ELEMENTS O F PAINTING with CRAYONS. ELEMENTS O F PAINTING WITH CRAYONS. By JOHN RUSSELL. IN TENUI LABOR. VIRGIL. LONDON: Printed for J. WILKIE, in St. Paul’s Church-Yardj and J. WALTER, at C haring-Cross, M DCC L X X II. TO HIS GRACE The DUKE of CHANDOS. MY LORD, H E excellence at which the Polite Arts have arrived, in every Nation where they are known, has been owing, in a great meafure, to the encouragement and protection (hewn to them by illuftrious Perfonages On this account, my Lord, I prefume to folicit your Grace’s Patron- age 4 D DEDICATION. age for the following little Treatife on the Art of Painting with Crayons j fenfible that your Grace’s known Benevolence cannot be difpleafed that I endeavour to render mylelf ferviceable to others. The honour you did me, in the early part of my life, when you condefcended to wifh I would direct my ftudies to the Arts of Painting, has ever been held in remembrance ; and it will af- ford me great fatisfaclion, to know that your Grace accepts this Addrefs as an humble Tribute of my Gratitude, and, to believe that I am, with the higheft relpedf, Your Grace’s moll obliged, devoted, humble Servant, ' will impart great knowledge in the expreffion of the Mufcles of the Face, which fhould be ftriCtly attended to ; and alfo the knowledge of Light and Shadow, as this, in particular, will inftruCt him how to preferve harmony in his pictures, and a proper expreffion of the different projections. Thefe things being acquired, Ge- nius will improve by Study, and Perfection and Fame re- ward the labours of clofe application. When the Student draws from living models, great care is required to place the figure in a proper aCtion, after which* particular attention fhould be paid to the general fway of the figure, being careful to preferve what is termed the centre of gravity ; which is, that line always perpendicular from the pit between the Collar-bones to the Heel of the Foot on which the Figure refts*. — The firft fketch muff be touched very lightly, in a fquare manner, defcribing the large forms by which the aCtion of the figure is expreffed. The fecond time of drawing over the Out-lines, notice fhould be taken of thofe leffer parts, which, in the former flight fketch, were negleCted. In each fketch the Student muft begin at the Head, which muft be carefully placed in it’s proper inclina- tion, or elfe (however in other refpeCts juftly drawn) the fi- gure will have an ungraceful appearance. * It muft be remarked that all graceful Figures ftandon one foot only. When >6 ELEMENTS OF When the Out-line is correct and in good proportion, the principal difficulty is overcome. The next ftep is to proceed to the Shadows, which muft be made broad and firm, and not diftraCted into too many parts, which would' perplex the Student ; as all the inferior diftinCtions in the fe- veral degrees of ffiadow, ought to be a fecond confidcration, and are, therefore, to be avoided when the whole care ffiould be to preferve the maffes of light and ffiade, broad and maf- terly. Care ffiould be obferved where the principal mafs of light falls (as in every well-fet figure there will be a princi- pal mafs of light) to preferve it broad, and not too much divided, confidering the whole together before the parts in particular. If a ffiadow is produced by any Mufcle, &c. near the grand body of light, it will, at the firft view, be apt to mif- lead the Student, and incline him to think it much darker than it really is % but, if compared with the principal ffiadow, the true degree may be afcertained. Sometimes on the rifing of a Mufcle, or the projection of a Bone, the light may catch near the mafs of ffiadow, which, if not drawn tern der, will have an unpleafing, harffi effeCt, which can onty be regulated by comparing it with the ftrongeft lights ; this method of comparing one degree of light and ffiadow with another will be the only certain rule of preferving the tone and confiftency of the wjiole together, as the comparing of lengths PAINTING WITH CRAYONS. 17 lengths and breadths with each other is the only rule to pro- duce the juft forms of Figures. While the Figure is refting, the Student will have an opportunity of placing his Drawing at a diftance, by which means the eye will more eafily difcover how much he has erred from this rule, which he may foften with a linen rag, or rub out with bread at pleafure. — As it cannot be fuppofed the figure can, for any length of time, have the fame Mufcles of his body in continual adtion, the opportunity fhould be embraced, while they are moft properly exerted, to draw each Limb, and defcribe each particular Mufcle, the great variety of which will give liberty to the Student to exercife his Genius in producing his Drawing in an elegant tafte. D SECTION i8 E L E M E NTS OF SECTION III. Of the APPLICATION of the CRA^YONS, with some PREVIOUS DISPOSITIONS. W HETHER the Painter works with Oil-colours, Wa- ter-colours, or Crayons , the grand objedt of his purfuit, is ftill the fame : a juft imitation of nature. But each fpecies has its peculiar rules arid methods. — Painting with Crayons requires, in many refpedls, a treatment diffe- rent from Painting in Oil-colours ; becaufe all Colours ufed dry are, in their nature, of a much warmer compledtion than when wet with Oils, &c. For this reafon, in order to pro- duce a rich Pidture, a much greater portion of what Painters term Cooling Teints muft be applied in Crayon Painting > than would be judicious to ufe in Oils. Without any danger of a miftake, it is to be fuppofed, the not being acquainted with this Obfervation is one great caufe why fo many Oil- Painters have no better fuceefs when they attempt Crayott Painting. On the contrary, Crayon Painters being fo much ufed to thofe Teints, which are of a cold nature when ufed wet, are apt to introduce them too much when they paint with Oils, which is feldom produdtive of a good effedh I shall now endeavour to give the Student fome Direc- tions towards the attainment of excellence in this Art. The *9 PAINTING WITH CRAYONS. The Student mu ft provide himfelf with fome ftrong blue paper, the thicker the better, if the grain is not too courfe and knotty, though it is almoft impoffible to get any intirely free from knots. The knots fhould be levelled with a penknife or razor, other wife they will prove exceedingly troublefome. After this is done, the paper muft be pafted very fmooth on a linen cloth, previoufly ftrained on a deal frame, the ftze according to the Artift’s pleafure : On this the Pkfture is to be executed ; but it is moft eligible not to pafte the paper on till the whole fubjedt is firft dead-coloured. The method of doing this is very eafy, by laying the paper with the dead-colour on its face, upon a fmooth board or table, when, by means of a brufh, the backfide of the paper muft be covered with pafte ; the frame, with the ftrained cloth, muft then be laid on the pafted ftde of the paper, after which turn the painted ftde uppermoft, and lay a piece of clean paper upon it, to prevent fmearing it ; this being done, it may be ftroked gently over with the hand, by which means all the air between the cloth and the paper will be forced out. When the pafte is perfe&ly dry, the Student may pro- ceed with the Painting. The advantages arifing from part- ing the paper on the frame according to this method, after the Pidture is begun, are very great, as the Qrayons will adhere much better than any other way, which will enable the Student to finifti the Pidture with a firmer body of co- D 2 lour, . 20 ELEMENTS OF lour, and greater luftre. The late Mr. Cotes found out this method by accident, and efteemed it a valuable acquifi- tion : And, I remember, on a particular occafion, he re- moved a fine Crayon PiElure of Rofalba s, and placed it on another ftrained cloth, without the leaft injury, by foaking the canvas with a wet fponge,. till the pafte between the cloth and paper was fufficiently wet to admit of reparation. When Painters want to make a very corredt copy of a Pidture, they generally makeufe of Tiffany or black Gauze, ftrained tight on a frame, which they lay flat, on the fubjedt to be imitated, and with a piece of fketching chalk, trace all the Out -lines on the Tiffany. They then lay the Canvas to be painted on, flat upon the floor, placing the Tiffany with the chalked lines upon, it, and with an Handkerchief brufh the whole over ; this prefents the exadt Out-lines of the Pidture on the Canvas. The Crayon Painter may alfo make ufe of this method, when the Subjedt of his imitation is in Oils, but in copying a Crayon Piffure> he muft have recourfe to the following method, on account of the Glafs. The Pidture being placed upon the Eafel, let the Out- lines be drawn on the Glafs with a fmall Camel’s Hair Pencil dipped in Lake, ground thin with Oils, which muff be done with great exadtnefs : After this is accomplifhed,, take a Sheet of Paper of the fame fize and place it on the Glafs, PAINTING WITH CRAYONS. 21 Glafs, ftroking over all the lines with the hand, by which means the colour will adhere to the paper, which muft be pierced with pin-holes pretty clofe to each other. The paper intended to be ufed for the painting muft next be laid upon a table, and the pierced paper placed upon it ; then with fome fine-pounded Charcoal, tied up in a piece of lawn, rub over the pierced lines, which will give an exadt Out line ; but great care muft be taken not to brufh this off till the whole is drawn over with fketching Chalk, which is a compofition made of Whiting and Tobacco-pipe Clay, rolled like the Crayons , and pointed at each end. When the Student paints immediately from the life, it will be moft prudent to make a correct Drawing of the Out- lines on another paper, the fize of the Picture he is going to paint, which he may trace by the preceding method, be- caufe erroneous ftrokes of the fketching Chalk (which are not to be avoided without great expertnefs) will prevent the Crayons from adhering to the paper, owing to a certain greafy .quality in the compofition. The Student will find the fitting pofture, with the box of Crayons in his lap, the moft convenient method for him to paint. The part of the Pidture he is immediately paint- ing fhould.be rather below his face, for, if it is placed too high,, the arm will be fatigued. Let the windows of the room where he paints be darkened, at leaft to the height of fix feet feet from the ground, as before dire&ed, and the fubjedt to be painted fhould be fltuated in fuch a manner, that the light may fall with every advantage on the face, avoiding .too much fhadow, which feldom has a good effedt in Por- trait Painting, efpecially if the face h^ paints from has any degree of delicacy. Before he begins to paint, let him be attentive to his fubjedt, and appropriate the adtion or attitude proper to the age of the fubjedt : If a Child, let it be childifh ; if a young Lady, exprefs more vivacity than in the majeftic beauty of a middle-aged Woman, who, alfo, fhould not be expreffed with the fame gravity as a perfon far advanced in years. Let the embellifhments of the Pidture, and introduction of Birds, Animals, &c. be regulated by the rules of propriety and confiftency. The features of the face being corredtly drawn with chalks, let the Student take a Crayon of pure Carmine, and carefully draw the Noftril and Edge of the Nofe, next the fhadow, then, with the fainteft Carmine Teint, lay in the higheft light upon the Nofe and Forehead, which mu ft be executed broad. He is then to proceed gradually with the fecond Teint, and the fucceeding ones, till he arrives at the Shadows, which muft be covered brilliant, enriched with much Lake, Carmine, and deep Green. This me- thod will, at firft, offenfively ftrike the eye, from its crude appeatancej PAINTING WITH CRAYONS. *3 appearance, but, in the* fini filing, it will be a good founda- tion to produce a pleafing effed, colours being much more eafily fullied when too bright, than when the firft colour- i • . ing is dull, to raife the Pidure into a brilliant date. The feveral pearly Teints difcernable in fine compledions muft be imitated with blue Verditer and white, which anfwers to the Ultramarine Teints ufed in Oils. But if the parts of the face where thefe Teints appear are in fhadow, the Crayons compofed of black and white muft be fubftituted in their place. Though all the face when firft coloured fhould be laid in as brilliant as pofllble, yet each part fhould be kept in its proper tone, by which means the rotundity of the face will be preferred. Let the Student be careful when he begins the Eyes, .to draw them with a Crayon inclined to the Carmine Teint, of whatever colour the Iris’s are of ; he muft lay them in brilliant, and at firft, not loaded with colour, but executed lightly : No notice is to be taken of the Pupil yet; The Student; muft let the light of the Eye incline very much to the blue caft, cautioufly avoiding a ftaring, white appearance, (which, when once introduced, is feldom overcome) pre- lerving a broad fhadow thrown on its upper part, by the Eye lafh. A black and heavy Teint is alfo to be avoided in the Eye-brows ; it is therefore, beftto execute them like 5 4 ELEMENTS OF a broad, glowing fhadow at firft, on which, in the finifh- ing, the hairs of the brow are to be painted, by which me- thod of proceeding, the former Teints will fhew themfelves through, and produce the moft pleafing effect. The Student fhould begin the Lips with pure Carmine and Lake, and in the fhadow ufe fome Carmine and Black ; the ftrong Vermillion Teints fhould be laid on afterwards. He muft beware of executing them with ftiff, harfh lines, gently intermixing each with the neighbouring colours, making the fhadow beneath broad, and enriched with bril- liant Crayons, He muft form the cornel of the moutn with Carmine, Brown Oker, and Greens, varioufly intermixed. If the Hair is dark, he {hould preferve much of the Lake and deep Carmine Teints therein ; this may be eafily over- powered by the warmer Hair Teints, which, as ohferved in painting the Eye-brows, will produce a richer eitecl when the Picture is finifhed ; on the contrary, if this method is unknown or negle&ed, a poverty of colouring will be dif- cernable. After the Student has covered over, or as Artifts term it, has dead-coloured the Head, he is to fweeten the whole together, by rubbing it over with his finger, beginning at the ftrongeft light upon the Forehead, palling his finger very lightly, and uniting it with the next Teint, which he muft continue till the whole is fvveetened together, often wiping PAINTING WITH CRAYONS. 2 5 wiping his finger on a towel to prevent the colours being fullied. He muft be cautious not to fmooth or fweeten his Pi&ure too often, becaufe it will give rife to a thin and fcanty efFed, and have more the appearance of a Draw- ing than a folid Painting, as nothing but a body of rich co- lours can conftitute a rich effed. To avoid this, (as the Student finds it neceffary to fweeten with the FingerJ he muft continually replenifh the Pidure with more Crayon . When the Head is brought to fome degree of forwardnefs, let the Back-ground be laid in, which muft be treated in a different manner, covering it as thin as pofiible, and rubbing it into the paper with a Leather-flump. Near the Face the paper fhould be almoft free from colour, for this will do great fervice to the Head, and by itsthinnefs, give both a foft and folid appearance. In the Back- ground alfo, no Crayon that has Whiting in its compofition fhould be ufed, but chiefly fuch as are the moft brilliant and the leaft adulte- rated. The ground being painted thin next the Hair, will give the Student an opportunity of painting the edges of the Hair over in a light and free manner when he gives the fi~ nifhing touches. The Student having proceeded thus far, the Face, Flair, and Back -ground being entirely covered, he muft carefully view the whole at fome diftance, remarking in what refpeef it is out of keeping, that is, what parts are too light, and E what 26 ELEMENTS OF what too dark, being particularly attentive to the white or chalky appearances, which muft be fubdued with Lake and Carmine. The above method being properly put into execution will produce the appearance of a Painting princi- pally compofed of three colours, viz. Carmine, Black, and White, which is the beft preparation a Painter can make for the producing a fine Crayon PiBure . The next ftep, is to compleat the Back-ground and the Hair, as the duft, in painting thefe, will fall on the Face, and would much injure it if that was compleated firft. From thence proceed to the Forehead, finifliing downward till the whole Picture is compleated. In painting over the Forehead the laft time, begin the higheft light with the moft faint Vermillion Teint,, in the fame place where the faint Carmine was firft laid, keeping it broad in the fame manner. In the next fhade fucceeding the lighteft, the Student muft work in fome light blue Teints, compofed of Verditer and White, intermixing with them fome of the deeper Vermillion Teints, fweetening them together with great caution *, infenfibly melting them into one an- other, increafing the proportion of each colour as his judge- ment fhall diredh Some brilliant Yellows may alfo be ufed, but fparingly, and towards the roots of the Hair, ftrongVer- * This dire&ion is for the fineft completions, but the Student muft vary his colouring according to his fubjet. diter 2 8 ELEMENTS OF as ouch, and his finger as little as poffible. When he wants a point to touch a fmall part with, he may break off a little of his Crayon againft the box, which will produce a corner fit to work with in the minuted parts. If the Eye- lafhes are dark, he muff ufe fonie of the Carmine and brown Oker, and the Crayon of Carmine and Black ; and with thefe he may alfo touch the Iris of the Eye (if brown or hazel), making a broad fhadow, caufed by the Eye-lafh. Red Teints of Vermillion, Carmine, and Lake, will execute the corners of the Eye properly, but if the Eye-lids are too red, they will have a difagreeable, fore appearance. The Pupil of the Eye muff be made of pure Lamp-black ; be- tween this and the lower part of the Iris, the light will catch very ftrong, but it muff not be made too fudden, but be gently diffufed round the Pupil till it is loft in fhade. When the Eye-balls are fufficiently prepared, the fhining fpeck muft be made with a pure white Crayon , which fhould be firft broken to a point, and then laid on firm j but as it is poffible they may be defe&ive in neatnefs, they fhould be corrected with a pin, taking off the redundant parts, by which means they may be formed as neat as can be required. The difficulty, with refpeCt to the Nofe, is to preferve the lines properly determined, and at the fame time fo art- fully blended into the Cheek, as to exprefs it’s projection, and yet no real line to be perceptible upon a clofe exami- nation $ PAINTING WITH CRAYONS, 29 nation ; in fome circumftances it fhould be quite blended with the cheek, which appears behind it, and determined entirely with a flight touch of red chalk. The fhadow caufed by the Nofe is generally the darkeft in the whole Face, partaking of no reflexion from it’s furrounding parts. Carmine and brown Oker, Carmine and Black, and fuch brilliant Crayons will compofe it beft. The Student having before prepared the Lips with the ftrongeft Lake and Carmine, &c. rnuft, with thefe colours, make them compleatly corred, and, when finifhing, intro- duce the ftrong Vermillions, but with great caution, as they are extremely predominant. This, if properly touched, will give the lips an appearance equal, if not fuperior, to thofe executed in Oils, notwithftanding the feeming fupe- riority the latter has, by means of Glazing*, of which the former is intirely deftitute. When the Student paints the Neck, he fhould avoid ex- p refling the Mufcles too ftrong in the ftem, nor fhould the Bones appear too evident on the cheft, as both have an un- pleafing effed, denoting a violent agitation of the body, a circumftance feldom neceflfary to exprefs in Portrait Painting. * The method with which Painters in Oils exprefs tranfparency in the Lips is, by painting them firft with light Vermillion Teints, and, when dry, touching them over with pure Lake. The 3 ® ELEMENTS OF The moft neceffary part to be expreffed, and which fhould ever be obferved, (even in the moft delicate fubje&s) is a ftrong marking juft above the place where the Collar Bones unite, and if the Head is much thrown over the Shoulders, fome notice fhould be taken of the large Mufcle that rifes from behind the Ear, and is inferred into the Pit between the Collar Bones. All inferior Mufcles fhould be, in ge- neral, quite avoided. The Student will find this caution neceffary, as moft fubjedts, efpecially thin perfons, have the Mufcles of the Neck much more evident than would be ju- dicious to imitate. As few Necks are too long, it may be neceffary to give fome addition to the ftem, a fault on the other fide being quite unpardonable, nothing being more ungraceful than a fhort Neck. In colouring the Neck, let the Student preferve the ftem of a pearly hue, and the light not fo ftrong as on the cheft. If any part of the Breaft ap- pears, its tranfparency muft alfo be expreffed by pearly Teints, but the upper part of the cheft fhould be coloured with beautiful Vermillions delicately blended with the pthet. SECTION PAINTING WITH CRAYQNS. 3 * SECTION IV. Of DRAPERY. P AINTING the Drapery is commonly thought to be a very inferior branch of the Art ; this is, moft certainly 9 a miftake. A very great Painter being afked what part of the Picture he thought moft difficult to execute ? anfwered, the Drapery . Whether we allow this to be abfolutely true, or not, we may venture to affirm, that, it is a very difficult part to execute with Tafte ; merely to give the effedt of Silk, Sat- tin, or Cloth, See. is not the point ; this, the fervile Copyift, by the mere dint of labour, may effedt, and may even de- ceive the vulgar eye, fo that the imitation may be taken for reality j but to make the folds give grace and dignity to the the figure, to cloath it uninfluenced by prejudice, fafhion, or caprice, fo as to bear the teft of ages, requires the fulleft exertion of true genius, and the ftudy of a man’s life : but it is not my defign to fay much on this copious fubjedt, there- fore I fhall difmifs it with a few obfervations concerning the colouring and execution. Dark blue, purple, black, pink, and all kind of red Draperies alfo, fhould be firft tinged with Carmine, which will render the colours much more brilliant than any other method y 3 2 ELEMENTS OF method ; over this fhould be laid on the paper, the middle Teint, (a medium between the light and dark Teints, of which the Drapery is to be painted) except the dark maffes of fhadow, which fhould be laid on at Arft as deep as pofli- ble ; thefe, fweetened with the Finger, being deftitute of the fmaller folds, will exhibit a mafterly breadth, which the lefler folds, when added, ought by no means to deftroy. With the light and dark Teints, the fmaller parts are next to be made with freedom, executing, as much with the G rayon and as little with the Finger as poffible, in each fold touching the laft ftroke with the Crayon , which ftroke the Finger mull never touch. In the cafe of reflections, the Ample touch of the Crayon will be too harfh, therefore, Angering will be neceflary afterwards, as reflected lights are always more gentle than thofe which are direCt.- With refpeCt to reflections in general, they muft always partake of the fame colour as the objeCt reflecting, but in the cafe of Angle Agures, it may be ufeful to make fome particular obferva- tions. In a blue Drapery, let the reflections be of a greenifh caft ; in green Draperies, make them of a yellow teint ; in yellow, of an orange ; in orange, refleCt a reddifh caft ; in all reds, fomething of their own nature, but inclined to the yellow s Black fhould have a reddifh reflection ; the re- flection of a reddifh Teint will alfo prefent purples to the beft advantage. Of PAINTING WITH CRAYONS. 33 Of whatever colour the Drapery is, the refledtion on the Face muft partake thereof, other wife the Pidture, like Paintings on Glafs, will have but a gaudy effedh Linen, Lace, Fur, &c. Ihould be touched fpiritedljr with the Crayon, fingering very little, except the latter ; and the laft touches, even of this, like all other parts, Ihould be executed by the Crayon , without fweetening with the Finger. I have contented myfelf with treating on the firft princi- ples only, becaufe many judicious Writers on the fubjedt of Painting (whofe Works, notwithftanding, merit the higheft attention) have not been fo explicit on this head as feems to be necefiary. The methods I have recommended, have been pradtifed by the moft celebrated Crayon Painters , whofe Works have been held in public eftimation ; but the know- ledge of, and ability to execute each feparate part with brilliancy and truth, will be found very infufficient to con- ftitute a compleat Painter, without his judgement enables him to unite them with each other, by corredtnefs of draw- ing, propriety of light and fhadow, and harmony of co- louring. In order to accomplifh this, the Student fhould carefully avoid finifhing one part in particular, till he has properly confidered the connection it is to have with the reft. The negledt of this is the principal reafon why the Performances of indifferent Painters are fo deftitute of what F is 34 -ELEMENTS OP termed Breadth, fo confpicuoufly beautiful in the Works of great Matters. It mutt be granted, that this obfervation re- lates more particularly to large compofitions, where a diver- ttty of figures requires fuch a judicious difpofition, that each may aflift in the combination of a kind of univerfal harmo- ny ; yet, even in Portrait Painting, the Student fhould be particularly attentive to obferve this idea of Breadth, if he is defirous of acquiring that importance and dignity which conftitutes excellence in Painting, SECTION PAINTING WITH CRAYONS. 35 SECTION V. Of the MATERIALS. T HE perfe&ion of the Crayons confifts, in a great mea- fure, in their foftnefs, for it is impoflible to execute a brilliant Pi&ure with them if they are otherWife, on which account great care fhould be obferved in the preparing them, to prevent their being hard. — In all compofitions, Flake- white, and White-lead fhould be wholly rejected, becaufe the flighted touch with either of thefe will unavoidably tura black. The ufual objection to Crayon Paintings is, that they are fubjedt to change, but whenever this happens, it is intirely owing to an injudicious ufe of the above-mentioned whites, which will ftand only in Oils. To obviate the bad effedts arifing from the ufe of fuch Crayons , let the Student make ufe of common Whiting prepared in the following manner : Take a large veffel of water, put the Whiting into it, and mix them well together ; let this ftand about half a mi- nute, then pour off the top into another veffel, and throw the gritty fediment away ; let what is prepared reft about a F 2 minute, Y\ \ \ 36 ELEMENTS OF minute, and then pour it off as before, which will purify the Whiting and render it free from all dirt and grittinefs.— When this is done, let the Whiting fettle, and then pour the water from it ; after which, lay it on the Chalk to dry, and keep it for ufe, either for white Crayons , or the pur- pofe of preparing Teints with other colours, for with this, all other Teints may be fafely prepared. If the Student ebufes to make Crayons of tho Whiting immediately after it is wafhed', it is not neceflary to dry it on the Chalk, for it may be mixed inftantly with any other colour, which will fave confiderable trouble. All Colours of a heavy, or gritty nature, efpecially blue Verditer, mull be purified* by wafl> ing after this method. The Student muft be provided with a large, flexible Pallet-knife, a large Stone and Muller to levigate the Colours, two or three large Pieces of Chalk to abforb the moiflure from the Colours after they are levigated, a Piece of flat Glafs to prevent the moiflure from being abforbed too much, till the Colours are rolled into form, and Veflels for Watei^, Spirits, &c. as. neceffity and convenience fhall diretfl. REDS, l PAINTING WITH CRAYONS. 37 REDS; CARMINE and E A K If. It is rather difficult to procure either good Carmine or good Lake. Good Carmine is inclined to the Vermillion Teint, and good Lake to the Carmine Teint. The Carmine Crayons are prepared in the following manner. As their texture is inclinable to hardnefs, inftead of grinds mg and rolling them, take a fufficient quantity of Carmine, lay it upon the Grinding-ftone, mix it with a levigating Knife with Spirits of Wine, till it becomes fmooth and even. The Chalk-ftone being ready, lay the Colour upon' it to abforb the Spirit, but be careful that it is laid on in a i proper fhape for Painting. If it is levigated too thin, the Crayons will be too flat, and if too thick, it will occaflon a wade of colour, by their adhering to the Pallet-knife ; but pradbife will render the proper degree of confiftency fa- miliar.. The Ample Colour being prepared, the next ftep is to compofe the different Teints by a mixture with Whiting ; the proportion to be obferved confiding of twenty grada- tions to one, which may be clearly underftood by the fol- lowing diredtions. Take fome of the Ample Colour, and levigate 3? ELEMENTS OF levigate it with Spirits of Wine, adding about one part of waflied Whiting to three parts of Carmine, of which, when properly incorporated, make two parcels. The next grada- tion fhould be compofed of equal quantities of Carmine and Whiting, of which four Crayons may be made. The third compofition fhould have one fourth Carmine, and three fourths Whiting, of this make fix Crayons , which will be a good proportion with the reft. The laft Teint fhould be made of Whiting, very faintly tinged with Carmine, of which make about eight Crayons , which will compleat the abovementioned proportion. As thefe compound Teints are levigated, they are to be laid immediately upon the Chalk that the moifture may be abforbed to the proper de- gree of drynefs for forming into Crayons , which may be known by its lofing the greater part of its adhelive quality when taken into the hand : If the confiftency is found to be right, it may be then laid upon the Glafs, which having no pores will prevent the moifture from becoming too dry before it is convenient to form it into Crayons , otherwife the Crayons would be full of cracks and very brittle, which will be a great inconvenience when they are ufed in Painting. LAKE Is a Colour very apt to be hard, to prevent which the Student muft obferve the following particulars : Take PAINTING WITH CRAYONS. 39 Take about half the quantity of Lake intended for the Crayons , and grind it very fine with Spirits of Wine ; let it dry, and then pulverize it, which is eafily done if the Lake is good ; then take the other half, and grind it with Spirits, after which mix it with the pulverized Lake, and lay it out dire&ly in Crayons on the Chalk. This Colour will not bear rolling. The fimple Colour being thus prepared, proceed with the compound Crayons , as directed before, and in the fame degrees of gradation as the Carmine Teints. VERMILLION. The belt is inclined to the Carmine Teint. Nothing is required to prepare this Colour more than to mix it on the Stone with foft Water or Spirits, after which it may be rolled into Crayons . The different Teints are produced by a mixture of the fimple colour with Whiting, according to the proportions already given. BLUES. PRUSSIAN BLUE Is a Colour very apt to bind, and is rendered loft with more difficulty than Carmine and Lake. The fame method of preparation is to be followed with this as dire&ed with refpedt .40 E L E M ENTS OF refped to Lake, only it is neceflary to grind a larger quan- tity of the pure Colour, as it is chiefly ufed for painting Dra- peries. The different Teints may be made according to neceffity, or the fancy of the Painter. BLUE VERDITER Is a Colour naturally gritty, and therefore it is neceflary to wafli it well. Its particles are fo coarfe as to require fome binding matter to unite them, otherwife the Crayons will never adhere together. To accomplifli this, take a quan- tity fufficient to form two or three Crayons , to which add a piece of flacked Plaifter of Paris about the fize of a pea ; mix thefe well together, and form the Crayons upon the Chalk. This Blue is extremely brilliant, and will be of great ufe in heightening Draperies, 8cc. The Teints mult be formed with Whiting as dire&ed in the former inftances, and are highly ferviceable for painting flelh, to produce thofe pearly Teints fo beautiful in Crayon Pi&ures . It is not neceflary to mix the compounds with fpirits, as clear water will he fufficient. GREENS. PAINTING WITH CRAYONS. 41 GREENS. Brilliant greens are produced with great difficulty. In Switzerland , they have a method of making them, far fupe- rior to ours *. We ufually take yellow Oker, and after grind- ing it with fpirits, mix it with the powder of Pruffian blue, then temper it with a knife, and lay the Crayons on the Chalk, without rolling them. Inftead of this, fome uie King’s yellow mixed with Pruffian blue, and others, brown Oker and Pruffian blue. The Crayons made of the two laft may be rolled. Various Teints may be produced by thefe colours, according to fancy or neceffity ; fome to par- take more of the blue, and others of the yellow. YELLOWS. K I NG’s-YELLOW Is the moft ufeful and the moft brilliant, levigated with Spirits of Wine, and compofe the different Teints as before directed. Yellow Oker and Naples yellow ground with fpirits will make ufeful Crayons . * Mr. Bonhote , in Hayfe s Court , Soho, is the original Importer of thefe Crayons from Laufanne, in Switzerland ; the Student may find it very ufeful to iupply de- ficiencies of this nature with them, as the ingredients which compofe thefe brilliant Crayons are not to be met with in England . G ORANGE 4* . ELEMENTS OF ORANGE Is produced with King’s-yellow and Vermillion ground together with fpirits, and the Teints formed as in other cafes, but no great quantity of them is required. BROWNS. CULLEN S-EARTH Is a fine dark brown. After fix or eight of the fimple Crayons are prepared, feveral rich compound Teints may be produced from it, by a mixture with Carmine, in various degrees. Black, Carmine, and this colour, mixed together, make ufeful Teints for painting Hair ; feveral gradations may be produced from each of thele by a mixture with Whiting. Roman, or brown Oker is an excellent colour, either fimple or compounded with Carmine. Whiting tinged, in feveral degrees, with either of thefe, will prove very ferviceable in painting. UMBER May be treated in juft the fame manner, only it is ne- ceffary to levigate it with Spirits of Wine. PURPLES. PAINTING WITH CRAYONS. 43 PURPLES. Prusstam blue ground with fpirits, and mixed with pul- verized Lake, will produce a good purple. Carmine thus mixed with Pruflian blue will produce a purple fomething different from the former. Various Teints may be made from either of thefe compounds by a mixture with Whiting. BLACK. L AMP-BLACK Is the only black that can be ufed with fafety, as all others are fubjedt to mildew ; but as good Lamp-black is very fcarce, the Student will, perhaps, find it moft expedient to make it himfelf, the procefs of which is as follows : Provide a tin cone, fix it over a lamp at fuch a height that the flame may juft reach the cone for the foot to ga- ther within it. When afufiicient quantity is collected, take it out, and bum all the greafe from it in a crucible. It muft then be ground with fpirits and laid on the chalk to abforb the moifture. Various grey Teints may be formed from this by a mixture with Whiting, as mentioned in for- mer inftances. Cr 2 Vermillion •44 ELEM ENTS OF Vermillion mixed with Carmine. — This is a compofl- tion of great ufe, and Teints made from this with Whiting will be found to be very ferviceable* Carmine and black is another good compound, of which live or fix gradations fhould be made, fome partaking more of the black, and others having the Carmine moft predomi- nant, befides leveral Teints by a mixture with Whiting. Vermillion and black is alfo a very ufeful compound,, from which feveral different Teints Ihould be made. Prussian blue and black is another good compound,, and will be found of lingular fervice in painting Draperies. It is impoflible to lay down rules for the forming every Teint neceflary in compoling a fet of Cray onSy there beino - many accidental compolitions, entirely dependant on fancy and opinion. — The Student Ihould make it a rule to fave the leavings of his colours, for of thefe he may form various* Teints,, which will occafionally be ufeful.. SECTION 45 PAINTING WITH CRAYONS. SECTION VI. Of ROLLING the CRAYONS, and DISPOSING THEM FOR PAINTING. T HE different compofitions of colours muff be cut into a proper magnitude, after they are prepared, in or- der to be rolled into Paftils for the convenience of ufing them. Each Crayon fhould be formed in the left hand with the ball of the right, firft formed cylindrically, ancf then ta- pered at each end. — If the compofition is too dry, dip the Finger in water, if too wet the compofition muff be laid upon the Chalk again to abforb more of the moifture. The: Crayons fhould be rolled as quick as poflible ; and when ff» niihed, muff be laid upon the Chalk again, to abforb all re- maining moifture. After the gradation of Teints from one co* lour are formed, the ftone fhould be well fcraped and clean fed with water before it is ufed for another colour,. When the fet of Crayons is compleated according to the rules prefcribed, they fhould be arranged in clafles for the convenience cf painting with them. — Some thin drawers,* divided into a number of partitions is the moft covenient method of difpofing them properly. The Crayons fhould be depofited according to the feveral gradations of light. The bottom of the partitions muff be covered with bran, as a bed ELEME NTS OF 4 6 bed for the colours, becaufe it not only preferves them clean, but prevents their breaking. The box made ufe of when the Student paints, fhould be about a foot fquare, with nine partitions. In the upper corner, on the left hand, (fuppofing the box to be in the lap when he paints) . let him place the black and grey Crayons , thofe being the moft feldom ufed ; in the fecond partition, the blues ; in the third, the greens and browns ; in the firft partition on the left hand of the fecond row, the Carmines, Lakes, Vermillions, and all deep reds ; the yellows and orange in the middle, and the pearly Teints next ; and as t hefe laft are of a very delicate nature, they muft be kept very clean, that the gradations of colour may be eafily dif- tinguifhed : In the loweft row, let the firft partition con- tain a piece of fine linen rag to wipe the Crayons with while they are ufing ; the fecond, all the pure Lake and Ver- million Teints ; and the other partition may contain thofe Teints, which, from their complex nature, cannot be clafled with any of the former. FINIS. - - : - #• : 5 ' '< 0 - ir . . . 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