off; but this should be 
 done under a flowing stream of clean water, in order that 
 none of the color-matter be allowed to remain elsewhere 
 upon the plate after it has become detached from the pic- 
 ture itself, as it would leave just enough of a stain to soil 
 the purity of the granulated surface. In this respect, por- 
 celain even offers an advantage over paper, and often a very 
 important one, too; often seeming almost compensatory for 
 the extraordinary degree of time and patience required in 
 its general manipulation. 
 
 Another method of correcting errors, particularly with 
 regard to tone, is by scratching off the color with the eraser 
 or a smooth bit of pumice-stone. This should be done with 
 parallel strokes ; except in the flesh, where the pumice-stone 
 is preferred and should be used with a circular motion. 
 The latter also gives one means of putting high lights 
 where they are principally deficient in the flesh— especially 
 the principal light on the forehead. Parallel scratch-lines, 
 at an angle of forty-five degrees, or less, give atmospheric 
 effect to the clouding about a vignette head. 
 
 With regard to the subjects most desirable for a painting 
 on porcelain, the student will discover, after a little prac- 
 tice, that a child's picture (vignette head), is the most pleas- 
 ing to work upon ; and he will feel justified in giving it the 
 benefit of all the resources of the porcelain method. He 
 
124 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 will naturally and unconsciously incline toward the ideal in 
 treating these innocents; and, in addition to a preservation 
 of the likeness, he will strive to make a beautiful picture. 
 
 Women's portraits will claim his preference next in order, 
 but he will' find them rather less inspiring to his genius. 
 The necessary use of a more decided style of working, 
 stronger lines, and the introduction of so much drapery, 
 together with the accessories, which require abundant pa- 
 tience, will, doubtless, cause him to wish that he was work- 
 ing on paper. 
 
 Last of all, and least of all, will be his ambition to deline- 
 ate the face of a man, in a way which finds no parallel in 
 nature. The vigor, strength, and breadth with which he 
 would feign characterize manhood, are not attainable by 
 this process ; and the inevitable result must be a beautiful 
 man ! a wax-figure ! a painting which, instead of " holding 
 the mirror up to nature, 7 ' goes immeasurably and absurdly 
 beyond it ! 
 
 Ivorytypes. 
 
 The invention of the Ivory type is awarded to Mr. Wend- 
 eroth, the distinguished Philadelphia artist. Upon the in- 
 troduction and use of the Porcelain surface, however, as a 
 basis for the colorist's work, the days of the once famous 
 Ivorytype, it maj^ be said, were numbered, as it is impossi- 
 ble ever to achieve, in the production of the latter, the 
 brilliant tone and delicacy of finish which is incident to, 
 and inseparable from, the porcelain picture. 
 
 In a few words, the Ivorytype is simply a painted photo- 
 graph sealed to a clear glass plate. There are a number of 
 points, however, in which the operating of the picture' for 
 the Ivorytype differs from that of the ordinary painted 
 photograph, namely : 
 
 It must not be mounted on pasteboard, but stretched 
 tightly upon the drawing-board. In order to do this, the 
 
IVORYTYPES. 
 
 125 
 
 photograph should be printed on a piece of paper which 
 will allow sufficient margin for pasting down. Moisten the 
 entire sheet and lay it flat on the board, permitting no air- 
 bubbles to remain underneath. Paste down all the edges, 
 -and let it dry slowly, keeping the board perfectly level. As 
 the contraction of the paper in drying will cause a very hard 
 strain on the pasted edges, it may be advisable to have them 
 secured by tacks or weights. 
 
 The photograph thus mounted upon the drawing-board, 
 is to be treated with special attention to the following par- 
 ticulars, viz. : 
 
 1. The painting must be executed with more than ordi- 
 nary vigor and force, so as to provide against the diminu- 
 tion of tone and effect which, it will afterwards be seen, 
 follows on sealing it to the glass. 
 
 2. No body-color should be used, except when actually 
 necessary. In laying on the white for laces and the light 
 parts of linen, etc., do it very lightly — perhaps Flake White 
 is best. 
 
 3. Give preference to the transparent colors ; for, as the 
 object of the wax is to render the entire picture transparent, 
 it is plain that opaque colors will resist its effect, and seem 
 to lie dead and hard upon the painted surface. 
 
 4. In working certain folds of the drapery, it is better to 
 preserve the lights as they are in the photograph, than to 
 restore them with the- aid of body-color. For the light on 
 the eyes, however, and a few other special points, Chinese 
 White can be used with propriety. 
 
 5. Do not use a particle of Gum Arabic, because it will 
 prevent adhesion to the glass plate ; and if the deep lines 
 and shadows are painted with sufficient strength, its ordi- 
 nary use as a -varnish will be supplied by the wax. 
 
 When the painting is completed, lay the glass plate — 
 which must be perfectly clean and polished — upon the pic- 
 ture ; and being properly adjusted, cut out the painting so 
 
 11* g 
 
126 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 as to exactly fit the glass (unless there be reasons for doing 
 otherwise) ; but it is a great advantage, in the hurried opera- 
 tion of sealing, not to be obliged to adjust the picture then 
 — which would be necessary if it were larger or smaller than 
 the plate. 
 
 The composition-wax used in sealing is variously com- 
 pounded by different artists; but a mixture of one part of 
 Gum Copal with two parts of pure white wax will suffice for 
 ordinary purposes. 
 
 The operation of Sealing may be described as follows : 
 Heat the glass until warm enough to melt the wax-com- 
 position while being passed over it in a horizontal position. 
 Let every part of the plate be thoroughly coated — as it is 
 the Gum Copal which gives lustre to the finished Ivory type. 
 While it is still warm, lay on the picture, face to the glass, 
 in such a manner as not to work off any of the melted com- 
 position, or to produce wrinkles, or leave any air-bubbles 
 underneath. The back of the painting is now supposed to 
 be uppermost. Keeping the plate still warm, rub a piece of 
 pure white wax alone slowly over the back — melting as it 
 moves — and then, with the straight-edge of a small bit of 
 card-board, held almost perpendicularly, smooth the picture 
 down fiat upon the plate. In doing this, rub gently from 
 the centre in every direction toward the margin ; and be 
 particular to push out the very last crease or air-bubble. 
 Do not press the card-board hard enough to drive out all 
 the composition first laid over the plate, else the brilliancy 
 of the work will be lost. As before-mentioned, the Gum 
 Copal imparts the brilliant effect, and the wax gives it trans- 
 parency. 
 
 It will be readily seen that this operation must be done 
 w ith quickness and certainty ; and hence it is best to have 
 everything fitted and prepared before the sealing is com- 
 menced. 
 
 The painting being attached to the glass, it now only re- 
 
IVORYTYPES. 
 
 127 
 
 mains to fit a piece of pure white paper (card-board is bet- 
 ter) to the back — the effect of which is seen through the 
 transparent picture — and the Ivory type is completed. Be- 
 fore doing this, however, it is well to consider the extent to 
 which the colors have faded out in the process of sealing ; 
 and if they need restoration and strength, apply some addi- 
 tional color, in its proper place, on the back of the sealed 
 painting. This necessity is most likely to occur with the 
 carnation-tints. 
 
 In selecting a glass for this purpose, French plate is the 
 most desirable, and any other than pure white glass must, 
 necessarily, somewhat mar the general purity of the work. 
 Ordinary glass having a greenish tint, should not be used, 
 if possible ; and equal care should also be exercised to ob- 
 tain plates entirely free of streaks, bubbles, or scratches. 
 
 [jgir 3 It may be opportune to remark here, that in fram- 
 ing Ivory types, no white paper should be placed in contact 
 with the finished work, as it would u kill " the so-called 
 whites in the picture; and, by a prejudicial contrast, lower 
 their tone into a degree of unavoidable yellowness produced 
 by the wax compound. Ivorytypes should always have a 
 rich gilt frame, the sight-opening of which will cut the pic- 
 ture. 
 
 Beautiful as the Ivory type is, when first finished, it be- 
 comes liable to serious discoloration. The wax-composition, 
 no matter how pure the ingredients, will, in time, produce 
 sufficient yellowness to mar its original beauty. Notwith- 
 standing this deficiency, however, it is easy to suppose that, 
 but for the introduction of its greatly superior rival — the 
 Porcelain — its glory would doubtless have remained undi- 
 minished, as an excellent and practicable successor to its 
 prototype, the Ivory Miniature of u auld lang syne." 
 
128 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 Large Solar- Camera Pictures. 
 
 The handling of the large-sized solar photographs is a 
 matter of progression. If we can safely premise that the 
 student has become thoroughly familiar with the principles 
 involved in, and the directions for manipulating smaller and 
 medium-sized photographs, our observations under this head 
 need tend only to an expansion of the knowledge he already 
 possesses. 
 
 The important characteristics of the successful solar pic- 
 ture, are force, breadth, easy handling, and a total absence 
 of timidity and delicacy. The washes must be done broadly 
 and with an abundance of color ; and the lines given with- 
 out trepidation or stiffness. The finished pictures should in- 
 dicate, on the part of the worker, a sufficiency of knowledge 
 and a mastery of the brush. 
 
 According to the instinctive laws of vision, a picture 
 should be vieived at a distance equal to three times its size. 
 Indeed, a more distant point may be agreeable, but rarely 
 one nearer ; except with persons of defective vision — and 
 even then the eye wanders over, rather than embraces the 
 whole. Consequently, it is plain that the entire handling 
 must be prosecuted with a clearness and power sufficient to 
 realize the desired effect when viewed at the proper distance. 
 
 It is scarcely to be expected that the student will accom- 
 plish this without considerable practice. His previous work 
 has been of dimensions which could be inspected perhaps 
 without rising from his seat; but now his manipulation, hor- 
 ribly coarse at the drawing-board, is softened by the pre- 
 scribed distant view, — and it therefore follows that only by 
 constantly taking this view-point, can he watch his progress 
 and attain the true result. 
 
 The student has -learned (in a foregoing chapter), that 
 Hatching is the most desirable and effective manipulation 
 for large pictures, and he will therefore adopt it for solar 
 
FRAMING THE PICTURES. 
 
 129 
 
 work. The time of Stippling has passed by, except for some 
 few necessary touches, and the disposing of spots. The 
 small-sized brushes must give place to larger ones, color 
 must be prepared and used without stint, — "laid up loose," 
 — and a more artistic style of action adopted throughout the 
 whole working. 
 
 It is impossible, that this description of labor can be per- 
 formed with ease and convenience at a desk or table. The 
 Easel here becomes a necessity, and so too the Best- Stick. 
 The length and strength of the hatch-lines, which the stu- 
 dent will now endeavor to draw with a graceful sweep of the 
 brush, demand a firm support for the hand, and an almost 
 vertical position of the drawing-board — except in flowing 
 the washes. The dimensions of the picture also forbid that 
 the arm should be constantly wiping over its surface, which 
 would be the case if lying nearly flat; and the facility with 
 which it can be raised or lowered so as to bring the working- 
 spot right to the hand, clearly demonstrate the expediency 
 of using the Easel now, if never before. Especially so, if 
 the background is to be done in pastel, which would be 
 marred by the very slightest touch — and this too makes the 
 Rest-Stick indispensable. 
 
 If the solar at hand is to be done in (the so-called) "In- 
 dia-Ink " style, the student must not forget what has been 
 already said concerning the inefficiency of the India-Ink 
 itself for large work, and the usefulness of Lampblack. The 
 Compound Black, when mixed to a deep tone, is also quite 
 available for solar prints, and important in finishing the dra- 
 pery. Indigo added to Lampblack, gives a depth sufficient 
 for any shadow the drapery can possibly require. 
 
 Framing the Pictures. 
 
 The framing of a picture can scarcely be regarded as a 
 matter of taste alone. 
 
 Though not strictly true, the theory of photographic paint- 
 
130 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 ing is, that the work has been clone upon a white ground ; 
 as is the case in pure water color painting, where the trans- 
 parent pigments so modify the light falling npon and being 
 reflected from that white surface, as to produce the effect 
 constituting the picture. Hence, some indication of the 
 presence of this supposed white ground must be given. 
 
 In vignette pictures there is frequently sufficient white 
 margin to answer this purpose ; but if there is not, or when 
 the background is solid, a white mat becomes indispensable. 
 The use of a tinted mat is, to say the least, dangerous ; and 
 only permissible when it is of a tint harmonious with the 
 general tone of the painting, or entirely neutral ; and even 
 then it must have an inside edge of white. The use of tinted 
 mats requires considerable judgment to make & proper selec- 
 tion, whilst the white ones are " always in order." 
 
 India-Ink work, which is intended to imitate an engrav- 
 ing, must never be margined by anything else than white ! 
 The juxtaposition of a colored mat (especially if the hue be 
 rather intense) is sure to damage its purity in many ways ; 
 reflecting improper tints upon its high lights, and giving a 
 sooty appearance in the heavy shadows. The immediate 
 contact of gilt with Ink work and a pastel ground, is death ! 
 and is never to be allowed. 
 
 Colored pictures should have a gilt frame ; and if ample 
 white surrounds the painting, it will be seen that the white 
 purifies the colors and the gilt purifies the white. Colored 
 Porcelains — vignettes — are greatly enriched by the addition 
 of a line of velvet, coming between the white surface and 
 the gilt frame. The color should be deep and rich ; and the 
 opaque, dull texture of the velvet, whilst it gives wonder- 
 ful purity to the white of the porcelain, also harmonizes 
 splendidly with the gold (gilt) of the frame. Porcelains re- 
 quire, and can bear, the very richest setting ; reverse this, 
 and use a dull walnut frame, and the result will be a picto- 
 rial monstrosity ! 
 
RETOUCHING THE NEGATIVE. 
 
 131 
 
 As the beauty and value of the jewel is enhanced by the 
 setting it receives, so is the character of a picture improved 
 or debased by the manner in which it is framed ; and in vio- 
 lation of the principles upon which good framing is based, 
 it is to be regretted that the educated eye is too often pained 
 by evidences of the most deplorable ignorance among pho- 
 tographers — who should study to know better. 
 
 MetoueJiing the Negative. 
 
 This is, perhaps, the most conspicuous feature in the 
 present advanced condition of the photographic art. Though 
 not a matter of coloring, it nevertheless comes properly 
 within the artisVs sphere of labor; as its successful execu- 
 tion presupposes a certain knowledge of drawing, modelling, 
 light and shade, and ability to handle the lead-pencil and 
 brush. 
 
 The practice of retouching negatives (as the term is now- 
 understood) originated in Germany. Lithographic crayons, 
 color-pigments, India-Ink mixed with Gum Arabic, Lead- 
 Pencils, and other materials have been tried; but the two 
 last-mentioned have proved the most useful and worthy. 
 
 Notwithstanding the processes of retouching are various, 
 according to the subject of the negative, it will be sufficient 
 to confine this chapter mainly to the handling of portrait- 
 negatives ; and in this connection we are happy to be able 
 to furnish the method originated by the distinguished artist- 
 photographer, Mr. William Kurtz, whose large experience 
 and wonderfully beautiful specimens serve as ample guar- 
 antee for his teachings, as follows : 
 
 * "By wa3 r of illustration, let us suppose the negative in 
 
 * These directions are generously communicated by Mr. Kurtz, 
 expressly for this book, and we would recommend photographers and 
 others, visiting New York, not to omit a visit to his gallery, No. 872 
 Broadway, where can be seen most perfect specimens in the art of 
 retouching, and examples of "how to paint photographs," surpass- 
 ingly beautiful. 
 
132 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 hand to be that of a man having freckles, deep wrinkles, with 
 light hair, reddish whiskers, mustache, etc. The negative 
 is first varnished with the ordinary negative varnish, which, 
 when diy, should present a surface as smooth and nearly as 
 hard as the glass itself. Make a proof of this, and it will 
 be seen that the freckles show as black spots, whilst the 
 hair, mustache, whiskers, etc., appear as if dyed. To make 
 the latter lighter, so that they show blonde, and to remove 
 the black spots quickly, the following plan is to be pursued: 
 A little finely powdered pumice-stone is put on the face 
 and gently rubbed over with the ball of the little finger, and 
 the surplus carefully dusted off with a soft brush or a soft 
 rag ; this gives a 4 tooth ' or 4 biting ' surface to the varnish, 
 without in the least injuring the collodion film beneath. 
 It will now be found in a suitable condition for touching 
 out (with a pencil) all the spots in the face, pinholes ex- 
 cepted. Of course, some knowledge of stippling and draw- 
 ing is indispensable, for the modelling of the face must not 
 be disturbed ; and only the imperfections, which appear 
 semi-transparent, taken out. These will not show as plainly 
 as pinholes, which must be filled up entirely with a fine 
 brush and India-Ink ; but the freckles only requiring half 
 the amount of filling, can be done with a lead-pencil, which 
 is quite opaque enough for this purpose. 
 
 u A ' 3 H ' Faber's pencil will be just the thing to remedy 
 these in the shadows, as there is less filling up to be done ; 
 and a'lH' Faber should be employed for the light side 
 of the face, as the holes are deeper there, — the surrounding 
 film being thicker. 
 
 " If the line along the nose, also, is very narrow and black, 
 a fine brush and Ink will be found better adapted than the 
 pencil. It must be filled in with thin Ink and Gum, care 
 being exercised not to fill it up entirely, as this would cause 
 it to show white, and at once destroy the modelling and the 
 likeness. 
 
RETOUCHING THE NEGATIVE. 
 
 133 
 
 "If the shadow under the chin is smooth enough but too 
 dark, do not attempt to lighten it by stippling, thereby 
 making a number of light spots all over (and giving the 
 effect of a diseased skin), but make use of a stump, — and 
 herein lies the great advantage of my system, namely, you 
 can lighten a surface with great ease and rapidity without 
 destroying the drawing or the modelling. 
 
 " The stumps usually sold are not well adapted for this 
 purpose, being both too soft and too thick. In order to 
 make a stump suitable for retouching, take a piece of un- 
 sized paper (i. e. printing paper, such as used in books ) 
 neither too hard nor too soft; cut a strip about 8 inches 
 long, 2 inches wide at one end, and a half inch at the other ; 
 turn the small end over between the thumb and forefinger 
 and roll it up tightly into a hard roll or stump: a little prac- 
 tice will soon enable you to regulate the making of a sharp 
 or a dull point, as desired. 
 
 " Now take a ; 6B' Faber, which is very soft, and scrape 
 off some of the lead on a piece of paper. Fill your stump 
 and go gently over the shadow under the chin, whiskers, 
 mustache, and also the shadow of the hat on the forehead, 
 if any, and in fact over all those parts which need to be 
 made lighter. 
 
 " Be careful not to have too much lead on your stump, be- 
 cause the first touch on the negative is very apt to show too 
 strong ; it is better to try it first on the edge of the plate 
 and work the surplus off. Should the stump be too full of 
 lead, you will produce a spotty surface ; this must be care- 
 fully avoided, since it cannot be removed by rubbing. In- 
 deed, no amount of rubbing with India-rubber, bread, or 
 anything else, will accomplish this ; the rubbing will merely 
 have the effect of polishing it ; and it can only be removed 
 by a further rubbing with the pumice — a necessity, however, 
 which it is best to avoid by previous carefulness. 
 
 " If you should not get enough lead on, with the first ap- 
 
 12 
 
134 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 plication, go over it again — little by little — until you have 
 reached the required degree of opacity. 
 
 " When I first made use of pumice and a lead-pencil, and 
 mentioned it to my photographic friends, they were of 
 opinion that the delicate shades of the lead would soon wear 
 off; but this is a mistake, for it adheres so firmly to the 
 roughened surface of the varnish, that the hardest rubbing 
 with India-rubber only has the effect before mentioned, 
 namely, to polish it ; hence the necessity of care in order to 
 attain the proper manipulation. 
 
 " India-Ink mixed with Gum Arabic is very apt to crack 
 off in the printing-frame when heated, and if mixed with 
 too much sugar (to prevent this cracking off) it will stick to 
 the paper when damp ; therefore lead is much better. Yet 
 India-Ink possesses great advantages, and can be used with 
 certainty when the gum solution is composed of six parts of 
 Gum Arabic with one part of rock candy {rock candy only), 
 which will have about the right consistence. 
 
 " The details in the beard or in the hair, on the shadow 
 side, can be drawn in with a Faber (neither too hard nor 
 too soft), immediately over the stumped part ; and if this 
 does not accomplish the object, it will do a great deal to- 
 wards it, while a little brush-work in India-Ink over this will 
 be sure to effect the desired end. 
 
 "In a weak, flat negative — as, for instance, a copy of a 
 Ferrotype — a fine stump and powdered lead will do a very 
 great service ; you may rub somewhat down the nose, upon 
 the cheeks and under lip ; and with a brush and Ink, make 
 the shirt-collar more opaque, thus producing at once bril- 
 liancy and finish. 
 
 "In a negative where the sitter having moved there has 
 resulted a blurring of the* eyes and a double contour of the 
 facial lines, a few judicious touches with the lead-pencil will 
 have a wonderful effect in removing these blemishes. 
 
 "The Faber pencils known as 6 Siberian^ are those which 
 
MEMORANDA OF PRACTICAL ART. 
 
 135 
 
 I should recommend, as they come in a great variety of 
 grades. No precise directions can be given to the student ; 
 he must make his selection according to the work to be 
 done. Use a piece of sand-paper for sharpening the lead ; 
 and the same also for sharpening and modelling the stump. 
 Easels having different sized ' kits ' to suit the negatives, 
 can be procured at the stockdealers, and are known as 
 4 Retouching Easels. 7 
 
 " We come now to the subject of Reproductions. Before 
 I discovered the great excellence of pumice-stone to roughen 
 the varnished surface, I used a varnish composed of rosin, 
 dissolved in alcohol, and colored with iodine. The plate 
 being flowed with this, all those parts intended to be darker 
 in the print were rubbed off', little by little ; as the rubbing 
 progresses the varnish assumes a powdery consistence and 
 can finally be rubbed entirely down to the glass surface. 
 By this method the edges can be perfectly blended, and do 
 not present that abrupt appearance, as in the case of scra- 
 ping these parts out with a knife, or similar instrument. 
 
 " The process of retouching is also highly advantageous 
 under circumstances like these : In flowing collodion over 
 the largest sized plates during very hot weather, when the 
 upper part of the plate is ' set ' before the lower part has 
 entirely drained off — thereby giving a film which gradually 
 thickens toward the lower edge, and the bad effect of which 
 was apparent in the proof-print — I overcame the difficulty 
 by simply rubbing the whole varnished surface of the nega- 
 tive with the powdered pumice ; and then applying the lead, 
 commencing at the thin side of the film and gradually 
 blending away into nothing at the thicker side. This will 
 result in a uniform density and render the negative quite 
 perfect." 
 
 Memoranda of Practical Art. 
 
 In the preparation of this work, many art-truths and other 
 memoranda were incidentally suggested and culled from 
 
136 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 various sources, which cannot be properly included under 
 any special heading ; maxims derived from recognized prin- 
 ciples of the art of painting, and brief instructions easily 
 remembered. 
 
 These we propose to add herewith, although it is quite 
 probable some of the ideas may have been previously given. 
 It is not unlikely, too, that the beginner may fail to com- 
 prehend the import and use of many of them at first ; but, 
 as he progresses in practical ability, he should make an effort 
 to increase his theoretical knowledge also, until his hand and 
 head shall work together understanding^, harmoniously, 
 successfully. 
 
 Endeavor to preserve transparency in all the shadows. 
 
 All retiring parts partake more or less of gray. 
 
 The high lights of flesh should be of a yellowish-white. 
 
 Strong shadows should be warm ; those of flesh (which is 
 semi-transparent) always incline to red. 
 
 All shadows of flesh must have gray edges. This pre- 
 vents hardness, and gives a rich effect. 
 
 The reflected lights of flesh are warmer than the surround- 
 ing parts. 
 
 The darkest parts of shadows are near their edge, the 
 middle being illuminated by reflected lights. 
 
 Flesh, as it retires from the eye, appears to grow colder 
 in tone. 
 
 A judicious subordination of the half-lights to those which 
 are more prominent, insures brilliancy. 
 
 Lights are less affected by distance than shadows, which 
 grow paler as the distance increases. 
 
 The highest lights have generally but little color, for all 
 color is a deprivation of light. 
 
 Warm colors, or those approximating to red or yellow, 
 advance ; cold colors, or those approximating to blue, retire. 
 
MEMORANDA OF PRACTICAL ART. 
 
 137 
 
 Contrasts give brilliancy of effect, but they should never 
 be violent or inharmonious. 
 
 Colors should be laid with as little rubbing of the brush 
 as possible, in order to keep them fresh and bright. 
 
 Every part of the background should appear to retire 
 from the figure. 
 
 As a general rule, in mixing compound tints, always begin 
 with the predominating color, and add the others to it. 
 
 Make all cast shadows of one tone, and always warm 
 (except at the edges), varying of course with the local tint. 
 
 The eye is the proper judge of color, and the perception 
 of color is a natural gift. 
 
 The eye requires some repose, and is fatigued by an ob- 
 ject overloaded with ornament. 
 
 The first requisite in every picture is, that it should tell 
 its own story. 
 
 Most things that are gaudy are vulgar; and much that 
 does not seem so exceedingly vulgar in nature will appear 
 so in a picture. 
 
 A photograph, to be painted according to art, ought to 
 approach as near as possible to a miniature, and lose its 
 photographic appearance entirely. 
 
 The shadows, and gray and pearly tints, must appear to 
 lay upon the flesh, instead of under it, as they really do 
 occur in nature. 
 
 Portrait and miniature painters invariably place their sit- 
 ters higher than themselves ; photographers almost invaria- 
 bly, and improperly, do the reverse. 
 
 The less of any " medium" or "vehicle," except pure 
 water, which the colorist uses, the better his work will be 
 likely to appear. 
 
 " Prettiness " in painting is not art, and excessive finish 
 is purely mechanical; the most accomplished painters have 
 executed their finest pictures with apparently little labor. 
 
 Nature relieves one object from another by means of light 
 
 12* 
 
138 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 and shade ; and we find everywhere light opposed to dark, 
 and dark to light. 
 
 Every gradation to shadow is a gradation from color, 
 and the color in shadows, therefore, should never be too 
 bright. 
 
 The style of execution should vary with the subject, to 
 aid in expressing character ; vigorous and bold in men, 
 delicate and tender in women and children. 
 
 Avoid harshness. Let every line be softened as in nature, 
 where, though the boundary of sight is distinctly marked, 
 there are no positive outlines. 
 
 When the outline of a figure is ungraceful, it may judi- 
 ciously be lost to some extent in the shadow of the back- 
 ground. 
 
 Massing lights and shadows together will insure breadth 
 and grandeur of effect. A skilfully-managed background 
 will greatly aid this result. 
 
 The most careful manipulation and elaborate finish will 
 be ineffective, without constant attention to a sufficient 
 preservation of breadth of light and shade. 
 
 Do not make it a rule to begin and finish any particular 
 part at once; but keep the picture together — get every part 
 of it in before you begin to finish. 
 
 Keep reflected lights warm, unless the object from which 
 they are derived is visible ; in which case they will partake 
 of its especial tone and color. 
 
 Colors should be kept pure and transparent, truthful to 
 the subject, and harmonious both with each other and the 
 nature of the picture. 
 
 It is preferable that yellow should predominate in a 
 picture rather than white, though yellow should always be 
 in less quantity than blue and red. 
 
 The intensity of tones of colors should be equal in the 
 same composition ; but a dark and light hue may be used 
 together with good effect. 
 
MEMORANDA OF PRACTICAL ART. 
 
 139 
 
 A great quantity of the same color in one part, and little 
 or none of it in another, are fatal to the general effect, and 
 disturb the balance of colors. 
 
 Large masses of one color should not catch the e} r e; it 
 should receive, at the same moment, the combination of 
 several colors. 
 
 All colors, simple or compound, have a tendency to tint 
 surrounding objects with a faint spectrum of their comple- 
 mentary color. 
 
 The shape and composition of a picture should, as far as 
 possible, harmonize — not contrast with — one another ; and 
 the selection of both should be consistent with the subject. 
 
 The object of all photographic representations of persons 
 being to secure an exact likeness, remember that the head 
 is the principal object of interest, and everything else must 
 be done with an eye to set that off to the greatest advantage. 
 
 The color of most objects is best discerned in the middle 
 tints ; strong colors are reserved for the parts nearest the 
 eye ; receding objects are fainter in color than those near 
 the eye. 
 
 In the consideration of a picture, or any work of art, a 
 motive, or subject, is implied ; and clearly to express such 
 motive should be the leading object in its composition or 
 arrangement. 
 
 Painters usually throw more light upon the heads of chil- 
 dren and women than they do on the male head, which is 
 better suited to a depth of shadow. Heads of aged persons, 
 of both sexes, should likewise be placed in a full light, as it 
 tends to soften and subdue the permanent markings of age. 
 
 In water-color painting, the first colors should always be 
 bright and pure, because they may be easily lowered to the 
 desired tone; but if their purity is once sullied by admix- 
 ture with other colors, their original brightness can never 
 be recovered. 
 
 The presence of yellow in the vicinity of red and blue, or 
 
140 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 a small quantity of that color interposed between them, has 
 the good effect of preventing their borrowing from each 
 other, and appearing purple. The interposition of white 
 has a similar, but colder effect. 
 
 The dash and decision of execution which so frequently 
 attracts our admiration in works of art, in which the will 
 and the way of their accomplishment appear as a single 
 impulse, are often more the result of preparatory study and 
 forethought than is generally suspected. 
 
 It is not a good manner of working to stick at one picture 
 until it is completely finished ; but far better to have more 
 than one on hand, as by this means when your fresh eye is 
 brought to each picture in its turn, it will at once detect 
 points that may be improved, but which your jaded vision 
 had before overlooked. 
 
 Pictures cannot be painted by rule ; for rules themselves 
 are derived from pictures, rather than pictures from rules, 
 precepts, or books. If, in viewing a painting, the attention 
 is involuntarily drawn to a fine or a bad effect, the mind of 
 the zealous student will at once endeavor to perceive by what 
 means the fine effect was produced, or by the disregard of 
 what principles the bad effect resulted. Thus he will natu- 
 rally originate rules for his own guidance, by which he may 
 be able to imitate the one and avoid the other. 
 
 "Dirty tints," in coloring, express that the tone neither 
 represents true light and shade nor yet true coloring; dirty 
 tints are most frequently the result of inexperience or timid- 
 ity in using colors ; thus, passing wash after wash of various 
 pigments, without attention to their differing qualities, will 
 soon produce this disagreeable result. To prevent it, the 
 student should make experiments with his pigments, and 
 thus learn beforehand, the result and effect different washes 
 or mixtures will produce. 
 
 • Mannerism in art may be described as any peculiar way 
 of treating or handling pictorial subjects ; the work being 
 
MEMORANDA OF PRACTICAL ART. 
 
 141 
 
 executed in one unvaried manner, arising doubtless from 
 the limited ideas of the artist, or a want of facility or variety 
 in the way in which he embodies them. Avoid it. 
 
 Red and green are not variety, but contrast. It is only 
 rarely and in the smallest possible quantities, that nature 
 allows herself any violence of contrast, whilst her incessant 
 endeavor is after variety. If a face is excessively fair and 
 delicate in color, the hair and eyes are correspondingly light. 
 
 As the general color of the atmosphere is supposed to be 
 blue, distant objects lose much of their local color, and as- 
 sume more or less of a gray tint ; and details become less 
 distinct until they are totally lost in the distance. 
 
 Keep your brushes clean by frequent washing, but never 
 leave them standing in water, nor allow them to dry charged 
 with color — especially body-color. 
 
 To prevent any one color from becoming conspicuous, it 
 must be harmonized into others by gradation, and not be too 
 violently contrasted by complementaries or inharmonious 
 tints. A color out of harmony may be quite, if not more 
 conspicuous than one contrasted with its complementary, 
 only the effect will be disagreeable instead of agreeable. A 
 color becomes conspicuous when it is decidedly unnatural 
 or out of place, as blue in trees, or pink on walls. So in 
 the human face, the same amount of color which placed on 
 a lip is scarcely noticed, if removed to the nose becomes 
 strikingly conspicuous. A single spot of color in a land- 
 scape may often appear too prominently, unless repeated 
 by other smaller and more broken portions. 
 
 Every color, as well as every thing, is good and useful in 
 the right place ; it is only the excess that is disagreeable or 
 hurtful. Some sooner appear unnatural or stronger than 
 others. A constant recurrence to any one favorite pigment 
 or tint for effect is apt to beget mannerism; it then becomes 
 worse than useless; it injures instead of improving. 
 
 An appearance of dexterity and ease is attractive in every 
 
142 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 art, and in none more than in water-color painting: the labor 
 with which the effect is attained should be hidden. 
 
 Two folds of similar size and form should not be near 
 each other. 
 
 It is not by the great variety of tints that fine coloring is 
 produced, so much as by judicious combinations and the 
 manner in which those are employed. 
 
 Accessories should be subordinate to color, light, and ef- 
 fect, with respect to the head. 
 
 Breadth of effect is obtained when the lights of a picture 
 are so arranged that they seem to be in masses, and the 
 shadows are massed to support them, so that the attention 
 of the spectator is powerfully arrested, and his imagination 
 excited to supply the details. 
 
 Depend upon simplicity of arrangement for certainty of 
 effect. 
 
 The proper situation of strong color is neither in the high 
 lights nor in the deep shade, for it would destroy the char- 
 acter of either ; but, if it is made use of as an intermediate 
 link, it will unite both, and at the same time preserve a 
 greater consequence. Whether it is to be warm or cold, 
 must depend upon the color of the principal light, of which 
 it is to be considered an extension, conveying its influence 
 into the darkest recesses. 
 
 Strong color requires rich, deep shadow to support it. 
 
 That the picture should consist of both warm and cold 
 colors, seems as indispensable as that it should have light 
 and shade ; but, which shall form the light and which the 
 shade, is entirely at the option of the artist. It is, how- 
 ever, necessary that they should have separate situations, 
 and also unite both extremes of the work by an exchange of 
 portions of each color. 
 
 Colors that are most agreeable to the eye, are such as the 
 eye has become accustomed to from their constantly being 
 presented to the sight. 
 
CONCLUSION. 
 
 143 
 
 White and black can be reconciled only by the interposi- 
 tion of gray ; and red and blue, by the presence of a third 
 color, combining the properties of warm and cold. 
 
 Conclusion* 
 
 In leaving to the student the instructions contained in the 
 foregoing pages, we desire to remind him of the necessity 
 of constant practice, and the advantage to be derived from 
 the examination and study of good examples. Be not dis- 
 couraged by the difficulties which may appear to loom up 
 between the beginner and the expert painter — for the pro- 
 cess of coloring photographs is by no means so difficult as 
 might be at first supposed. 
 
 Commence upon unobjectionable photographs, so that 
 there be no deficiencies in them to increase whatever diffi- 
 culties may attend your first efforts. 
 
 Endeavor to comprehend your work. Judge well among 
 the lights, which are those and in what number, that pos- 
 sess the first degree of brightness ; and so, also, among the 
 shadows, which are those that are darker than the others, 
 and in what manner both mingle together — remembering 
 that these lights and shades must be finally joined without 
 hard lines of definition, and with artistic effect. 
 
 Do not attempt the execution of pictures too large or 
 complicate, in the first place ; and, as this book covers the 
 whole range of practical work, seek its instructions con- 
 stantly, rather than venture upon experiments of your own. 
 Remember that the foregoing contents, prepared for your 
 guidance, cost others years of labor and study, and that, in 
 all probability, it is competent to assist the diligent student 
 in every emergency. 
 
 To such as have studied this little volume with a consci- 
 entious desire to accomplish in themselves the purpose for 
 
144 
 
 HOW TO PAINT PHOTOGRAPHS. 
 
 which it has been written, we would submit for their guid- 
 ance the following important points : 
 
 •First — Systematic Working will accomplish much in 
 the end, although, as the student has already learned, the 
 various qualities of tone in the photograph will not always 
 permit the adaptation of the same methods. But he can de- 
 vise his plans, and have them ready for application to light 
 or dark prints respectively, and thus know beforehand just 
 what to do. 
 
 Second. — Careful Handling will economize his time and 
 labor, obviate the necessity for alterations or corrections, 
 preserve the purity and beauty of the colors, and give char- 
 acter to the work. The very soul of water-color painting is 
 to know what to do, and then to do it at once ! The posses- 
 sion, or the want of this quality, will be easily perceptible, 
 to a discerning eye, in every man's work. Different from 
 oil painting, water-color allows no experimenting, no patch- 
 ing, no corrections of any importance. 
 
 Third. — Determination to surmount all difficulties, if it 
 can be done by study and practice. Strive to combat dis- 
 appointment, if such a feeling attend your earlier efforts. 
 Try to obtain new ideas from the more perfect works of 
 others who are recognized as proficients, and let every pic- 
 ture of your own contain points which indicate an advance 
 of your efforts at least one step farther. 
 
 Finally. — Practice, based upon the directions given, 
 must result in enabling the student to soon familiarize him- 
 self with the exigencies which are incident to photographic 
 painting, and render the labor easier ; but ultimate success 
 will depend upon the individual — his natural capacities, en- 
 thusiasm for his work, and a careful resolve to achieve the 
 victory. 
 
INDEX. 
 
 PAGE 
 
 Accessories, 86 
 
 General remarks on, 86 
 
 Carpets and Table-covers, 90 
 
 Curtains, 88 
 
 Furniture, 89 
 
 Arms and hands, painting of, 68 
 
 Backgrounds, 92 
 
 General remarks on, . .92 
 
 Landscape, 100 
 
 Opaque, . . 96 
 
 Pastel, colored, 100 
 
 Gray, for India-Ink work, 98 
 
 Practical directions, 94 
 
 Brushes, Materials, etc., . 26 
 
 Practice with, 50 
 
 Carnation Tints, . . . 56 
 
 Cheeks, painting of, 65 
 
 Chin, painting of, 66 
 
 Colors, classification of, 13 
 
 Complementary, 15 
 
 Diagram of, 16 
 
 Characteristic effects of, 18 
 
 Introductory directions, 52 
 
 List of colors, . 24 
 
 Properties and uses of, . . . . ' . . . .32 
 
 ^Relations and harmonies of (in rhyme), .... 20 
 
 The repetition of, . . . ^ 91 
 
 18 
 
146 INDEX, 
 
 PAGE 
 
 Contrast, . . . • 16 
 
 Of Color and Tone, . 17 
 
 Conclusion, . . . « 143 
 
 Drapery, 72 
 
 Selection of colors for, 72 
 
 Green draperies, 73 
 
 Ked draperies, . . . . . .... 73 
 
 Yellow draperies, . . 73 
 
 Blue draperies, 74 
 
 Black draperies, 74 
 
 Orange draperies, 74 
 
 Yiolet draperies, 74 
 
 White draperies, 74, 76 
 
 Method of painting, 76 
 
 Compound colors for, . 82 
 
 Duplicate Picture, . 51 
 
 Ears, painting of, 67 
 
 Eyes, painting of, ... 61 
 
 Colors for, . 64 
 
 Flesh-washes, 54 
 
 Eor men, 54 
 
 For women, 55 
 
 Framing Pictures, 129 
 
 Gold ornaments, painting of, 85 
 
 Grays, for flesh, 69 
 
 Gum Water, 29 
 
 Hair, painting of, . . 56 
 
 Colors for, . . . . . . . .58 
 
 Hatching, directions for, 47 
 
 Head-dress, colors for, 75 
 
 India-Ink work, 113 
 
 Introduction, 9 
 
 Ivorytypes, 124 
 
INDEX. 147 
 
 PAGE 
 
 Jewelry, etc., painting of, 85 
 
 Landscape Backgrounds, 100 
 
 Light, arrangement of, 31 
 
 Lips, painting of, 66 
 
 Method of Painting, 103 
 
 Memoranda of Practical Art, 135 
 
 Neck and Bosom, painting of, 67 
 
 Opaque Backgrounds, 96 
 
 Painting, General Method of, 103 
 
 Pastel Backgrounds, 100 
 
 Pearly Tints, for flesh, 69 
 
 Porcelain Painting, 120 
 
 Portraiture, remarks on, ........ 21 
 
 Precious Stones, painting of, 85 
 
 Pure Water, necessity of using, 30 
 
 Eetouching Negatives, 131 
 
 Shadow Color for flesh, 56 
 
 Simple Colors, use of, 80 
 
 Solar Camera pictures, 128 
 
 Stippling, directions for, 49 
 
 Touches, .71 
 
 Varnish for Water Colors, 30 
 
 Washing, directions for, 45 
 
 Water Colors, List of : 
 
 Properties and Uses of, 32 
 
 Bistre, 32 
 
 Brown Pink, 32 
 
 Burnt Sienna, 33 
 
 Burnt Umber, 33 
 
 Cadmium Yellow, 33 
 
148 
 
 INDEX. 
 
 PAGE 
 
 Carmine, 33 
 
 Chinese White, 34 
 
 Crimson Lake, . . 34 
 
 Cobalt Blue, 35 
 
 Dragon's Blood, . . . 35 
 
 Emerald Green, 35 
 
 Flake White, 36 
 
 French Blue, . . . .36 
 
 Gamboge, 36 
 
 India-Ink, 113 
 
 Indigo, 37 
 
 Indian Red, . . 37 
 
 Indian Yellow, 37 
 
 Lampblack, . . . 38 
 
 Lemon Yellow, 38 
 
 Light Red, . 38 
 
 Madder Brown, 39 
 
 Neutral Tint, 39 
 
 Orange Chrome, 39 
 
 Olive Green, 40 
 
 Pink Madder, 40 
 
 Prussian Blue, 40 
 
 Prussian Green, 40 
 
 Purple Madder, . . . . . • . . . .40 
 
 Purple Lake, 41 
 
 Raw Sienna, . . . 41 
 
 Raw Umber, 41 
 
 Rose Madder, 41 
 
 Roman Ochre, . .41 
 
 Scarlet Lake, 42 
 
 Scarlet Vermilion, . 42 
 
 Sepia, 42 
 
 Vandyke Brown, 43 
 
 Vermilion, 43 
 
 Venetian Red, 44 
 
 Yellow Ochre, 44 
 
DO YOU BEAD THE 
 
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 EDITED BY EDWARD JL. WILSON. 
 
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 Every Number contains a handsome Photograph. 
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 Its contents are varied to suit the wants of all classes. 
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 It stands up for the rights of its patrons. 
 
 It is the official organ of the National Photographic Association. 
 
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 and to inform him as to what is going on elsewhere. 
 
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 145 
 
".A-ILL BIGHT." 
 
 THE JAPANESE WATER COLORS, 
 
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 Large Photographs, Cartes-de-Visite, Views, etc. 
 
 The Japanese Colors are prepared with great care, and are of uniformly good 
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 They are put up in boxes containing 12 1-oz. bottles of twelve different tints, 
 and are superior to any in the market. PRICE, $1.50 PER BOX. 
 
 For sale by all Photographic Stockdealers and Dealers in Artists' Materials 
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 146 
 
AKE Y OUR f 1WN ! 
 
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 AGENTS FOE American Artists' Association, for Coloring for the trade. 
 
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 147 
 
Scene Fainting Establishment, 
 
 684 BBOADWAY, NEW YOEK. 
 
 FIRST-CLASS PLAIN AND FANCY BACKGROUNDS, 
 
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 and Rustic Fences, 
 light, durable, and cheap. 
 
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 Prepared by 
 
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 153 
 
L E _A_'S 
 
 MANUAL OF PHOTOGRAPHY. 
 
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 154 
 
SOLE AGENTS IN THE UNITED STATES FOR 
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THE DALLMEYER LENSES 
 
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 From J. F. Ryder, Cleveland, Ohio.— "I have to say in favor of the Dallmeyer Lens that it 
 improves on acquaintance. The longer I have it, the more I prize it." 
 
 From G. D. Wakely, Washington, D. C. — u The pair of Dallmeyer Lenses you sent me are 
 very fine. They are the most useful instruments I have." 
 
 From H. Rocher, Chicago. — " I have used since July, '66, a Dallmeyer No. 2 B, and am 
 perfectly delighted with the beauty of work made with it. Nothing satisfies me but the very 
 best. 1 find this to be the best principle, for I command here the highest prices for my 
 work." 
 
 From J. S. Broadway, Charlotte, N. C— "I like the Dallmeyer Lenses very much. They 
 are increasing my business considerably. I think by their use I can increase my business 
 double." 
 
 From Franklin White, Lancaster, N. H. — " The 3 D Dallmeyer which you sent me is a 
 splendid one. It is a pleasure to use it." 
 
 The Truest ECONOMY is to Use the Best Lenses. 
 
 156 
 
FIRST FLOOR STOCK DEPOT. 
 
 EDWARD L. WILSON. JOHN G. HOOD. W. D. H. WILSON. 
 
 WILSON, HOOD & CO, 
 
 MANUFACTURERS AND FURNISHERS OF 
 
 Photographers' Requisites, 
 
 No. 822 Arch Street, 
 
 ABOVE EIGHTH STREET, SOUTH SIDE, 
 
 PHILADELPHIA. 
 
 Having had a number of years' experience as Practical Photographers, 
 and nearly four years' acquaintance with the Trade as Manufacturers 
 and Dealers, we believe we are in a position to meet 
 
 EVERY REQUIREMENT OF THE PHOTOGRAPHER. 
 
 "We can supply him with the best materials for the Dark Closet. "We 
 manufacture the most desirable and tasteful Furniture and Accessories 
 for the Operating Room, and supply Selected Instruments. We keep the 
 
 CHOICEST FRAMES AND FANCY GOODS FOB 
 THE SALESROOM, 
 
 and are able and willing to aid our customers when perplexed and mysti- 
 fied in their manipulations. 
 
 JUST INTEODUCED. 
 
 TALBOT'S FRENCH RETOUCHING EASEL 
 
 FOR EETOUCHINGr NEGATIVES. 
 Please read our f$gg*> other advertisements. "^ft 
 
 WILSON, HOOD & CO., 
 
 822 Arch St., Philadelphia, Fa. 
 14 157 
 
! co yillJU anu factoring fioiip an y 
 
 Manufacturers, Importers and Dealers in all 
 
 Articles Pertaining to Photography, 
 
 BEEKMAN STREET, NEW YORK. 
 73 BOLD STREET, LIVERPOOL, ENGLAND. 
 
 ANUFACTORIES ! 
 
 WATERBUKY, CONN., 
 
 NEW HAVEN, CONN., 
 
 , AND 
 
 NEW YOBK CITY. 
 
 Orders receive our careful attention, and are filled 
 with promptness and despatch at the lowest market 
 rates. 
 
 SAMUEL HOLMES, Agent. 
 
 See further Advertisements herein, in Wilson's American Carbon Manual, 
 and the Photographic Journals of America, 
 
 158 
 
LATELY IMPROVED. 
 
 Tie Best, Most Durable, ani tie Most Reliable. 
 
 It Dries WITHOUT SEAT, VERY QUICKLY, and 
 VERY HARD. 
 
 Warranted not to STICK, CKACK, or PEEL. May be used for FER- 
 ROTYPES, AMBROTYPES, or NEGATIVES. 
 
 Now used exclusively by the most eminent Photographers in this country. It 
 contains ingredients never before used in Varnishes, and possesses the following 
 merits over every other brand : 
 
 This Varnish dries in a few seconds without heat almost as hard as glass. 
 
 It is perfectly transparent, and does not diminish the intensity of the nega- 
 tives. 
 
 Negatives can be printed from, in a few seconds after having been varnished. 
 
 D^ 3 " It wilt not adhere to the paper or become soft in printing. 
 
 It never chills if the plate is dry. It is equally good for positives or negatives. 
 
 It gives a beautiful gloss and brilliancy to Ambrotypes and Melaineotypes, 
 and will not crack or peel. It is used without heat, thereby saving the cost of 
 burning alcohol. 
 
 EXF* GET A BOTTLE AND TRY IT. _£fl 
 
 Ask for MOUNTFORT'S CRYSTAL VARNISH, and do not take it unless my 
 signature is upon the label. Imitators dare not counterfeit that. They have 
 imitated my bottle as near as they dare. They have also copied the label as 
 close as they dare. All that keeps them from counterfeiting my name is, they 
 are afraid of the law. 
 
 All my Crystal Varnish is put up in bottles with my name blown in them, and 
 my signature is upon every label. TAKE NONE OTHER. 
 
 FOR SALE BY ALL STOCKDEALERS. 
 
 None genuine unless signed by 
 
 WILLIAM H. MOUNTFORT, 
 
 1 Chambers Street, New York. 
 
 159 
 
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 160 
 
JAMES F. MAGEE & CO., 
 
 MANUFACTURERS OF 
 
 HOTOGRAPHIC CHEMICALS, 
 
 No. 1 08 North Fifth Street, 
 
 PHILADELPHIA. 
 
 STOCKDEALERS ONLY SUPPLIED. 
 
 161 
 
A. M. COLLINS, SON & GO, 
 
 MANUFACTURERS OF 
 
 photographic |§§ard ||§oards 
 
 OF EVERY DESCRIPTION, 
 
 INCLUDING THE 
 
 Patent Prepared or Cummed 
 Card Mounts, 
 
 FOB GAETES-DE-VISITE, 
 
 For mounting Photographs without the use of 
 
 PASTE, GUM, OR STARCH. 
 
 WAREHOUSE, 
 Nos. 506 & 508 Minor Street, 
 
 A full assortment of Card Mounts for the New Cabinet 
 Size Photograph. 
 
 162 
 
TRAPP & MUNCH 
 
 CELEBRATED 
 
 WILLY WALLACH, 
 
 No, 43 John Street, New York, 
 GENERAL AGENT FOR THE UNITED STATES. 
 
 The following most popular qualities are always kept 
 in stock : 
 
 8 K. Rives, White, Pink, and Blue. 
 10 K. Thick Rives. 
 
 9 K. Rives' Extra Super. 
 8i K. Steinbach's Saxe. 
 
 PRICE PER QUIRE, $2,50, 
 
 FOR ALL THE DIFFERENT KINDS. 
 
 Samples and prices by the ream will be furnished, on appli- 
 cation, by the General Agent. 
 For testimonials, refer to the Philadelphia Photographer. 
 
 163 
 
3*. W. (gdnei (ffevmik and (gheliy ffh.j 
 $P kdadvljikub, 
 
 PURITISH 
 
 wne/iu and Q/Unhm 
 
 iy> ana <g/ imnn^ 
 
 TO OZRJDIEjIR/. 
 
 164 
 
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