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PUBLISHED BY 
 
 FREDERICK A. TIFFANY, 
 
 EMPORIA, KANSAS. . 
 
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 ->iHOW TO BECOME RW<- 
 
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 —BY- 
 
 FREDERICK A. TIFFANY. 
 
 EMPORIA, KANSAS. 
 
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 A SAJ^B. SURE AND PRACTICAL GUIDE 
 
 TO 
 
 -5 ORNRMENTSL? POINTING ^- '^^"^^ 
 
 Embracing all the Latest and Most Improved Methods. 
 
 A Perfect and Reliable Instructor-. 
 
3 
 
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 ORNAMENTING. 
 
 (s^?>ll^|||^f^?F-e) 
 
 Y| |w I'URING tlie last fifteen years tlie demand for 
 (h l^J ornamental work lias increased at sncli a rapid 
 rate in this conntry that it is almost impossible 
 to Ining any atticle into market and into i)nl)lic ftivor 
 unless it l)e ornamented in some pleasing manner. 
 
 As any demand will always find a sonrce of snp- 
 l)ly, so it has l)een in this case. All classes of mechan- 
 ics combine to make whatever they produce pleasing to 
 the eye. 
 
 Who has not admired an American railway train 
 when cars and engine are newly painted and orna- 
 mented (' AVlio does not look vdth preference at an 
 omnibus when finely ornamented, and placed along sider 
 of one which is only painted in pl^in colors ? 
 
 We hardly need refer to the difterence which ex- 
 ists between the iron safes of fifteen years ai>:o and 
 those of modern times. From the plain green and black 
 painting, safes have changed to rich, tasty colors, fine 
 ornamental work and lettering; and frequently we find 
 on them landscapes and portraits of a really fine exe- 
 cution. Tliese changes have certainly not been the 
 
ORXAMENTAI. PAINTING. 
 
 f 
 
 mere fancies of t]ie iiianufaeturer, as tliey add coiisider- 
 ahly to tlie cost of production; hut tliey liave hecome 
 a necessity caused l)y tlie develo})nient of taste in a more 
 highly civilized community. 
 
 The princi})al nations of Europe, although they 
 still take tlie lead in the tiner ai'ts, do not, as a general 
 I'ule, ap})ly decorations as profusel}' on articles of every 
 day use, l)ut confine themselves in this respect more 
 exclusively to articles which are to represent artistic 
 value. 
 
 It is often said that Americans ornament too much. 
 A\ (% on the contrai*y, assert that this is hy no means the 
 case, A taste for the higher arts is developed, and the 
 Tesidt has been that styles of ornamentation have l)een 
 created whicli bear a strictly American cliaracter. 
 
 Aside from this, it should be ()l)sei'ved that the 
 greater portion of the nu)st liiglily civilized countries of 
 Europe is situated within a l;;tiiiid>Miiuch farther north 
 than the United States, and it is an estai)lished fact 
 that the nearer we get to the e(puitor, the demand for 
 more brilliant ornamentation increases. 
 
 iN^ot only will a tasteful and brilliant exterior 
 always I'ender cei'tain goods more salable in tiiis coun- 
 try, but in S})anish iVmerica, Brazil, New Zealand, Aus- 
 tralia and other soutliern markets, go(^ds unorminiented 
 would ])e unsalable — and we here take the op})ortunity 
 to call the attention of parties, and especially those who 
 maimtacture for, or whose g(K)ds can be used in, the 
 southern markets, to these facts. 
 
f 
 
 r^'j&"^=3 
 
 LANDSCAPE PAINTING. 
 
 I^^N painting Landscapes, the painter is bound l)y 
 certain rules of art to a correct imitation of the 
 features of nature; but it is not required tliat h(^ 
 shouhl descend to copy all her more minute features, (n* 
 rejnvsent witli absolute exactness the very shrults, 
 liowei's and trees with which tlie spot is decorated. The 
 painter must intrt)duce no ornament inconsistent with 
 the climate or country of his landscape; tlie figures 
 winch he introducc's nnist have the costume and char- 
 acter of their age; and tlie piece must rejn'esent the gen- 
 eral features of the scene which he has chosen for his 
 subject; his general coloring, too, must V)e copied from 
 nature, and tlie general tints must be those which pre- 
 vail in a natural landscape. 
 
 We will first lay out a s])ace the size of the picture 
 to l>e painted, and paint it white. 
 
 OnTAixiNG THE Otttlixes. — Supposing the painter 
 to be an amateuu, or not versed in the art of off-hand 
 drawing, ^^^e ^vill prepare an easy method by which he 
 can oT)tain tlie outlines of the picture upon the surface^ 
 which he wishes to paint. Prepare a sheet of white 
 
ORNAMENTAL PAINTING. 
 
 f 
 
 ])a|)ei' 1)}" brushing over it e(pial parts of linseed oil, 
 turpentine and l>alsani of fir, mixed together; this ren- 
 ders tlie })aper transparent. Select a suital)le picture, 
 and over this lay the transparent paper, and with a 
 lead pencil trace all the outlines of the picture; having 
 (h>ne tliis, (hist tlie hack of the })a})er with any dry col- 
 or, except hlack or white. The white space which we 
 have ])reviously painted, now lieing dry, we will lay 
 the transparent paper upon its surface, and fasten it in 
 place l)y inserting a tack in each corner of the paper, 
 and ^^'ith a pointed hard- wood stick carefully follow the 
 outlines of the picture; remove the paper, and the out- 
 lines of the picture will l)e found upon the white sur- 
 face. The picture now ))eing ready to i)aint, we will 
 decide upon the time of day and the season of the year 
 tliat the scene is intended to represent. 
 
 An Eveninci Scene. — An evenino; scene should be 
 painted in sul>dued tints, and as the light decreases, so 
 in proportion must the colors approach toward neutral 
 tints. 
 
 A Mid-day Scene. — At mid-day, under a cloud- 
 less sky, natural ol)jects should ])e painted in their full 
 brightness of color, modified of course by the position 
 of olijects with respect to the sun, and their sup|)osed 
 distance from the eye of the o])ser\ er. 
 
 An Eakly Morning Scene. — An early morning 
 scene should be composed of grays of difterent depths 
 of tone, as they best represent the pecniiar indistinct- 
 ness and haziness that is seen at the beginning of day. 
 
ORNAMENTAL PAINTING. 
 
 A Clear Eve:ning Sky. — A clear evening sky 
 would require blue, violet, rose, Hesli and yelloAv colors; 
 the blue to be placed at the zenitli, or at the top of the 
 sky space, and, the others to follow in the order named, 
 the yellow to 1)6 placed the lowest, or next to the line of 
 horizon. 
 
 Begin the picture b}' first laying out on the pallet 
 board a set of tints for the sky and clouds. Commence 
 to paint the picture at the top of the sky space, working- 
 downward — the colors to be the darkest at the zenitli 
 and lightest toward the horizon; blend the edges of the 
 tints together and let them dry. 
 
 Objects in tjie Distance. — Next paint the olgects 
 farthest in the distance. These should be painted in 
 sky tints, but darker in tone, as in looking toward the 
 sky we see ])lue; so distant hills, mountains, etc., will 
 appear of that color because of their remoteness. 
 
 Objects in the Middle Distance, — Objects in the 
 middle distance should have a little stronger coloring 
 — the colors, though, should be rendered pale by the 
 admixture of white. 
 
 Air Tint. — ^Ultamarine blue o-ives an air tint and 
 an appearance of distance. 
 
 Objects in the Foreground. — Objects that are in 
 the foreground, or nearest portion of the picture, should 
 be painted in strong, rich colors. 
 
 Trees in the Foreground. — The foliage of trees 
 in the foreground should first be painted with olive 
 greens — black, yellow and red forming the proper color; 
 
ORNAMENTAL PAINTING. 
 
 paint ill tliemass of foliage thinly witli this color, after- 
 wards painting into this witli tints richer in color, and 
 high-lighting with bright or yellowish green. 
 
 Distant Trees.— Distant trees may he painted 
 witli a hhieish green tint, composed of white, blue, and 
 yellow ochre. The trunks of trees are sketched in with 
 colored grays, composed of Avhite, black and red, and 
 worked partly over with washes of burnt sienna, and 
 darker touches of Vandyke brown or asphaltum, accord- 
 ing to their positions in light or shadow. 
 
 Water. — Water being largely dependent on reflec- 
 tions for its color, the sky and reflections from moun- 
 tains, hills, trees, and objects casting their sjiadows u})oii 
 the surface of the water, will furnish the proper color. 
 
 The Ground. — For the ground, coat Avith broad 
 masses of a l)right tint of wliite and raw sienna, and 
 afterwards break it up with brown, composed of burnt 
 umber and white, or burnt sienna; um})er tints of vari- 
 ous kinds l)eino; the most useful. 
 
 Burnt sienna and white give sunny tints, which 
 should be opposed by cold shades of blue or gray. 
 
 White with yellow and reds, produce light and 
 warmth in a picture, while 1 irowns and blacks are more 
 retiring and are used to give shadow effects. 
 
HARMONY. 
 
 ^S^YH^HE paintel' >;lioiild bear in iiiiiid tliat in order 
 ;3Y^i^ to produce a pleasing jol) of ornamental work, 
 the scenes and surrounding scroll- Avork should 
 harmonize mth each *)ther — that is, if a picture is in- 
 tended to represent a warm scene, the scrolls sliould ])e 
 composed of, or sliaded with, colors having wai-mth; or 
 if a cold scene, the scrolls may be produced in coo] 
 tints, or shaded and high-lighted with l)lues, grays, etc. 
 Figures, objects and effects should be introduced into 
 the scroll that represent either warmth or coolness, ac- 
 cording to the picture. 
 
 Though the work may be poorh' executed, if there 
 has been a system of harmony carried throuhgoiit the 
 entire ornamenting, it will have a pleasing look, and 
 the eye of an ordinary observer will not detect an 
 imperfections 
 
PO RT RAIT PAINTING 
 
 i^T!v ■, ' NLIKE landscape painting, a })t)rtrait must be 
 [i^4\i^^ accurately produced — tlie outlines of the face, 
 '"""' the ex|)ressi<)ii of tlie countenance, and the 
 
 color of tlie complexion, hair and eyes mnst be faith- 
 fully carried out. 
 
 Amateurs or new beginners should select a well 
 painted portrait — ''a chronio or lithographic poi-trait 
 that has good coloi's will do"— and v\it]i a shar])-pointe(l 
 pencil, faithfully dr.iw all the <^utlil!(^s of the portrait 
 upon a sheet of t]":!nsp;:rci;l paper pL'cc^d over the pic- 
 ture, carefully sketching in the eyes. The surface that 
 you wish to paint, having been previourly coated white, 
 and dry, you will o1)tain the outlines upon the white 
 surface by [)roceeding the same as in landscape painting. 
 
 Fie Sill Color. — First mix a flesh tint, composed of 
 white, JS^aples yellow and vermillion, and with this, coat 
 all the ])arts requiring flesh color, leaving the orl>it of 
 the eyes unpainted. 
 
 Hdlf TlihtH. — Next mix half tints, b}' adding blue 
 or black to the flesh tint; these are to be used for the 
 lightest shades, blending tliem in well with the flesh 
 
ORNAMENTAL PAtMTtNG. II 
 
 color. For till' darkest shades, use raw umber and light 
 red. 
 
 Hha<lou:ln<j. — In shadowing, let the shadow foil on 
 tlie same side of the body, leaving tlie other to the light 
 — tlius in a portrait, if yon begin to shadow the right 
 cheek, shadow also the right jjartof the neck, arm, .side, 
 etc. The sliad(.)\vs of the neck in a child or young wo- 
 man are very tine, rare, and liard to l)e seen. In a man, 
 the sinews and veins are expressed by shading the rest 
 of tlie neck and leaving them light; the brawn of the 
 arm sliould be full shaded on one side; the shoulder 
 must l)e shadowed underneatli. The >)reasts of a man 
 are shoAvn by two or three strokes underneath; in a wo- 
 man, by a deep ()l)icular sliade. 
 
 The IJps. — For tlie lips, use carmine and wliitc; 
 the upper should l)e a shade darker than tlie h)wer one. 
 
 The Cheeh^. — The cheeks sliould l)e \'erniilion, 
 l)lended with the Hesli color. 
 
 The Hair. — The liair may now be painted in; for 
 a light lu'own, use >A'liite, yelloAv ochre and Vandyke 
 brown; for a dark l)rown or chestnut, use red, black 
 and yellow. The hair may be shaded witli vandyke 
 brown or a red brown. 
 
 The Eye. — We will now direct our attention to the 
 eye. Tliis being the most difficult ])art of portrait 
 painting, it should be cai'efully studied, foi- upon the eye 
 the whole expression of the face is largely dependent. 
 The white of the eye, to present a natural appeai'ance, 
 should be composed of flake white, to which should be 
 
12 ORNAMENTAL PAINTING. 
 
 added a trace of Pi-ussian blue and a sli^-lit tinge of raw 
 limber; for the shadow, add more nnd)er, painting in the 
 (hirkest sliade nnderneath the njjper eyelid, and at the 
 same time giving it a natnral, rounded appearance. The 
 coh)r of the eye is next painted in. For a bhie eye, 
 use white and Prussian blue; for the sha(h)W, there 
 should l)e added to the color, a larger proportion of })hie. 
 For a gray eye, the color should be composed of a ])lue- 
 gray, by adding to white and l)laclv a small portion of 
 blue, and shading with tlie same color, to which either 
 more blue or black has been achled. For a })row)i eye, 
 use l)urnt umber and orange chrome, or Vandyke brown 
 and l)lack, shadowing with Mack. For the pu])il or 
 center of the eye, use clear l)lack. The eyebrows and 
 winkers may now be painted in, using tlie same color as 
 for the hair. 
 
 CciHtin<j of I) rape r lex or ( '/of/iiin/. — The drapery 
 or clothing is now [)ainted, and the folds should be dis- 
 tributed in such a manner as to appear rather the I'esult 
 of mere chance than of art, study or labor. Finish the 
 picture 1)}^ painting in the back-ground to suit the taste, 
 l)ut sliould be composed of some dark color, harmoniz- 
 ing .with the picture. 
 
 LITTLE TIimGS. 
 
 There are a thousand and one little things connect- 
 ed with ornamental painting that are seldom, if ever, 
 thought of 1)}' the majority of painters; while, if a ],)er- 
 son takes time to examine closely, he Avill find that it is 
 
ORNAMENTAI, PAINTING. 
 
 13 
 
 tliese little things that go to make up a first-class joh. 
 The painter who overlooks them wdll turn out work with 
 an ordinary finish, that will not l)ear inspection, and 
 wonders why it is that his work is inferior to others. 
 
 INDIAN RED. 
 
 This pigment is one of the most useful as well as 
 the most desiral)le of those used 1 )y the 2)ainter. It is a 
 pure pei'-oxide of iron, and possesses a body or covering- 
 power almost astonishing. It is excellent for use with 
 the pencil, and mixed with other pigments it gives rich 
 and permanent colors. For striping, this color is used 
 \"er\' extensively, and a lu'oad line of indiaii red glazed 
 with carmine, then edged with fine lines of green, makes 
 a very handsome stripe on black gears. 
 
Theatrical Scenery and Pictorial Signs. 
 
 ^^\'j>^-HIS AV()rkl)eino; intended to be viewed at a dis- 
 3')'^^ tance, slioiild l)e painted in J>i-(ku1 masses of 
 eolor, witli heavy li^'lits and sliades. Objects 
 should be }>ronght ont bohlly, and very little care 1)eing 
 taken to l)lendthe edges of the colors together. ^\Tiile 
 painting this class of work, the |)ainter should fre(]uently 
 step out at the right distance from the scene, to see that 
 his work is progressing properly, and that it can be ob- 
 served at the proper distance. 
 
 Preparation of the Cannax. — Select a firm, heavy 
 piece of muslin or canvas and stivtch this out against a 
 wall or anything having a smooth surface. In order to 
 prevent the colors from striking through the canvas, it 
 should be sized with stroncj o-lne or stai-ch water; this 
 should be ap])lied with a large ])ristle l)rush, care being 
 taken to cover the entire surface. 
 
 Mixing of Colors. — Theatrical scenery and picto- 
 rial signs, to look well, should be painted with colors 
 having little or no gloss. Take a quantit}' of dry pig- 
 ment and mix it to a stiff paste with brown japan; put 
 
ORNAMENTAL PAINTING. 
 
 it into the mill, dilute with a very little rubbing- varnish 
 and grind; then thin with turpentine to a working con- 
 sistency, add one table.spoonful of raw linseed oil to each 
 [)int of mixed paint. This will produce a mixture that 
 will dry well, and have a little less than an egg-shell 
 gloss. 
 
 In painting a pictorial sign, a good effect may be 
 produced by painting a landscape with a large sky 
 space, and lettering upon the sky space; tlie letters 
 should l)e l)ack and under-shaded. Anothei" good effect 
 may ])e made l)y painting a marine view, or water scene 
 and producing the lettering upon the water space. If 
 the sun is represented as being in the rear of tlie letters, 
 they may l)e shaded and have a shadow cast — the sliad- 
 o\v must be cast forward upon the surface of the water. 
 AVe have given these two illustrations as examples of a 
 thousand and one ways that fine effects may be ])roduced 
 hy forethought and study. 
 
 In compounding shades, tin'ts and colors for tliis 
 style of work, the same rules should be observed as in 
 landscape and portrait j)ainting. 
 
 ULTAMARINE BLUE. 
 
 Ultamarine blue is the purest of all colors. AVlien 
 this pigment is used as a glazing over blue ground, it 
 should be mixed with hard-dryino; body varnish and 
 thinned with a very little turpentine when about to be 
 applied. Ultamarine requires a good ground-work 
 when used ])ure, and this should be as near the desired 
 
l6 ORNAMENTAL PAINTING. 
 
 shade of finish as can be obtained by other blues. Being' 
 a very transparent color, the ground should be solid. 
 The finest (j^iiality of ultamarine blue is worth the small 
 sum of $!)( ).()() a pound. 
 
 CARMINE. 
 
 Carmine is a peculiar color to mix and apply, to 
 make a perfect job. Glazing over a prepared ground is 
 the usual method, and various sliades of the color may 
 be made by a slight change in the ground. Carmine 
 can l)e darkened without sullying its 2:)urity, by the addi- 
 tion of ultamai'ine blue. Carmine and ultamarine, 
 mixed in equal parts, as a color, form a beautiful purple. 
 
 CHROME YELLOW FOR GROUNDS. 
 
 Few painters would believe that wlien two good 
 coats of ultamarine blue are laid over a briglit chrome 
 yellow ground, that the bine Avill appear purer or richer 
 in tone tlian if laid over a lead, or light blue. Vermil- 
 ion laid over a chrcme yellow ground, covers solidly; 
 and it is said that it will bold its brightness and purity 
 of color longer than when laid over aground composed 
 of indiau red. 
 
THE ART OF SCROLLING. 
 
 
 f ' 
 
 $^OLT) LEAF SCROLLS.— In painting gold 
 r^V^lX scrolls, the following process, as practiced by 
 tlie leading ornamental painters tln'ongliont tlie 
 connti'}^, will V)e found correct. AVe will now su2)])ose 
 that your panel which you Avish to ornament is grounded 
 in and thoroughly dry. The first step to1)e taken is to 
 prepare a wash to preyent the geld leaf from adhering 
 to the surface beyond the outlines of the sizing. Take 
 the white of an egg and reduce it with water, and with 
 a piece of sponge apply it to the panel, being careful to 
 go o\er every ])art; or a thin wash of starch water can 
 be used, applied with a flat camel-hair brush. While 
 this is drying, you should prepare your scroll pattern. 
 Select a heavy pirce of paper in size corresponding with 
 your 2)aL>el; on this trace the outlines of your scroll which 
 you V ish to paint, and with a medium size needle pr(^- 
 ceed to puncture small holes about one-sixteenth of an 
 inch ai)art, carefully following the lines. Now place 
 your ])attern against the panel to be ornamented, hold- 
 
iS ORXAMKNTAL PAINTING. 
 
 iiiU' it ill i)Iac'e })\ innn'tiiiL;' siiiail tacks in eacli corner, 
 mid with a pcunce bag, made of a thin piece of n'uslin 
 in wliieli is tied up sronie dry wliiting, strike o\er all the 
 [)unetnre(l holes. Remove tlie })attern carefully, and you 
 will find tlie design on the surface of the panel in fine, 
 white d< ts; dust this very lightly with a soft duster, to 
 remoN e any surplus whiting — as an excess of whiting 
 tends to clog the pencil inu\ prevents it from cnttii'g a 
 clean, smooth line. 
 
 (rihlhiij Si?:e. — Thei'e are se\<^i"al different methods 
 of pivparing the sizing to I'ece've the gold, and ])erha})s 
 the following, for all practical purposes, is the best: 
 Take good wearing l)ody varnish and an equal ([uantity 
 of good coach japan, and mix with it a little chrome yel- 
 low. This will bs^ found to be \ei-y dui'able, and is ju'e- 
 tVrred by most painte.rs to fat oil size, as it has the ad- 
 vantage of drying more (piickly. 
 
 I'ooJs. — A^V will now turn our atteiitien to the 
 tools reipiired. First to come into consideration is the 
 l)alette board and rest-stick. Tln^ palette boar<l is used 
 to mix and distril)ute the colors u})un, and while in use, 
 is held u})()n tlie thund» of the left hand. The rest-stick 
 should be made of hard wood, about 2i feet long, taper- 
 ing at oiK^ t^tid, with a small ball of cotton encased in a 
 piece of chamois leather, fasteiu^d on the smaller eud; 
 this is to })rex"entthe end of the stick from scratching the 
 W( rk. The larger end of the stick is held in the left 
 hand in connection with the pah-tte boai'd, while the 
 smaller end with the ball rests against the woi'k; upon 
 
lliis y<>" can now rest your riirlit arm, wlncli (^nal)les 
 von to pi'ocnre a long, steady (riweep with the pencil-. 
 The painter shonld learn to nse the^<e tools to advantag-e^ 
 as they are indispensalde in doing good work. 
 
 Pencil BniKheA. — The pencil brushes used t'oi- this 
 kind of work are what is termed "Idack sable hair scroll- 
 ing pencils." They are sold in assorted sizes, from 1 
 to 1 8, and should T)e in length from f to H inches. 
 The hair shoidd come to a fine sharp point. You will also 
 need a round l)adger-hair Idendei- or softener; this is 
 used to blend the shades and colors together. 
 
 With the tools at hand, we are now read}' to size 
 the design. Take a small size pencil, and vA\\\ the 
 gildino; size, carefulh' follow the outline*; of the scroll, 
 tilling in between the lines as you proceed, T\ith a shorter 
 and thicker pencil, being careful to lay the size smooth 
 v'iud level. 
 
 LaijUKj Irohl Z<?<?/'.— The scroll having been sized 
 in, the leaf should be laid so as to show no lapsv Nearly 
 every paintei* has a difterent process of laying leaf, and 
 each one thinks his method the best. The following 
 method will be found to be one of the )>est as well as 
 most economical ways of producing a good jol) of gild- 
 ing: Take a sheet of ^vhite tissue paper, and rub it 
 over on one side with ^ piece of white wax, which can 
 be procured at any drug store^ The paper should be 
 placed on something perfectly flat, and ruV)bed l^j-iskly 
 with the wax over the surface, wdiich will give the pa- 
 per a "tackiness" suflicient to c-ause the gold leaf to -ad^ 
 
20 ORNAMENTAL PAINTING. 
 
 here to it. The ])aj)er is now cut into s(|iiMves a little 
 hirger tliaii the leaves of the l)ook of gold; this ha\'ing'^ 
 been done, the book of gold leaf should be carefully 
 opened, and the waxed side of the tissue paper liglitly 
 pressed u})on the gold; the gold will now be found at- 
 tached to the waxed paper. Each leaf of gold should be 
 taken out in the same manner until the l)0()k is emptied. 
 The gold leaf is now ready for use — but l)e sure and not 
 ])egin to lay the leaf until the sizing is dry enough so 
 that you can i)ress the leaf down hrmly without wrink- 
 linofit. The sizins' should be aJmo-st dry, /. ^'.,lias a very 
 "tacky" feeling. If through dela}' or miscalculation, it 
 should become too dry, breathe gently on it just before 
 you a})})ly each stri]), and it will adhere ])erfectly. The 
 arold now beinii' all laid, we will rub it down smoothly 
 with a wad of cotton, and with sj)onge and water wash 
 off all excess of the leaf. 
 
 Sh(((Jim/. — This is the ])leasentest but the most dif- 
 ficult part to perform, and the painter will iind that his 
 artistic taste will l>e <lrawn upon to its fullest extent. 
 But commence your work with l)oldness and confidence, 
 and with the determination that you will accomplish 
 what }'ou desire. By following the directions given in 
 this work, you cannot fail of obtaining the desired re- 
 sults. Before attempting the shading, the gold should 
 be toned, by receiving a thin wash of raw sienna diluted 
 with varnish and turpentine; this should not l)e neg- 
 lected by the painter, as when the shading is applied 
 directh on the irold it has a daub\' look, caused b\' the 
 
leaf quickly al)s<>i'1)iiig tlie wasli, and inakiiii;" correc- 
 tions inipt)ssil)le. AVlie-re time will permit, tlie panels 
 .slioivld lia\'e a coat ot'rul>l)ing \arnisli ]»efore tlie shad- 
 ing is commenced. Asplialtum, diluted with \arnish, 
 is generally used for shading gold leaf; altliongh burnt 
 mu\ raw sienna can be used to good etfect. Foi'a Avarm 
 shade, tinge the as})lialtuni with carmine, cooler tones 
 are produced l»y a tinge of verdigris. First commence 
 by applying the lightest Avashes of shade. These shonld 
 be blended, or softened, 1>y taking youi- Idender and 
 beginning at a point that you Avisli the lightest, or Avliere 
 the shade is intended to tade out t(* a faint shadoAA, and 
 lightly sti'oke it toAA'ai'ds the darker part of the shade ; 
 this should also be carried out with each succeeding 
 shade. AVlien the first shade has become dry, the parts 
 intended to be darker should receive another coat of the 
 Avasli, and so on until the scroll is In-ought out in l>old 
 relief. 
 
 GlazliKj. — Our next step, if we wish to ])roduce a 
 lu'illiant job, Avill be to glaze ])arts of the scroll; the 
 colors general h' used for this are carmine and verdigris, 
 to AA'hich should be added a small cpiantitA' of varnislh 
 Carry the gUze over the clear gold, and the shades, 
 This })roduces a l)eautiful effect, and gives the a})])ear- 
 ance of light and dark shadoAVs of the same eoh)r. 
 
 IIi(fh-li(/hfin<j. — -High-light with straw color. In 
 hio'li-liii'htinii: the ed^'e of a scroll it should be done 
 directly on the leaf and not on the ground- work. 
 
 Hemfirl-s. — In shading scrolls, either gold or color, 
 
li OHSWMKNr.U. PA IN t IN G; 
 
 the i»aiiit(^»- slioiihl avoid ii'iviiiL^' tlipiii \\u\t jf<(f i\\)\){^'dv- 
 aiUM- that some scrolls have, e^peeiallx' those done by 
 iiiex})ei'ieiiced workmen. Pai'ts that aiv intended to be 
 retired, or in the l)ack liroiind, shonld )>e shaded (hirkei', 
 while tliose to l>e prominent sliould be l>rono-]it forw.ii-d 
 by lio'hter shadinic and ]iiohdi;^htinu', and the wjiole 
 sri'oll relieved I'roni the sni-fare of the ])anel by back and 
 under shading. The scroll, after bein^' eom])leted, 
 sjioidd ha\e tlie ai>])earance of Imvinii; been cut from 
 ^•old, or solid color and laid upon the surface of the 
 j)an(d. 
 
 Buck and Viulei' SjH('/ii)(/.--\\\ scrolls^ excepting 
 tliose on bhick grounds, should have a back and under 
 shadow cast upon the ground. A: glazed shadow is 
 fir>t nin on, afterwards going over it with a black shade 
 about half the width, keejying the black shadow against 
 the scroll. ( )n red gi'ounds, c'armine diluted with 
 ^aniisli inav be used for the shadow ; blue grounds 
 -ijiould hav(^ a shadow of ultramarine. 
 
 COLOK ScmOLLS. 
 
 In ])rodncing the outline of a scroll in colors uj)on 
 the surface of a pmel, the same I'nles should be ob- 
 serv'e<l as in gold scToUing. A\ hen a sx-roU is painted 
 in several different colors, the darkest color skonld be 
 i-etired, or j)laced in the Imck-gronnd^ while the lightest 
 IS bronglit in prominence to the front, and the medium 
 colors are placed into position acc(»rding to their depth 
 
OUXAMKXTAL PAINTIEG. 33 
 
 i>t"t()iu\ 111 makiiiLi' ;i selection of tlie coJoi's only th()s<' 
 should he used tluit MJ-e ill liurinoiiy with ejieli other; 
 hrowiis, oli\e, greens and umber-toned dral)s make a 
 very pleasiuo- scroll. A scroll may l>e painted in one 
 color alone }>y usino- diifereiit tints and shades of the 
 same color ; that is, the scroll, when completed, will 
 n[)])earas if conij)osed of graduated tones of blue, green, 
 iVrc. For example, take a l)lne scroll, for the lighter 
 parts add white; for the shade or (hyker part ad<l more 
 blue, or sha<le with ultramarine, and highdight with 
 very light blue. 
 
 T/fe J^ropcr (rrotind^ for Scrolls. — (rreeii, as a 
 ground color, sets olf well with gold, j)ur])le, ])ink, 
 lemon, flesh, ])earl, light greens and yellows. On a 
 red ground, use lemon, jx^arl gold, pale blues and 
 greens. Blue grounds should be ornaniented with 
 gold, pink, salmon, butt', light blues, yellows, or dra]»s. 
 For a black ground, drabs, pink, lemon, gold, light 
 blues, greens, pnr})le r.nd salmon. If a scroll is painted 
 drab or green, it may be shaded with asphaltum, and 
 Iiiodidiu'hted with the colors of the scroll made lighter 
 by the addition of white or yellow. If a red scr(»ll, 
 shade with carmine, and highdight with orange. 
 
 DESIGNING, ENLARGING AND REDUCING OF 
 SCROLL PATTERNS, LANDSCAPES, kQ. 
 
 Scroll Pcsltjiiiiiij. — The best method for new begin- 
 ners, and those not skille<l in designing, will l>e, to 
 
2*4 ORNAMENTAL FAINTrNCV. 
 
 select a li'ood sci'oll design, and stud}" it carefully. We^ 
 will first decide whether it is proportioned to fill the 
 proposed space to 1)6 ornanu^nted. Next, is it neces- 
 sary to have it so complicated ( If it is too small, or too 
 hirge, it must he enlarged or reduced. Should we de- 
 cide that it is too compact, we would omit some inferior 
 l)i'anches of the scroll. If too long, it may be divided 
 at differeut })oints. Scrolls may be divided, and one 
 })art added to another. Thus, from one or more scroll 
 designs, a large number of patterns can be ol)tained. 
 All scrolls shouhl have a base, or pace of beginning., 
 and should l>e compact and well 1)alaneed. The lines- 
 should l)e gradually diminished and bec(mie less com- 
 pact, as tliey recede from tlu^ ] uise, or beginning point. 
 Knl<ir<jhnj and liednr'nuj of HcrolJx^ hcuidxcapex^ &<'. 
 ■ — Should a scroll or landscape prove to be too small, 
 and we were not sufficiently skillful to enlarge it by the 
 eve, we \\()uld s(puire the pattern, or picture, by draw- 
 ing an even nundoer of s(piares upon its sui'face. Now 
 draw the size of the ])ane], or space to be ornamented, 
 on ])aper ; next lay off the space thus ol stained into 
 squares corresponding in number to thi)se on the orig- 
 inal design, and guided by the lines, redraw it. To re- 
 <luce a design, reverse the operation, as given in the 
 foregoing rule. Enlarging and reducing l)y squares is 
 an exercise of the very first importance to the })ainter, 
 as it trains the eye to notice the true direction of lines ; 
 and in time very correct copies may be made without 
 recourse to s(puxring the design. 
 
N—fflfs^ 
 
 SfiSiKS) 
 
 THE ART OF STHIPING. 
 
 TRIPINCt reijiiires prefision, ;i light liaud and a 
 , correct eve. While one may ])e a o-ood T)aintei', 
 
 c^^^^ ..." . . . 
 
 his striping may spoil the joh. One thing to l)e 
 careful of in striping a joh is, after deciding upon a cer- 
 tain style, keep that style throughout the entire carriage. 
 HaN/Uin// of the Striping Pencil. — The striping 
 pencil is held between the thumb and forehnger of the 
 right hand, the second, third and fourth lingers acting 
 as guides and supports. In drawing a stripe the hand 
 shoidd move steadily and rapidly, and the pressui-e 
 with the guide fingers should be light. The eye, which 
 plays an important ])art in striping, should always jf>»/r- 
 rede the stripe, 1)ut never follow it, thus avoiding irreg- 
 ularity. C^are should be taken in drawing a stripe, 
 es])ecially a lieaAV line, not to press tt)o hard on tlie 
 point of the pencil Avhen it is first put down, and when 
 it is about to l>e raised. The proper rest for the guide 
 tingers should not be ovei* half or three-(puirters of an 
 
ORNAMENTAL I'AINTING 
 
 inch distant from the lino of the stripe. .V sti'aii;-lit- 
 ed2;e Avill ]»e found very useful wliere niouhlings and 
 edii'es of l)odies are too far distant to i)e used as I'ests 
 for the uuide tinu'ei's. 
 
 MlxiiKj of Sti'ipln<j Color. — In the opinion of most 
 painters, prepared tnl )e coh)rs are by far tlie l)est, and 
 also the cheapest coh)rs that can i>e used in striping, 
 as they are o'ronnd much irner, and work smoother than 
 those mixed and ^Tound l»y hand. To thfse sliould he 
 added a ch-o}) or two of wearing' hody xai'uish. 'Idiis 
 has the effect of holding the })encil (h)wn more ch)sely 
 to the surface on which you are striping, thereby avoid- 
 ing akippiiKj. Use turpentine fortliinner. This is l<e[)t 
 in a cu]) ]\\ itself, into which the pencil is (lip[)ed at in- 
 tervals, as the color re([uires tliinning. Tube sugar of 
 lead is usuall}' added to the color foi* dryer; hut if 
 Jaj)an is used it should by no means be achled directly 
 to the color, but should l>e mixed with tlie turi)eutine 
 that is used for thinning. 
 
 Glazed Stripex. — The colors generally used for 
 glazed stri})ing are carmine and French ultramarine 
 ])lue. These colors being transparent recpiire a ground 
 color to be first striped on, afterward going o\er it with 
 the crlazing. The ground for carmine should 1)e Tuscan 
 red, a deep rich In-own or orange chrome; while for the 
 l)lue ground mix a medium toned blue of fiake white 
 and Prussian l)lue. Mix the glazing with the varnish, 
 and with a camel-hair stri[»ing ])encil go o\er the 
 ground color with the glazt^ 
 
Strij'iiKj Pencils^ SeJ&<'fi<>imi'(\—\\\ selertliig' stripers 
 Set' tliat tlie j)()iiits of tlie liaii' ai'e sliarjj, aii<l tliat the 
 end «>t' the pencil makes a sipiare ent off it" j)resse(l 
 down flat. The liair sliouhl l>e smooth, straight and 
 ehistic. To draw the pencil through the lips and wet- 
 ting it is a sure sign that you do not know much ahout 
 selecting foi' you sj)()i] the pencil while yon are l)uying 
 it. Water will snrely kink the hair, and it is a very 
 ditHcult matter to straighten it again. FoV striping, 
 cainel, sal)le and ox-liair pencils are mostly used now- 
 a-days. Red sable, aJtliough liighly prized on account 
 t>f its su])erior ([uality, is so sehhmi foun<l of -stiilicient 
 length that none can he found in the market at the 
 pi'esent (hiy. Camel hair, being the least elastic, can 
 only be used to advantage in colors that are nt)t too 
 hea\'}', otherwise it will l>end downward and become 
 difficult to handle; still some })ainters use these brushes 
 exclusively, and manage to get alcng well with them. 
 8able hair stripers., having more .spring to them, are 
 ■certainly to be prefered to any other, as they will work 
 well in any color : but their high price, es})ecially for a 
 first-class ai'ticle, prevents many from using them. Ox 
 hair stripers are very straight and elastic, but too stiff 
 to make curved lines-. ( )n straight lines, on i-ars and 
 Wagonsv, they may be used to adv^a-iitage^ The fiat or 
 sword pencils, for strij)ing^ without doul)t, are the best 
 \vorking stripei's yet introduced* It eiiable^s the work- 
 man to accomplish twice the amount of work usually 
 ■«h)ne with the round pencil, and more perfectly. Its 
 
iS ORS;\\.\iEXTAL PAiNTING; 
 
 peculiar shape makes it a self-fee(lei\ and five or six- 
 spokes can l)e stri[)e<l at (me fillina', wliile tlie round 
 pencil will do one only. Tliis is t>t' ii'ivat advantajj'e 
 when runniuii" a or eat lengthy as the stripe is continuous 
 and perfect, and much joining avoided. It can l»e used 
 with (juick drying colors with greater tree(h>m than the 
 round pencil can in slow dryings and i\vv to six differ- 
 ent width stripes can be made with one pencil. The 
 practice of cutting off tlie ends of Irroad stri])es in order 
 to secure a s(piare end to the stri|xes is not to l>.e c(»m- 
 mende<l, foi' AVhen once the natural eruls of the hair are 
 cut the pencil ])oint f>ecomes awkward when the pencil 
 is filled v« itli color.- 
 
 Flow lo Si'IMI'K A CN)A('1I, CaKKIA(tE OR W A(^0.\ (tKAK,- 
 10.") D I FF 1-: KENT Sa^ YLKS, 
 
 ^i Blnck (redr. — A Idack gear may he strip])ed in 
 the following different styles: Stripe with fine double 
 lines of chrome green; or a ^ inch line of blue, glazed 
 with ultramarine ; or a \ inch line of l>rown, edged with 
 carmine ; or a f inch line of olive green and distant 
 fine lines of light green ; or with two ^ inch lines of 
 dark l>lue ; ov two fine lines of red, glazed Avith carmine: 
 or striped with a broad line of lake^ edged with gohl 
 and split through the center with a fine line of carmine: 
 or with a hroad line of green, edged with gold : or with 
 doulde I-IC) inch lines of dark brown; or ^' inch line of 
 Chinese vei-million, with a fine line of same color | inch 
 
ilistaiit, glazed with cai'iiiiiie ; or two tine lines of verniil- 
 JioH ; or distant tine lines of green, witli center tine line of 
 white; or with hroad line of dark green, edged with tine 
 lines of light green, and split through the centei' with tine 
 line of gold ; or stri])ed vvith \ irieli lineof rnah)ri green, 
 with fine line of same color distant [ inch, glazed with 
 verdigris; or with two J; inch lines of dark Idue, glazed 
 with nltraniarine; or striped with a hroad line of l)lne, 
 edged with gold, and split thiv)ugh the centei- with tine 
 line of orange ; or with | inch line of (hirk hhie and fine 
 Hne of light lilue, distant | inch; or ^ inch line of 
 In'own and <listant lines of carmine ; *)y \ inch line of 
 green anc' distant fine lines of green ; or stnped with 
 two tine lines of Tnsc^an red, glazed Avith cai'inine. 
 
 ^1 Piu'pJe Lake (refhf may l>e stri])ed with a medium 
 line of hlack, edgetl with a, tine line of gold ; or a A inch 
 line of Indian v^d, ghized with carmine; oi' striped with 
 two ^ inch lines of lu'own, glazed with carmine. 
 
 L'lqlif Yi'lloir (1 11(1 Sfnnr Color (ri^Oi-x should be 
 striped with two i inch lines of black; oi- a i| inch line 
 of blue gray and distant fine Ibies of black ; orxin ^inch 
 line of 1 due and distant fine lines of same coloi" ; or f 
 inch broad Inie of black, s[)lit with ^ inch line of pah^ 
 blue; orst]'i[)e<l with a broad line of black with distant 
 fine line of V»lack ; or with broad line of c^ii'mine aiul 
 distant fine line < f black. 
 
 A Cardinal lied (reiir may be stri})ed with a I inch 
 line of black, edged with a fine line of gold ; or a | inch 
 line of black with distant tine lines of black; or tno i 
 4nch lines of black-. 
 
.1 J>(iik Ilnnrii (t((ii\ — Stripe witli two | iiicli'- 
 sti'ipes of* lio;lit hi'owii; or m ;V ivicli stripe of blac-k^ 
 edged with a tine line of light brown, and spirt tlii'ongh 
 the center with a iiiie line of gftld or carmine; oi' a |- 
 inch line of Ivlack with distant fine lines of orange; or' 
 tw(»tine lines of dai'k re<h 
 
 A J/njlii ('(inn'nte (rear may he striped with two 
 L^ inch lines of hhn-k ; or a .1 inch line cf bhick with 
 distant tine lines of same color ; or a hroad line f)f black,, 
 edo-ed with o-old and split throno-h the center with a tine 
 line of green^ 
 
 ^1 Dark Gireu (ri'di' A\<>\\h\ be stri})ed with a A inch 
 line of bladv and distant fine lines of red; or distant 
 Hue lines of •• ermilion, glaze<l with carmine; or a | 
 inch line of black split with an i^ inch line of light green; 
 or two tine lines of vellow lake: or distant tine lines of 
 milori green ; or a broad line of Ivlack with distant tine 
 lines of light green ; or a broad line of Idack, edged 
 with an |^ inch line of carmine and split with a tine line 
 of carmine ; or a f inch line of black, edged with a \ 
 inch line of white and centered with an ^ inch line of 
 olive green ; or a broad line of black, e<lged with fine 
 line of gold and split wi+h tine line of blue; or distant 
 tine lines of black and center line of yt'llow lake ; or an ^ 
 inch line of l)lack with distant tine lines of same color;, 
 or two ^ inch lines of light green ; or two 1-S inch lines 
 of black; or stripe<l with two tine lines of vermilioiu 
 f^lazed with carmine, 
 
 A Pluin. Color Gear should be stri])ed with two 1-S. 
 
ORNAMENTAL PAINTlNVi. 
 
 hicli Jiiiers of Iii<li;iii ivd, glazed witli rai-niiiu^ ; or a } 
 iiic-li line of mediuiii tolled l)Jiie, witli two liaii' lines of 
 caiian color, <listant I inch ; (>]• a hroad Hue of l)];u-k. 
 edged with gold. 
 
 A YelJftir Lithe Gr(n- niny l»e sti'i[)ed with two 1-,^ 
 iiicli lilies of Idack ; or with n l)ro;id line of scarlet lake 
 •centered with a line line of qua ker green ; or with a 
 l)ivad line of black and distant line lines of the same 
 color; or with a ^ inch line of l>lack, edged with a line 
 line of scarlet lake and s])lit with a line line of dark 
 green. 
 
 Ajf Ollre i^reen ircd)- should ])e striped Avith two 
 line lines of vermilion, glaze<l with carinine ; or a 1-4 
 inch line of milori green, edged with hlack; or a h inch 
 line of l>lack, c^lged with gold, and a line line of |)ea 
 green in center of Idack stripe. 
 
 A Dark (^(innine (redi- is strijied with two 1 -S inch 
 lines of black and line line of light carmine in center: 
 or a 1--1 inch line of black and distant Hue lines of black: 
 or a broad line of black, edged with dark green and a 
 fine line of gold in ceiitei' of black stri]>e. 
 
 .1 I>arl- J>l:n,e dfear. — Stri])e with two line lines of 
 light blue and glaze with nltrainarine ; or a broad line 
 of black, edged with line line of white i?n<l centered 
 with 1 -S inch line of white ; or a broad line of black, 
 edged with line line of gold juid Hue line of oi-ange in 
 center of black stripe. 
 
 A \'ei'niiJ ion (rear. — Sti*i])e witli a 1-4 inch Ibie of 
 black with <listant line lines of same c-olor ; or with two 
 
V- 
 
 OK X A M E NT AT. FAINTr N (, 
 
 1-S iiicli liiirsot* hlat-k; or a 1-4 iiu-h liii" of Mack and 
 distant tine lines of white or V(dlo\v. 
 
 .1 L(ik(^ (rctfr nia\ l>e strij)ed with a hruad line of 
 l>laek split with a fine line of i^-old ; or a 1-4 inch line of 
 dark hrown with distant tine lines of lioht brown, 
 glazed with eai-niine; or two 1-S inch lines of dark 
 orange; or a Kroad line of l»laek witli distant tine lines 
 of light earnii]u-; (H- with t^vo 1-S inch lines of vermil- 
 ion ; or two ;M<> ineh lines of maroon; or two tine lines 
 of carmine; oi- a l»road line of Mack, edged witli tine 
 line of gold ai'd sj)]it with tine lin(^ of pea green. 
 
 A Xdp/cs y(^]]()ir (}('(()■. — Stripe with two fine lines 
 of l>rown; or a 1-4 inch line of Mue with <listant fine 
 lines of same color; or two 1-s inch lines of lilne or 
 carmine. 
 
 A Li(j/if lihic (j('t(r may l>e strij>ed with two tine 
 lines of gold: or two 1-S inch lines of scarlet vermilion; 
 or a hi-oad line of Mack, (Mlg(^d witli a fine line of ])nff. 
 
 .1 (■((iKinj Color G(^((r. — Stripe a hroad line of black 
 with distant lines of red ; or two 1-S inch lim-s of car- 
 mine or Irlue.' 
 
 ^4 Scarlet Lidu^ (i << ( r .—'\>\\'\\w with broad line of 
 carmine^ lake, centered with fine line of nltramarine 
 l)lue; or two 1-S inch lines of black; or a bi-oad line of 
 black, e<lged with a fine line of gold. 
 
 A l^tii Color ^rV-c//" slionld l)e striped with a 1-4 inch 
 line of canary color and distant fine lines of black; or 
 two 1-S inch lines of black. 
 
ORNAMENTAL PAINTING. 33 
 
 A Loinloii Smoke (rear. — Stripe witli a hroad line 
 <>t'l)lack, edged witli an ^ ineli line of lii»:lit sliade of 
 London smoke, an<l on tlie black stripe two line lines 
 of yellow oelire; or a \ inch line of black, edged with 
 a fine line of gold ; or two ^ inch lines of black. 
 
 A Baffle Green (rear may l)e striped uith two 3-1 (') 
 inch lines of ])lack ; or a h inch line of ])lack, edged 
 with gt)ld ; or two ^ incli lines of milori green. 
 
 An Orange ^rft'w.— Stripe with ^ inch line of black 
 and distant tine lines of Idack; or two \ inch lines of 
 ])lack. 
 
 An Uniher (rear. — Stripe witli an ^ inch line of 
 V)lack, and tine line with bntf; or a I inch line of black, 
 edged with gold or orange. 
 
 ^4 Chocolate Gear may be striped with a broad Ihie 
 of orange and distant tine lines of lemon; or two J- 
 inch lines of black; or two 8-1 (i inch lines of maroon. 
 
 (xcjld may l)e nsed with good effect wpon any of the 
 above colors ^''ea'cepfvn.g yellows''' in coiinectiou with 
 the striping, bnt should be nsed sparingly. A stripe or 
 two around the hubs, and a few touches, or a light 
 scroll or fancy stripe upon the clips will be all that 
 good taste re(pnres. 
 
 CARE OF TOOLS. 
 
 All hair tools used in ornamenting, such as striping 
 l)encils, brushes, tfec, after using, should be washed out 
 clean in turpentine and then greased from heel to })oint 
 
34 
 
 ORNAMENTAL PAINTINtJ. 
 
 witli tVesli iiuittoii tallow. Stripers .should I>e laid out 
 straigiit on a piece of window glass and pressed down 
 fiat, while pencils should he laid in a hox or dravv(n- 
 kept for that purpose. 
 
 YELLOWS. 
 
 \'elJo\v is a delicate color, easily detiled, when pure, 
 i)V other coh)rs. The sensible effects of yellow are gay, 
 eidivening and full of luster. It is the first of the 
 primary or simple colors, nearest in relation to, and 
 |)ai'taking most of, the nature of wliite, mixed with 
 which it affords the faint hues calle<l straw-color, tt^c. 
 Lhc princi})al yellows used iL» the ])aint shop are, 
 cliromc Nellow, yellow ochre, ])atent yellow and Naples 
 vellow. 
 
THE ART OF SIGN WAITING. 
 
 )I(TN-\\'RrrlN(T is a mere meolmuical art, hik) 
 
 may be aeciuired by any one j)osBe8sinjo: exactness 
 and precision k 
 
 Formation, of Letterii^—-lL\\^ painters lirst r>bject 
 mnst V)e to ac([nire a thorougli knowledge of the forms 
 of letters, sncli as manuscri})t or text-hand, Roman cap^ 
 itals, italics, Kgyptian, block, &C., <fec. He slionld 
 carefully observe the proportion of all letters. The 
 upper parts of B, E, K and 8, it will be seen, are a lit- 
 tle smaller than the lower parts of these letters. The 
 difference in size })etAveen the upper and lowei* part of 
 the S is shown l)y ol»serving this letter when turned 
 bottom side up. As will be seen, those letters having 
 a fine line, the period and other punctuation marks are 
 round. In the block and square letters, the period 
 and kindred marks are square^ To become a good 
 ^sign-writer the ])ainter must fii*st practice tlie manu^ 
 script or text hand, by so doing he will acquii'e the 
 
36 OnXAMKNtAL ^AINTiNG; 
 
 h;i])it of ]iiakiiiu' a free and iri'Mt'eful stroke or sweep 
 with the peiK'il. Many ])aiiiters l)egin with tlie phiiii 
 Egyptian l)loek, for the reason that it is the easiest. 
 They will never make good sign-writers, as thev ac- 
 (juire a stitfness in the use of the pencil an<l formation 
 of letters, which they very rarely, if ever, get I'id of. 
 
 Tools For Siyrir \\ r It i )»(/,— ^1l\w tools used by the 
 sign-writer are comparatively few, \ lest-stick, a 
 small palette hoard and palette knife, a few good salde 
 and camel haii' [)encils of assorted sizes, a rule and pair' 
 of compasses, and a guilder's tip and cushion for laying 
 gohl leaf, are about .all that he will require. 
 
 Jj<u/itit/-onf or Arr((i}<jernenf of Ijefiers on <i Shjw 
 llo(ir<l.- — \\\ laying out a line of letters the six line 
 |)rinci])le is, without douht, the best rule that can he 
 practiced l>v the {)ainter. Divide the hoard e(|ually 
 into six hoi-iz(»ntal lines (see cut).- 
 
 ?riX LI>-E PRINCIPLE. 
 
 As will he readily seen, in laying out a plain hlock 
 letter, the space between figures 1 and 2 and .'> and <>■ 
 will form the arjus, head and lower ])arts of H, C\ 
 I), E, F, G, J, L, O, P, Q, K, S, T, \\ Z, .^. Tlie 
 space between tigures 3 and 4 form the center bars of 
 B, E, F, H, 1*, R, S, the crossing ()f the arms of X. 
 
'o'RXAMEN'rAK I'aVnTIX'G. 3^' 
 
 Vii'id the coiiiiectiiiii' point of the two anus of Y. The 
 space ))et\\eeii 4 and ."> will fonii th(^ h)wei' <»]• cross 
 ])ar of A-, This rule is ap})li(*able tv all styles of let- 
 ters used by the s-ign-writer. Tlie .painter should in- 
 troduce into a sign a secticn of a circle or a cur\ed line, 
 as it is pleasing to the eye, and relieves the stitfness of 
 the straight lines. Each line of letters should begin 
 and end at at ecpial distance from the side^)f the hoard. 
 The space l)etween each letter in tlie same line should 
 he equab If you <'au jsossihly axoid it iie\ er hegin oi' 
 end a line of lettM-s with sui'h words as ''an<l, to, for, 
 with," etc., hut let them come in l>etween the lines of 
 larger letters. Make the most injportant words, such 
 as the name, business, ttc, the largest, most distinct, 
 and easily read of any on the hoard. The above is a 
 \'erv importaiit .part of sign- wiiting, for liowe^ er good 
 the shape of the letters may be, if they anMiot ])roperly 
 arranged tlie eli'ect will l>e })a<h Take a piece of chalk 
 and slightly sketch y<»ur letters with it, and with a tine 
 ])encil endeavor to form the letters in ont-line with as 
 few st:^okes as .|)o8sible, tilling up between the lines 
 with a shorter and thicker })encil. By tollowing this 
 .princi])le you will ai-(juire ease, ra.])idity and correctness 
 of out-line. 
 
 The Rapid TiUmxil M(^f/i<K/.-—\ lunv method of lad- 
 ing out a sign-l)oard, and on(^ that is being very exten- 
 sively use<l at present, is as follows : C^it out from 
 heavy ])aper or st]-aw-})oai"<l a correct pattern of a letter-. 
 \'A\\ this u])on the surface to bt^ lettered, an<l with a 
 
^'S ORN^\ Mental I'AiN't'fS'c;'. 
 
 jtciicil iiiiirk around the ])atteni, thus tormina' ihv out- 
 line of tlie letter. To ^•et the lines t'oi' shading' luove 
 the j)a.ttern f/o/ni and a little to the /vV/Zc/, and with 
 a })ercil mark around the lower and ri^'ht hand edii'es 
 of the pattern. This is a ver\ simple, (piic-k and c-or- 
 rect metliod of lettering", an<l enables the most ordi- 
 nar\' ])aint(M* to heconn- an expert workman. 
 
 PtNH'fi/(ffio/i of Sign- WrifiiHj. — The period (.) is 
 \ised at the end of every (Sentence, even if it is but one 
 word, as '^Hakeiy." "Jeweler." "Henry Williams." "J. 
 Martin, Dealer in \V<K>d, Coal, l>ime and Sand." The 
 |)eriod is also used to denote the omission of letters at 
 the last of a name < r woi-d, called abbreviation, as 
 ^\. J. (Uark" for "William Jann^s (/lark;" '^C^)." for 
 "Company/' The coma (,) is used, in sio;n-writino', to 
 denote the omission of woi'ds. This is sh«)wn in the 
 followinu' sentences: "Jones and Mitchell and Co. are 
 Dealers in Paints and Oils and Class and sotbrth." To 
 avoid rej)eating the tritd we use the coma, thus: 
 'STones, Mitchell 6z Co., Dealers iu l^lints, Oils, (ilass^ 
 ttc." The a})osti'ophe (') is \ised to denote the omission 
 of letters in the beginninii- or middh^ of a word, thus ^ 
 " 'tis," for it is; '' 't were," for it were ; " 'Sl," for 1S81; 
 "com[)V," for com[)any ; "ovnl ai;-'t," for genei-al agent; 
 "d's," for days; "'m's,'' foi- luonths, etc. TIjc aj)ostro- 
 phe is also used to denote the possessive case, thus :• 
 "Bacon's Block." If the owner's name ends Avith an "s," 
 the apostro})he follows tlie s, as "Jones' Block," "Burs 
 Shop." If two or more persons are spoken ot in the 
 
ORXAMENTAI, P.VINTIEG. 
 
 39 
 
 p()ssessi\e case, tlie apostroplic tul](»v\s the ''s,^' as 
 "Ladies' Parlor;" "(xeiits' Sniokiug Rooiu;" "Ileiirv 
 Brothers' Shop." If the })ersoii's name takes the char- 
 iieter of tlif adjective, descrihiug tlie article, then no 
 apostrojdie is re(juii-ed, as "Jones Block," "Plantei-s 
 Bark." This cliaractei" {<Sz) stan<]s foi- c/y///, and came 
 originally from AV., Etc., in script, the Latan abbrevia- 
 tion for ef reterff, "and the rest." The first is used for 
 connecting firm names, and the other at the end to 
 avoid details, thus: "Jones tk, Wood, or Jones, Wood 
 t^ Co., Dealers in Coal, Lime, Sand, tkc. 
 
 S/n/y/i/tr/ of Letters. — -But \ery little infoi'Diation can 
 l>e wntten on tlie sulgect of shading letters. The 
 ])ainter should have some knowledge of light and shade, 
 and to ac(]uire that knowledge, as regards letters, we 
 would advise him to [U'ocure a few good letters cut from 
 wood, ab<Mit an incli tluck. By laying these on a ])aint- 
 ed surface, where a strong side light will fall n})on 
 them, by careful study they will give Jiim the ti-ue 
 principle of sha«ling a letter. 
 
 The Cdsf SJt<«l(Hr. — To best illnstrate this the 
 painter should understand the Javs of })rojection of 
 shadows from solid bodies. Lverv solid bod\' j)i'ojects 
 a shadow in the same directioji with its rays, that Is, 
 towards the part o})posite to the light. Hence, as 
 either the luminary or the body changes place, the, 
 shailow also changes. Every solid body })rojects as 
 many shadows as there are luminaries t(» enlighten it. 
 .\.s the light of the lunnnarv is more intense, the shadow 
 
40" oRXA.\rK\'TAr. FArNrrvcv. 
 
 is (let'jK'i'. lleiice., tlie intensity of tile slijidow is 
 iiieasuivd l»y tlic (U'u'ret^s of liu'lit tlin.t space is de- 
 
 l)nve( 
 
 I of. 
 
 FAT<UL SIZE. 
 
 Fat oil si/,e should he used for work ret^uirinu* lii'eat 
 dui"al>ility, sucli as siiiiis, cars and outside work g(nier- 
 ally. \u\' paintei' can liave a supph of fat oil 1>\' put- 
 ting some pure linseed oil into shallow leaden vessels, 
 so as to Ire aixMit an inch de 'p. Let them stand 
 in the sun for a few months until the oil heconies. 
 thick. TIh^ \essels should l>e co\ere(l with u'lass to 
 keej) them ch-an. Take ytdlow ochre-, in Mne [)owde]'. 
 mix it witli a tpiantity of the ahove oil, grind them welt 
 together, thin with turpentine and put into a clean pet. 
 To kee{) it fi'om. skimming over, [>ut some of the clear 
 fat oil on top. Be suiv to keep it covered. This size 
 will keep g<M»d tV r yc^irs. Size, wben too thin, will 
 curdle and I'un, and when too thick, will g"ive heavy 
 edges and <liminish the edges of the gohl. The pencil 
 that is used for out-lining should not he so narrow as 
 to lay a heavy (^^dix*^ that cannot he worked hack, and 
 to fill in, a short, thick ])encil is the hest to use. Ina])- 
 ])lying size, if it should I»ecome set in the pencil, and 
 the painter is ohiiged t<» wash it out in tui'pentine, he 
 should he careful not to continue the woi'k until the 
 tur]>entine has })een wcu'ked out from the ])encil, as that 
 Would dilute tlie size and make it too thin at the point 
 whei'e he hej^ins aLi'ain. 
 
ORNAMKNIAl. PAIX IING 4"^ 
 
 (JLASS (ilLDING. 
 
 Size, foi- iiilding u})()ii ulass, is made by dissolniig 
 two or thre;' f^hivds of refined iL;elatiiie in clear soft wa- 
 ter. W iieu dissol\ed,l>oil it a feAA miiiiite.s over a s^)A\ 
 fire, and strain tlirouii'h a piece of linen or tine innslin. 
 This slionld l)e a})})Iied wai'ni. IIa\e the Lilass jx i-- 
 fectl\- clean, leaving' no ti-ace of fingei- marks or grease. 
 Warm i; hy the fiiv, then iiow the size on the space 
 wliere the gold leaf is to l»e placed, and tlnMi lay the 
 leaf on immediately, being careful to have it smooth, as 
 its uniform brightness dej)ends in a great measui'e upon 
 this point. Allow the leaf to extend well over the 
 parts to l)e lettered or scrolled. Use a flat camelduiir 
 brush for flowing on tlie size. Rub the leaf down 
 smootli and solid with a clean wad of cotton, then hold 
 it (face side) towai'd a tire, to burnish. Draw out the 
 design you require to put on the glass upon a piece of 
 paper, and prick around the outdines with a pin. Then 
 lav the paper face side down against the gold, and with 
 a pounce bag (fille(i with dry whiting) pounce off^" the 
 parts where the holes are in the paper, which gives an 
 outdine on the gold, forming a guide in which to back 
 tlie gilding. For backing, use asphaltuni diluted with 
 turpentine. Lay on the asphaltum according to tlie 
 design, and when thoroughly dry, wash off. The gold, 
 where it is not covered by the backing, will readily 
 leave the glass, lea\dng the edges sharp and clean. The 
 letters or scroll can then V)e shaded, if required. In de- 
 
42 ORNAMENTAL PAINTING. 
 
 signs, where you will have to etch, or sliade the gohl, 
 you will proceed to lay on the gold and pounce the de- 
 sign exactly as above, then etch or shade it with the 
 point of a slate-pencil, or piece of hard \vo<,>d, sliglitly 
 wetting the wood. When you wisli a hroad or black 
 line, ])ick it in with black. 
 
 STANDARD PRICES OF ORNAMENTAL 
 WORK. 
 
 It has been < ur aim an(i endeaxor to give tlie painter 
 all the vahmble and reliabh' information that can be 
 acquired on the subject of oi'naniental painting, and the 
 following tariff of pnces will })e fully appreciated l)y 
 our readers. We have been to the ex[)ense of procur- 
 ing, from widel} ditl'erent points of the country, tlie 
 established prices of leading painters. While the 
 prices thus obtained were too high for some localities, 
 in others they were too low, but we have carefully cojn- 
 })ared them, and selected from the number a medium 
 or standard price to be charged in doing work of this 
 kind : 
 
 Ornameiuinti Omnihus (painting extra). - $20.00 to $25.00 
 " Menagerie Wagon (painting 
 
 extra). ..... 25.00 to 35.00 
 
 Ornamenting Isanti Wagon (painting ex- 
 tra), - . - . . . 5500 to 65.00 
 
 Ornamenting PedtUer's Wagon, .small size. 
 
 ( painting extra). - - - 15.00102 5.00 
 
 Ornamenting Peddler's Wagon, large .size, 
 
 (painting extra), - - - 25.00 to 30.00 
 
 Ornamenting Luml)er Wagon (painting extra), 3.5011) 5.00 
 
 Sprmg Wagon, '• " - .v.SO to 5.00 
 
 The ab(>\e prices include striping of the gears. 
 
 Ornamental work, time work, per hour, - 0.50 to 0.75 
 
STANDAKl) PKK'ES OF LETTERING. 
 
 Lettering in paint, pl.-iin letter, per toot. - ' 30 
 
 •' gold. " ' * ' ' 60 
 
 Add to the above, tor single shade, per foot. - - 15 
 
 '• •' for double shade, " - ' ' 20 
 
 '' "■ jrlazec) shade, per foot. - - - 25 
 
 In order to tret tlie iiumhei' of feet of letteriuLi: ou a 
 Hlgn-board it should he measured ruuning ineasnre, 
 That is, the full length oi- width of the sign-hoav<l 
 shoidd be measured. If there are two lines of letters on 
 the board, they should be counted as dou}>]e uieasure, 
 and so on with each succeeding line* 
 
 h^ RECEIPTS FOR MLXLNU FINE COLORS. 
 
 Tea (jreen. — Raw umber, Prussian blue and clH\>me 
 ^yellow. This color should be mixed so as to preserve 
 a l)luislj tone. 
 
 Odd Brown. — Burnt sienna and Prussian blue. 
 
 Dark Pure (rreen. — (Jhrome green, deep and Prus^ 
 sian blue. 
 
 Bottle Green.— Dutch pink and Prussian blue, for 
 ground, (xlaze vvnth yellow lake. 
 
 Rose C'olor. — Five parts of iiake white and two of 
 carmine. 
 
 (^ak Color. — Eight parts of wliite and one of yellow 
 ochre. 
 
 Olive Color. — Eight parts of yellow, (^>ne l)Iue an<l 
 one black. 
 
 Snuif Color.— Four parts of yellow, and two of Xau^ 
 dyke l>rowT»* 
 
Canary (■olor. — Wliite and lemon yellow, or patent 
 yellow. 
 
 Peai'l Color.--^ White, l)lacl< and red. 
 
 Gold Color. — White and yellow, tinted with hlue 
 and red. 
 
 French (xray, — White, tinted with drop ))lack/ 
 
 Deep Bulf. — Yellow ochre, liii^htened with white, and 
 a small portion of red. 
 
 Light Bulf. — Yellow ochre, lightened with white. 
 
 Lead Color. — Eight })arts of white, one of Idue and 
 one of hlack. 
 
 Aledinm (xray. — Eight parts of white and two of 
 l)lack. 
 
 J()n(piil Yellow, — -Flake white and chrome }ellew; 
 to wliicli a(hl a very small proportion of vermilion or' 
 carmine. 
 
 Frencli Red.- -Indian red, lightened with vernnlion. 
 and glazed with carmine. 
 
 Bismarck Brown.— 1 ounce of carmine ^ ounce 
 crimson lake, and 1 ounce best gold bronze. 
 
 Cla>' Drah. — Raw sienna, raw umber and white lead^ 
 equal parts ; then tint with a few drops of chrome' 
 green. 
 
 Olive Bnnvn. — ^One part of lemon yellow and three 
 parts of burnt umber. 
 
 Yellow Lake. — LTmher and white, equal parts. Add 
 a small (piantity of Naples yellow and a (b'op of scar- 
 let lake ; glaze with yellow lake. 
 
 Ch(>colate Color. — Add a bttle lake or carmine tc) a 
 can of Inirnt umber, or Indian red and black to form a 
 hrown, then add sL very little yellow. 
 
 Plum Color. — Two parts white, one blue and one red. 
 
 Portland Stone. — Three parts raw iimbei-, three yeb 
 ■ low ochre, one white. 
 
Brick Color. — Two jKii'ts yellow ochre, one jvd and 
 'i)iie vvbite. 
 
 (irass (rreeii.- r]ii'< e parts yell(n\ and one Prussian 
 blue. 
 
 Carnation Red. — Three jmrts Jake, one white. 
 
 Hron^;^ (xreen. — Fi^'e j)arts rlu-onie areen, one V)l^ck 
 •and one uiiiher. 
 
 Peach Bh)SBom. — Eii>'lit j)arts white, our re<i, t>ne 
 i)lue and one yellow. 
 
 \Yilh)W (rreeri. — Five j)arts white and two of \ erdi- 
 jj^ris. 
 
 L^ght (yray. — Xin' parts white, one Idue x-nnl one 
 Idack. 
 
 Do' e Color. — Ked, white, blue and yelh)V\\ 
 
 Claret Color. — Red and black, or carndne and blue. 
 
 Cream Color. — Five parts white, two yellow and one 
 I'ed. 
 
 London Smoke.- -Two parts umber, one white ^nd 
 >one red. 
 
 Lilac.- — Four parts of red, three white and one blue. 
 
 Purple. — The same as lilac, withi two parts of blue. 
 
 Violet.' — Similar, but more red than purple. 
 
 Oral) Color. — Nine parts of white and one umber. 
 
 ( -itron. — Three parts of red, two yellow and one blue-. 
 
 Stone Color. — Five parts of white, two yellow and 
 •one of burnt und^er. 
 
 Pea (xreen. — -Five parts of white, and one of (rhrome 
 o-reen. 
 
 Taii Color. — Five parts of })urnt sienna, two yellow 
 •and one of raw umber. 
 
 Maroon Color. — Three parts of carmine and two of 
 .yellow. 
 
 (Trreen. — Blue an<l vellow, or blaclk and vellowv 
 
4^ OH^^VME^■TAi t'AlN'rlNG, 
 
 Wine (\)1(H'. Two parts of iiltraiiiarine and thi'ef 
 of carmine- 
 
 Chestnut Color.— -Two parts of red, one black and 
 two of chrome yellow. 
 
 Flesh ('oloi-.— -Eij^ht ])arts of white, three of red and 
 three of chrome yellow. 
 
 Fawi» ('olor.— -Eight parts of white, oTie of red, two 
 of yellow and one of umV)er, 
 
 Straw Color.----Five parts of yellow, two of white and 
 one of red. 
 
 Leiilon C'olor.— ^Five parts of h^non yellow and two 
 of white. 
 
 Copper (\^lor''--One pai"t red, two of yellow and one 
 of hlacki 
 
 Brown.-— Three parts of red, two Ulack and one 
 yellow, 
 
 Salmon C)olor;— Five [(arts of white^ one yellow, one 
 umber, one red. 
 
 The painter should avoid using a greater numlter of 
 pigments in mixing colors than are absolutely neces- 
 sary to pi'oduce the color i-equired. 
 
THK ART OF FRESCO FAINTJNti. 
 
 ?<Jj^ 
 
 ^I^Tpx^VHE AKT (»t' paiiitino- in tVesot) is naturaJlv 
 'Q^'^^, adapted to oriiaineiital jjaiuthig, and the atten- 
 tion of eminent ai-tists is at present turned to 
 the revival of this great mode of ai't. Fresco paintiniJ- 
 is perfoi-med with pigments prepared in water and ap- 
 plied n|)on the surface oY fres/t l{fi(/ p/a^ster of lime and 
 sand, with which walls are covered. And as lime, in 
 an active state, is the commoi> cejnenting material of 
 the ground, and colors employed in fresco painting, it 
 is thus obvious that such colors only can be used as re- 
 main unchanged by the action of lime. The following- 
 table will show the colors that are little, or not at all, 
 aflPected l)y lime, and may l>e used in fresco [)ainting : 
 
 NcJ- 
 
 Bltu 
 
 f Red Ochre, 
 I Red Lead, 
 I Lij^ht Red, 
 -J \'erniilioii, 
 
 Venetian Red, 
 I Indian Red. 
 [ Madder Reds. 
 
 Ultramarine, 
 Smalt, and all 
 Cobalt Blues. 
 
 Oro 
 
 White— 
 
 f Orange Ochre, 
 I Orange Chrome, 
 ,' Orange Lead, 
 I Laque Mineral, 
 Jaune de Mars, 
 ( Burnt Sinena, 
 
 Barytic White, 
 Pearl White, 
 Gypsum. 
 
-f^S' 
 
 C^K\.\^■{KST.M. f'A 1 NTINr;. 
 
 }\'//<Ki 
 
 (rreen — 
 
 Purple 
 
 \'ellovv Ochre, 
 Oxford Ochve, 
 Brown Ochre, 
 Koman Oihre, 
 \ Stone Ochre, 
 I .Sienn;i Eartli, 
 Indian Yellow,. 
 Patent Yellow,. 
 Naples Yellow.. 
 1 Massicot. 
 
 f Cobalt Green, 
 
 Terre Verte, 
 I V'erdig^ris, 
 \ Cireen Verditer, 
 I Chrome (Jreen, 
 I Mineral (jreen, 
 1 P^nierald (Jreei^. 
 
 fl'urple Ochre, 
 Gold Purple, 
 Madder F^urple. 
 
 f Asphalt tim. 
 Mummy. 
 Bone Blown, 
 Ruben's Brown, 
 Vandyke Brown. 
 Bistre, 
 
 Burnt Cmber, 
 Raw Umber, 
 Cassel Earth, 
 Antwerp Brown, 
 Chestnut Brown, 
 Ultramarine Ashes 
 Mauiianese Brown. 
 
 f Indian Ink. 
 
 Lamp Black, 
 I Ivory Black, 
 Black— 1 Frankfort Black, 
 I Graphite, 
 I Mineral Black, 
 \ Black Chalk. 
 
 Mixing of Fresco ( 'olorti. — 'I'ake water in which 
 there has been dissolved a (luautity of glue, and add 
 liirie that has heeii pertertly Imrnt, and ke})t long 
 slacked in a wet state. This will form a white v ash. 
 The glne is employed to gi\c adhesion and to hold the 
 colors in place. Next, take di-y colors or pigments and 
 dissolve them in whisky and add to the white wash, 
 when the\ are read}' f'oi* use. Fresco paints ready pre- 
 pared can now V)e bought of wholesale dealers. They 
 are sold dry, and only re(piire the additicm of water. 
 
 Tools [Twd by th<^ Fre-'<('n Painter,-— 'X\\k^ tools used 
 by the fresco paintei' consist of V)ristle pencils, round 
 and "Hat, and are sold in assorted sizes from 1 to 24; 
 also o.x hair riggers, mnnbering from 1 to 6, and ox 
 hair stripers of all sizes. The painter should see that 
 his })encils, after using, are well washed out with water, 
 
ORXAMENTAL PAINTING. 49 
 
 as lime, wliich tonus tlie ba.se of all fresco colors, is 
 very injurious to hair, and if left in the })eneil would 
 soon destroy it. 
 
 General l7istrycfi<)ii^.--"Yo heeonie an ex})ert fresco 
 artist, the painter should understand the generaJ prin- 
 ciples of scrolling and striping ; and above all a thor- 
 ough knowledge of light and shade. Also the general 
 rules of perspectixe. In }>erspective, the point of sight 
 must l)e in the center of the supposed picture. All 
 lines |)arallel to an imaginaiy line drawn from the eye 
 of the observer to the point of sight, must terminate or 
 vanish at that point. The line of horizon must there- 
 fore rise or descend \\'\i\\ the position of the eye, and 
 consequently with tlie j)oint of sight. The l)ase, or 
 ground line of the ])icture, iui(\ all others parallel with 
 it must be j)arallel with the line ci horizon. All ob- 
 jects a})pear to diminish in proportion to their distance 
 from the eye of the ol)server. Thus, columns, trees, 
 posts, etc., of etjual height, wW\ appear to diminish as 
 they recede from the eye. Lights are those parts of a 
 subject which are illuminated, or which lie open to the lu- 
 minary by which the subject is supposed to be enlight- 
 ened, and in this sense lights are opposed to shadows. 
 There are various kinds of lights : general lights, as the 
 air ; particular lights, as the sun, a lamp, a candle, or a 
 fire. Different lights have different effects, and in 
 painting a picture, occasion a different management of 
 almost every part. Two lights of equal strength must 
 never be in one an<l the same [)icture, but a larger and 
 
OUXAMENTAL PAINTING. 
 
 a lesser, the lartrerto strike forcibly on the middle, ex- 
 teudino; its greater clearness on those parts of the de- 
 sign where the priucijde tigui'es of it are, diminishing it 
 gradnall y as it ap])roaches neai'er and nearer to the bor- 
 der. Shadow is a plan where the light is weakened by 
 the interposition of some solid body before tlie Innii- 
 nary. If the solid body, that projects the shadow, be 
 perpendicidar to the horizon, and the place it is pro- 
 jected on })e liorizontal, the shadow is called a riglit 
 shadow, snch are the sha<h>wsof men, posts, trees, bnild- 
 ings, monntains, etc. If tlie solid body l)e jdaced })ar- 
 allel to the horizon, the shadow is called a versed shad- 
 ow, as the arms of a man ontstretched, etc. 
 
 NoTK.— -For the laws on prt)jection of shadows see 
 article on cast shadows in sign-writing. 
 
 ITFM^ FOK THP: PAINTEK. 
 
 J^ai//fi/i^/.— Vn\ntu\<j; is both a [)reservati\(' and a 
 beantifier. 
 
 Mercni'} produces vermilion, Venetian red. Mars 
 orange, and yellow aiul Indian red are the [trodncts of 
 iron. 
 
 In order to [)revent scratching the })anel when mak- 
 ing guide lines to stripe by the ])ainter should use a 
 pair of compasses made from wood. 
 
 Metal cups may be used for common colors, but for 
 vermilion, carndne, tine gi'eens, lakes, <tc., earthen cups 
 ai'e the best, as thev can readily be cleaned 
 
ORNAMENTAL PAINtlNG- 5? 
 
 A good reader will geiierall}' make a good workman, 
 Tliat is, it depends very miicli on jnst what is read and 
 the amonnt of nT'.erest there is taken in the I'eading of 
 matter tonehing on one's own V)nsiness. This is espee- 
 ially a(hipted to the oi'namental painter. 
 
 False economy in the paint sliop is wliert^ the paintei' 
 attem])ts to do good work with ])oor tools and cheap 
 stock. The painter who rnns a shop on the cheap plan 
 turns ont work that is of l:)ut little credit, and gener^ 
 ally has his trouble for his j)ains. Poor tools and ma- 
 terial never yet went hand in hand with good work. 
 
 (irold leaf is superior to colors in ])roducing a tineh^ 
 hnished scroll. Colors and their hues, or even neutral 
 tints well assorted, produce showy ornaments; hut gold 
 hnely sha<led, has a richness that is peculiai'ly its own. 
 
 Drairing Paper. — A^'hatman's papers are considered 
 the l)est. Tliey are distinguished 1)\' the names — - 
 "Demy," "Super Koyal,'' "Imperial,'" "Double F^le- 
 pliant," "Anticpiar." 
 
 The painter should not rely too much on the judg- 
 ment of othel's, Init should be original and have some 
 ideas of his own, in case he was left to try his liand 
 some time unexpectedly. 
 
 Red is complementary to gVeelJ, and ):U'e rer.sa; or- 
 ange to blue; greenish yellow to violet, and indigo to 
 orange yellow. 
 
 Carmine, the richest of the red colors, was discovered 
 by a Franciscan Monk, at Pisa, while he was preparing 
 •a medicine from cochineal and salt of Tartar. 
 
7,2 ORNAMENTAL PAInTING. 
 
 Tile hest si'i'ounds tor 2:o](l to sliow ofl^" well are dark 
 blue, vennilioii aiul lake. 
 
 yynfs. — Tlie tones of a color produced ))y the addi- 
 tion of white, added to the iioriual color. 
 
 S/nifleK. — The tones of a color produced by the a(hli- 
 tion of black to the normal color. 
 
 ToneH. — -The series of graduations of a pure color 
 tVoni its greatest intensity, weakened 1)Y the a<ldition 
 of white, or deepened by the a<ldition of l>lack. 
 
 USEFUL KECrP:rPTS FOR THE PAINTER. 
 
 To Clean. J^icfiiviy.—Vnt into two (piarts of strong 
 lye, a quarter of a pound of castile soap scra])ed fine< 
 with a pint of spirits of wine; let them simmer on a tire 
 for half an hour, then strain through a cloth; a])ply it 
 with a brush to the picture, wipe it off with a sponge, 
 and apj)l} a second time, which will remove the dirt; 
 then with a little linseed oil warmed, rub the picture, 
 and let it dry. This will make it look as well as new. 
 
 Savin (J OrnitnientH. — Sometimes in i-e-painting old 
 work, the painter wishes to preserve the ornament. To 
 (\(^ this he should giN'e it a coat of some kind of size, 
 such as glue, isinglass, l)all licorice and water, or the 
 white of an ^^^. The painting then proceeds, })aying 
 no regard to the oi'nament until theHrst coat of \arnish 
 is ready to rub. In rubbing, the varnish shotdd be cut 
 through over the ornament until it is exposed. 
 
 Oil Paint — To Bfduce irifh Water. — Take gum 
 
'Oll.NAMKN 1 Al. PA'lNTlNiG. _ 5;^ 
 
 shellac 1 It), sal soda ^ tf», water H ])iiits; put all into 
 a kettle and lx)il, stirring until all is dissolved; tliis^ 
 when cool, can be bottled tor iise^ Mi.x up two quarts 
 of oil paint as usual^— except no turpentine is to l)e used 
 — any color desired. Xow put one ])iut of the gunj 
 shellac mixture with the oil paint when it }>ecomes 
 tliick, and may be reduced with water to a working 
 I'onsistency. 
 
 Another Mei/KHj/.-^-V'dkki soft water, 1 gal., and (lis- 
 solve in it H ounces of j)earJ ash; bring it to a boil, and 
 •slowly add shellac. 1 lt>. When cold, it is ready to a<ld 
 to oil paint, in equal portions. 
 
 BlacJi/xHtrd Paint. — One pint of shellac dissolved 
 in alcohol, lA ounces ground pumice stone, 1 
 ounce iine rotten stone, '1 ounces lampblack: mix the 
 last three ingredients together, wet a j)ortion at a time 
 with a little of the shellac and alcohol, and grind as 
 line as possible with a pallet knife, after which pour in 
 the renuiinder of the alcohol, stirring often to prevent 
 ■settling. One pint will fjU'uish two coats for forty 
 square feet of black))oard not previously painted. No 
 oil sliouh] be used. 
 
 Fhr-proof I'diiit. — Slack stone-lime b\ j)uttijig it 
 into a tub, which should be covered, to keep in the 
 steam. When slacked, pass the powder through a line 
 •sieve, and to each six (juarts of it add 1 (piart of rock 
 •salt, and water 1 gal.; then boil and skim clean. 'J'o ."^ 
 gallons of this, add 1 tt» pidverized alum, A 11) [)\d\er- 
 ized cop})eras, and slowly add j)()W(^ered potasli, ;i lt>: 
 
u 
 
 OKNAMKNTAI, rAiX'i'lNG.- 
 
 then hard-wood ashee^, 4 lt>s. Any desired color can l)e 
 added to tliis. It makes wocxl incoiiihustible, reiulens 
 brick impervious to water, and is as durable as slate. 
 
 Water-j)r(j(>f ( ^ll-Rnhhtv Paint. — ^^Dissolve 5 ]t)s of 
 India rubber in 1 <>a.llon of Ituiled linseed oil, by boil- 
 intf. If this is too thick, reduce with Vxuled oil; ii' too 
 thill, use more rubber. This is valuable for painting 
 cloth. 
 
 Fi'oxfiiKj (rla^x. — Sugai* of lead iri'ound in oil, ap- 
 plied with a brush, then ])onnced wliile wet, with a 
 wad of cotton. 
 
HON( )RABLE MENTION, 
 
 Too imicli cannot be said in praise of tiie valuable 
 g'oods nianutHCtni-ed by John W. Masury tt Son, of 
 Xew YoTk City. Tlieir eoaeli painters' colors are fa- 
 vorably known tlirongliout the whole country, and are 
 to-day the I'ecognized standard colors of the world. Of 
 the varnishes manufactured by them, we will say that 
 for brilliancy^ ea^nj irorhimj pr()perti(^i< and (Jin-(fhilifij 
 they are surpassed by none. 
 
 Their Black I\ubl)ing has all the cpuilities of a lii'st 
 elates i'ubV>ing varnish, and can be flowed safely overtlie 
 largest panels. It co\ ers solidly over one coat of black, 
 thereby diminishing tlie hibor and ex[)ense of painting 
 a carriage. 
 
 They are also extensive manufactureis of house-paint- 
 ers' materials, which for (juality and durability can safe- 
 ly be relied on. 
 
 In mentioning these goods we speak from experience, 
 having used them successfully for nuiny years, and as 
 yet liave the first cause for complaint. 
 
 Their advertisement vdll be found in another part of 
 this book, and we would urge all painters who \nsh to 
 })rocure tirst-class material to send to them for catalogues, 
 descriptiN'e circulars and pi'ice lists. 
 
^6 oKXA:sri-:NTAr. rArxrixcv, 
 
 ALPHAlUrrS OF LETTERS USED RY THE SIGN-WRITER. 
 
 L^ 
 
 ,%c g^^- f^^ tf^'S) il^" fewS'-;'' a!M- 
 
 jp i^ H a I 
 
 •S ^4iM& V£jf^ 
 
 7^:-. hJ 
 
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 ^-. .^ ^fp st^' w 2^' 'Hi i^ i_ 
 
 .UJw,^5^ ^giiS^ Mi=^e>2l V£.>-.^@ '.^:_^!^-.L^; V£i-''i^ (55^«. S^3?S) '(?.i„-!i' 
 
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 4BiilFi 
 IIJII. 
 
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DRNAMENTAI. PAtNTlNG- 
 
 57 
 
 ALPHABETS OF LETTERS tJSED BY THE SIGN-WRITER. 
 
 "'"ffT/1 
 
 \l. yj' .'' 
 
 -I 
 
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 ^^ 
 
 G/ # 
 
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58 
 
 OKNAMENTAL PAINTING. 
 
 90S-,;:-?i 
 
 ABCD.EFG'HiJE. 
 
 LMNOPQUST 
 
 VWXYZ&aTDcd 
 
 efg'h.ijklmnopq. 
 
 4567890., ;.?!$£ 
 
ORNAMENTAL PAINTING. 59 
 
 A B C D EFG HI 
 
 J KLMNO PO R 
 
 5 T U V W X Y Z 
 
 6 a b c d e f g hi j 
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 67890.,;:-!?$ 
 
6g ornamental paintiStg, 
 
 JOHN W.MANSIJRY& SON, 
 
 NEW YORK AND CHICAGO, 
 
 MANUFACTURERS OV 
 
 Siii)erfine Paints and Colors, 
 
 -AND- 
 
 Fine Varnishes for Coach 1^ Railway Work. 
 
 THE MASURY COACH COLORS 
 
 Are STANDARIJ CJOODS, and are pronounced by £lie largest roach and carriage' 
 makers THK BEST IN THE WORLD. 
 
 MASURY'S VARNISHES have no epuah 
 
36 91 
 
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 *^ «•- 
 
 HECKMAN 
 
 BINDERY INC. 
 
 €|. DEC 90 
 W N. MANCHESTER, 
 ^ INDIANA 46962