PLAIN INSTRUCTIONS
FOR
COLORING PHOTOGRAPHS
MP SIMO

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1
Accessions,
THE
3210
LIBRARY
OF
Shelf No.
771
Si5
The University of Minnesota.
Plain Instructions
FOR
Colouring Photographs.

5.
PLAIN INSTRUCTIONS
FOR
COLOURING PHOTOGRAPHS
IN
Water Colours and India Ink:
WITH
A PALETTE OF FLESH TINTS,
AND
NOTES OF EXPLANATION.
UNIVERSITY OF
VLOSINNIW
BY M. P. SIMO.N.S.
MONARY
PHILADELPHIA:
PRINTED BY T. K. & P. G. COLLINS.
1857.
200
Entered, according to Act of Congress, in the year 1857, by
M. P. SIMONS,
In the Clerk's Office of the District Court of the United States, in and for
the Eastern District of Pennsylvania.
ATOZDMMIM
TIBBYBA
77696
Si57
ΤΟ
THOMAS SULLY, ESQ.,
This Little Manual
IS MOST RESPECTFULLY INSCRIBED.
1 *
UNIVERSITY OF
MINNESOTA
LIBRARY
PREFACE.
PAINTING has always been esteemed a useful and
fashionable art; and since photography has become so
popular, and coloured photographs have almost entirely
supplanted ivory miniatures, it is very evident that
some such book as Plain Instructions for Colouring
Photographs in Water Colours and India Ink," has
long been wanted. Whether, in preparing the follow-
ing few pages for the press, I have met this want or
not, time will show. My aim throughout has been to
be as plain and comprehensible as possible. All techni-
calities, which tend more to retard the student than to
advance him in his studies, have been avoided. I have
touched upon every point connected with the art of
colouring. The plan I have adopted of preparing a
(7)
viii
PREFACE.
palette of colours to give ocular demonstrations of all
the various flesh and carnation tints used by the best
miniature painters, will be found very instructive, and
it is hoped will advance the student much more rapidly
than any other mode heretofore introduced. The com-
pound tints, and the manner of using them, are given
with the fullest confidence, having been submitted in
manuscript to my friend SAMUEL B. WAUGH, Esq., to
whom I am greatly indebted for many valuable sugges-
tions, which have assisted me in the whole arrangement
of this work, both as regards its correctness and sim-
plicity. None who are desirous of learning to colour
photographs need fail in their attempts, if they strictly
obey the directions in the following pages. Directions,
however, may be so plain, that the student may read
them while he runs. Yet they will avail him nothing
unless he stops to reflect and study.
Nothing can be accomplished without observation
and study, and with it, everything. Some talk of
genius; but it is study and observation that develop
genius. One may have more taste for a study than
another, and will therefore make greater progress at
first. But the race is not always to the swift." He
who undertakes to run up a steep hill may be overtaken
before he reaches the top by him who only walks.
PREFACE.
ix
Thus it is oftentimes with those who learn so rapidly at
first; believing that they have a peculiar genius for
such things, they are unwilling to waste their precious
time in study, and are soon pushed aside by those who
followed slowly, but steadily, behind.
If any will be induced, after the perusal of this little
work, to commence the study of colouring photographs,
either as a profession, or merely as an amusement for
their leisure hours, it would afford the writer great
pleasure to know that their endeavours to adorn
nature's handiwork with colours have been successful.
In dedicating this humble effort, it may be thought
presumptuous in the writer to use the name of Phila-
delphia's best artist. Yet it is done without even the
gratifying hope of adding a single ray to his illustrious
name; but rather to borrow one, like the moon, that
must either borrow lustre from the sun, or be content
to move on in darkness for ever.
GREEN HILL, PHILADELPHIA, APRIL, 1857.
CONTENTS.
PAGE
PREFACE .
INTRODUCTION
MATERIALS
BRUSHES
ĠUM WATER
SHADOWS
POSITIONS
7
1.3
15
15
16
17
17
TO INDICATE THE SIZE OF THE SUBJECT
18
TO MOUNT PHOTOGRAPHS FOR COLOURING
18
A DESCRIPTION OF THE COLOURS USED IN PAINTING
PHOTOGRAPHS
19
COMPOUND TINTS
23
COLOURING
25
COMPLEXIONS
27
•
EYES
HAIR
28
29
(11)
xii
CONTENTS.
BACKGROUNDS
DRAPERY
STIPPLING
WASHING
HATCHING
TO MOUNT PHOTOGRAPHS FOR FINISHING IN INDIA
PAGE
31
32
34
34
35
INK
35
THE MARGIN-KEEPING IT CLEAN
36
INDIA INK
37
FINISHING PHOTOGRAPHS IN INDIA INK
37
•
TINTING PHOTOGRAPHS
39
CONCLUSION
40
INTRODUCTION.
WHEN We reflect that painting is an attempt to imitate
nature with nature's pigments; and when we reflect,
too, that nature blends her rich colours with such a
masterly hand, certainly we have great cause to shrink
from the undertaking. But, on the other hand, we
must not forget that this same great master does the
chief and most important part in furnishing us with
the photograph-a drawing so perfect that it will bear
the highest magnifying power without losing in the
least any of its magical beauty. Such is the wonderful
perfection of the photograph-be careful not to oblite-
rate or mar a single line of its beauty; endeavour to
leave the lights and shadows as you found them, soft
and mellow, and the result will repay you amply for
2
(13)
xiv
INTRODUCTION.
´your care. The two most important points in colouring
photographs are, first, compounding the proper tints
from the best colours; and second, the art of applying
them in a proper manner. The compound tints arranged
upon the palette of colours, if applied according to
directions, will produce a fine coloured head. Yet it
cannot be expected that the same tints, without any
alteration or modification, will, in every instance, repre-
sent nature. Nature varies her tints so much, that in
order to imitate her with art, she must be well studied.
I have prepared such colours only upon the palette as
would be difficult to describe, and at the same time
highly important that they should be described and
thoroughly comprehended.
INSTRUCTIONS
FOR
COLOURING PHOTOGRAPHS.
MATERIALS.
It is very important that the student should procure
the finest materials for colouring photographs. The
quantity of colours used in painting a miniature is so
very trifling, that the cost of the finest should never
be taken into consideration.
BRUSHES.
The most appropriate brushes for colouring photo-
graphs are red and black sable for stippling; for
hatching, the red seems to be preferred; and for wash-
ing, the black. The size of the brush, of course, must
be adapted to the size of the picture you are colouring.
(15)
16
INSTRUCTIONS FOR
For hatching, and even for stippling, their points.
should not be too fine, except for delicate and minute
touches upon very small miniatures.
GUM WATER.
Gum water can be procured from the colourmen ready
prepared. It is quite simple to make; and as many
may prefer preparing it for themselves, I will give
directions for its preparation.
Put 1 oz. of the finest gum arabic into about 16 oz.
of water, boil over a slow heat, until the quantity is
reduced to about one-half; then strain through a piece
of cotton cloth, and it is ready for use; if kept well
corked, it will last a long time; when too thick, add
a little warm water.
Gum water should not be used thicker than about
one part gum to seven or eight of water. It is used
for glazing the deep shadows of the head drapery, &c.,
after the picture is painted, though not until it is tho-
roughly dry.
"
COLOURING PHOTOGRAPHS.
17
SHADOWS.
THE shadows in a photograph for colouring should
be quite delicate and clear, especially in the pictures
of ladies and children. A high light produces the best
shadows upon a picture. The tone of a photograph
should be neutral or black, which the photographer can
produce at pleasure, by a process called toning.
POSITIONS.
MUCH depends upon positions, both as regards the
likeness and the beauty of the picture. The student
should, whenever an opportunity offers, have his subject
placed in the most natural position. The attitudes of
children should always be simple and playful; and if
more of the figure than the head and bust is shown, it
should then be full length. For grown persons, the
three-quarter length figures, showing both hands, are
probably the most appropriate for most pictures. Yet
the Crayon or Vignette style, and full-length figures
for ladies and young persons, are very much admired.
2*
18
INSTRUCTIONS FOR
TO INDICATE THE SIZE OF THE SUBJECT.
This can be done to some extent by placing the
head properly in the oval. A tall person should be
placed somewhat nearer to the top of the background
than a shorter one. The background should be equal
on either side of the figure; but if more on one side
than the other, it should be in front; that is, in the
direction in which the head is turned; for, if vice versa,
the figure has the appearance of being crowded out of
the picture.
>
· TO MOUNT PHOTOGRAPHS FOR COLOURING.
When a photograph is to be coloured, whatever the
style may be, it should be mounted upon stout Bristol
or binder's board; the latter for large pictures is much
the best; when dry it should be well rolled or bur-
nished with an agate burnisher. The object of this
operation is to burnish down all the inequalities upon the
surface of the picture, rendering it more like ivory,
and therefore much better to colour upon. The opera-
tion of burnishing should be conducted with great care,
COLOURING PHOTOGRAPHS.
19
and not attempted until the mounted picture is tho-
roughly dry. A clean sheet of letter paper should
be laid on the photograph to burnish or roll upon.

A DESCRIPTION OF THE COLOURS USED
IN PAINTING PHOTOGRAPHS.
COBALT BLUE.—A permanent bright and good wash-
ing colour, mixed with pink madder and burnt sienna,
produces a beautiful tint for half shades and shadows.
of the face.
PRUSSIAN BLUE.-A very useful colour, mixed with
lake or carmine, affords beautiful purple tints for silks,
velvets, and other rich draperies.
ULTRAMARINE.-This is the finest blue in use; but,
on account of a peculiarity it possesses of precipitating
a sort of fine black speck, is not so pleasant to use
alone as cobalt.
INDIGO.-A very useful colour for washing, and
mixed with Indian red, forms a fine neutral tint, valua-
ble for many purposes in colouring photographs.
FRENCH BLUE.-A good washing colour, permanent,
and of much greater depth than cobalt, but not so
bright. It is, however, very much used by the best
colourists.
CARMINE. One of the richest and most brilliant
20
INSTRUCTIONS FOR
carnation colours; yet, on account of its tendency to
fade, is not so desirable to use as the madder lakes.
It is used, however, to some extent in painting photo-
graphs.
VERMILLION.-An opaque colour, not much used in
miniature painting; mixed with other colours, it can
be used to some extent for colouring photographs with
good effect.
Purple MaddeR.-A very rich colour, approaching
crimson, useful for deep shadows.
CRIMSON LAKE.-Used principally for draperies.
× PINK MADDER.-A very beautiful and delicate colour,
much used in painting photographs. Many give it the
preference to most other carnation colours, on account
of its colour and permanency.
ROSE MADDER.-Is sometimes used in place of pink
madder, which it resembles very much, except that it
is somewhat lighter.
VENETIAN RED.-A permanent and clear colour,
very useful as a general flesh tint.
LIGHT RED.-Very similar to Venetian red, though
much warmer, and on that account is preferred for
some purposes.
INDIAN RED.—A highly useful colour, mixed with
cobalt or Prussian blue, forms an elegant shadow
colour. It is used also in the dark shadows of the
face.
INDIAN YELLOW.-A brilliant and useful colour both
for flesh and drapery.
COLOURING PHOTOGRAPHS.
21
RAW SIENNA.—A deep, rich, and permanent yellow
colour, superior for many purposes to Indian yellow,
which it resembles very much.
MADDER BROWN.-A very rich brown, forming, when
mixed with cobalt or Prussian blue, a deep and mellow
shadow colour. It is also very useful in drapery.
BURNT SIENNA.-A warm, transparent brown, very
useful in compounding flesh tints.
BURNT UMBER.-A useful brown colour for hair and
other purposes.
NEUTRAL TINT.-Is much used as a foundation for
half shades and shadows.
VANDYKE BROWN.-A very rich and permanent
colour, and by many considered the best brown in use.
SEPIA.-A permanent and transparent colour, mixing
kindly with other colours, and is preferred by some to
Vandyke brown for hair, &c.
CROME YELLOW.-An opaque bright colour, useful
for painting jewellery, though rather heavy for other
purposes. It is a very permanent and beautiful colour.
ROMAN OCHRE.-Can be used to advantage for dark
yellow complexions, and shadows in some draperies.
GAMBOGE.-A yellow colour, inclining to green;
being an unpleasant colour to use, and as there are
other colours to take its place, I will not recommend it
for colouring photographs.
CONSTANT WHITE.-Is not used so generally as Chi-
nese white, as it is thought not to be so constant as its
name would indicate.
22
INSTRUCTIONS FOR
CHINESE WHITE.-Used for the concentrated lights
in the eye and on the nose; when used for linen it will
be necessary in most cases to subdue it in tone with
Indian yellow, or raw sienna. And even when used
for the eye and nose, it would be advisable to lower it
a little with either of these colours.
IVORY BLACK.-A fine, warm, black colour, very
desirable for black draperies in photographs.
LAMP BLACK.-An opaque black colour, not so warm
as ivory black, yet very useful for black draperies.
COLOURING PHOTOGRAPHS.
23
COMPOUND TINTS.
PURPLES.-Purples can be produced in a variety of
ways. Cobalt and carmine will produce a rich, warm
purple, which can be varied very much in tone or colour
by using more or less of cobalt. Prussian blue and
lake will give another shade of purple, rather darker
than the former.
BROWNS.-Much used and very easily compounded.
Vandyke brown and burnt sienna will give almost any
shade of brown by letting either of these colours pre-
dominate.
ORANGE.-Carmine, vermillion, and Indian yellow.
GREENS.-Indian yellow, or yellow lake and Prus-
sian blue, will produce one shade; Indian yellow and
indigo another; raw sienna or gamboge, mixed either
with cobalt, indigo, or Prussian blue, will make a
variety of shades. Lamp black can also be used
when a darker dull green is required than can be pro-
duced by the above compounds.
GOLD.-Raw sienna for local colour, black and Ro-
man ochre for the middle or green tints; Vandyke
brown and burnt sienna for the deepest shadows. For
the high lights use light crome yellow.
WHITE.-Constant white, if genuine, is the most
brilliant of all the whites. Zinc white is also consi-
24
INSTRUCTIONS FOR
dered good; but beware of a spurious article called
Constant White, made of lead, which in a short time
will turn black. A friend of mine, while on a sketch-
ing tour through Italy, put in his high lights with this
white. When he returned home a few months after-
wards, lo and behold! he discovered that his constant
white had proved very inconstant by turning black; so
that the concentrated lights had become concentrated
darks.
BLACK.-Lamp black, for general use, will be found
the best, though ivory black is much warmer; and
when combined with lake, forms a very rich, deep
colour, for shadows. For black draperies use lamp
black, white, and Indian red. The shades of black
drapery frequently partake of a bluish tinge, in which
case add a little blue, either indigo, Prussian blue, or
cobalt, according to the tone you wish to produce.
COLOURING PHOTOGRAPHS.
25
COLOURING.
THE first step towards colouring a photograph in
water colour, is to wash in some suitable colour upon the
entire background, working closely and neatly up to
the contour of the figure. The first washing upon the
background should not be so dark as you intend it to
be when finished, as the depth of its colour will depend
somewhat upon the hue of the subject's hair, and also
upon the tone of your picture when coloured. If your
background should afterwards require to be darker to
make it harmonize with the head, it can very readily
be made so; but if too dark, it cannot so easily be
made lighter. The finest backgrounds are produced by
stippling alternately different colours upon the first
washings. Commence colouring the head by washing
in the local colour of the flesh, tint No. 1 of flesh
palette, produced by rubbing lake and Indian yellow
together. Wash the orbits of the eyes with tint No. 2
of flesh palette, produced by rubbing burnt sienna,
lake, and ultramarine together. For the deeper shadows
of the face, such as those under the brow, nose, chin,
&c., use tint No. 3 of flesh palette, produced by rub-
bing indigo and Indian red together. For the lighter
or half shades of the face, use neutral tint, which can
be procured already prepared of the colourmen. For
the cheeks and the under lip, use tint No. 4 of flesh
3
1
26
INSTRUCTIONS FOR
palette, produced by rubbing pink madder and ver-
million together; for the upper lip, being mostly in
shadow, use tint No. 5 of flesh palette, produced by
rubbing rose madder and Indian red together. For
the parting of the lips, and shades of the nostrils, use
tint No. 6 of flesh palette, produced by rubbing madder
lake and Vandyke brown together. For the lower part
of the face and neck, use tint No. 7 of flesh palette,
produced by rubbing Indian red and ultramarine toge-
ther. Shade the hands with the same tint; recommended
for the neck, No. 7 of flesh palette; the knuckles, how-
ever, andends of the fingers will require more or less of
the carnation tint, No. 4 of flesh palette; although this
tint must be used very sparingly, except for the cheeks
and under lip. When the picture is advanced thus far,
by simply washing, it is then ready for finishing, which
is accomplished by either stippling or hatching, or both
combined. The face, however, is usually finished by
stippling, although if a large head, heavily shaded,
hatching produces very beautiful effects, especially in
the shadows. The same compound tints recommended
for the washings can be used for stippling and hatching;
yet there are those who prefer using the same colours in
their primitive state for this purpose. Keep in mind
the important fact, that the harmony of the picture is
produced and kept up by either stippling or hatching
alternately all the various primitive colours used in
composing the flesh washings. Every part of the
picture should be advanced equally to preserve its har-
COLOURING PHOTOGRAPHS.
27
mony and general tone, otherwise a vast amount of
unnecessary labour would have to be expended in cor-
recting and tuning the picture after it was supposed to
have been finished.
COMPLEXIONS.
THE article on colouring applies to light and fair
complexions, which are found the most frequently in
nature. In dark complexions use Roman ochre for the
local flesh colour, in place of Indian yellow. The car-
nation tints may be tempered to suit the particular
complexion of your subject.
The clear and bright complexions of children require
but little yellow in the flesh tints; and, in fact, all the
tints used in the heads of most children, should be pure
and delicate. The pearly tint, composed of neutral
tint and cobalt will be found very useful in colouring
miniatures of children and ladies with fair complexions.
28
INSTRUCTIONS FOR
EYES.
THERE are so many intermediate shades of blue,
gray, hazel, black, and brown eyes, that it would be a
difficult task, as well as a useless one, to attempt to
give any minute directions for colouring them. By the
time the student is capable of discriminating between
all the delicate shades of eyes to be found in nature,
he will be able to match them perfectly with a proper
combination of the colours to be found below.
FOR DARK BROWN OR BLACK EYES.-Use Vandyke
brown and burnt sienna.
FOR HAZEL EYES.-Use neutral tint and yellow
ochre.
FOR GREY EYES.-Use neutral tint.
FOR BLUE EYES.-Use ultramarine, tempered with
neutral tint, to suit the particular shade of blue. This
tempering or suiting the compound tints to the particu-
lar colour of the eyes, will apply to all the other eyes
as well.
1
COLOURING PHOTOGRAPHS.
29
HAIR.
HAIR contributes so greatly to the beauty of the
picture, that it should be well studied. The locks
should be carefully traced, and painted with a reference
to the broad masses; too much detail in hair produces
a wiry effect. The photograph gives the lights and
shades perfectly; yet in order to keep up the character
of the original, and to imitate it exactly in colour, it
would be advisable to copy nature. When the original
is deceased, a lock of hair will answer the purpose.
Washing and hatching are the proper modes of treating
hair. With a proper modification of the following
colours, all the various shades of hair can be imitated.
My reasons for not preparing a palette of colours for
hair are precisely the same as those stated for not pre-
paring one for eyes.
DARK BROWN HAIR.-For local colour, Vandyke
brown, lights rather purplish.
FLAXEN HAIR.-Roman ochre and Vandyke brown
will produce this colour of hair. When the shadows
appear greenish, use Vandyke brown and Indian
yellow.
AUBURN HAIR.-Lights, neutral tint, with a blush
of lake. For local colour, use burnt umber and burnt
sienna. For the deepest shadows, use burnt umber,
Vandyke brown, and lake.
3*
30
INSTRUCTIONS FOR
JET BLACK HAIR.-For local colour, use ivory black
and a little cobalt; lights, neutral tint.
GRAY HAIR.-Cobalt and Vandyke brown will pro-
duce this colour of hair. Gray hair varies very much
in tone, and should be studied as well as any other
description of hair.
RED HAIR.-This colour of hair is quite common,
and is easily imitated. Burnt terra, sienna, and Vene-
tian red, modified with Vandyke brown, will produce it.
If of a yellowish tone, add a little Roman ochre. Be
careful never to make this colour of hair too bright,
but rather keep it somewhat below the reality; for a
lady would as soon tell her age, as admit that her
hair was red. It is either auburn, chestnut, or some
other modification of red, but never red. Ladies with
this colour of hair should wear something white about
the neck when they sit for a photograph which is in-
tended to be coloured, as white will considerably modify
its effect.
COLOURING PHOTOGRAPHS.
31
BACKGROUNDS.
·
PLAIN dark backgrounds seem to be the most appro-
priate for photographic portraits, and should partake
more or less of an olive tint, which generally forms the
most agreeable contrast with flesh. When the back-
ground of a photograph is white, if perfectly pure, it
can be left plain; or it can be made very beautiful by
first. washing upon it a faint shade of blue, and then
stipple a stronger shade of the same colour, until it is
regular and even. If a sky is to be represented, stipple
with ultramarine, tempered with neutral tint; for
clouds, stipple with indigo and Indian red, which can
be warmed when desired with raw sienna and lake.
Some fancy backgrounds, as landscapes, interiors,
&c., very frequently produce beautiful effects, and
answer very well for some particular styles of pictures,
such as well arranged groups and single figures of
young ladies and children; but for most pictures, the
plain background will be found the most appropriate.
The backgrounds of some of our own artists, such as
Sully's, Waugh's, Inman's, and many others, although
in oil, will afford fine models for the student in water
colour. They would, however, be too dark as a gene-
ral thing for small miniatures. Yet the harmony and
contrast of colours are the same in oil as in water
colours.
32
INSTRUCTIONS FOR
DRAPERY.
GENTLEMEN'S DRAPERY.-Black is almost universally
adopted for gentlemen's drapery. Yet there are many
other colours quite as becoming, and much more beau-
tiful, such as dark blues, browns, &c. ; but as these
colours are not considered fashionable for gentlemen's
drapery, it would be thought boldness in me to recom-
mend them. I will, however, venture to say, that when
these colours are chosen for drapery, keep them very
much subdued in colour. Fancy dresses are more
allowable for ladies; yet even in their dresses, gay
colours should be used with a reference to the age and
complexion of the subject. Colours that are very
becoming to a young lady naturally gay, would look
ridiculous in the dress of her mother. Above all
things avoid tawdry colouring in drapery, and making
jewellery the most conspicuous point in your picture,
as it is sure to spoil the beautiful harmony of the pho-
tograph, placing it at once upon a level with coloured
prints, but without the advantages such prints gener-
ally possess, where surrounding objects help to destroy
the effect of gaudy colouring. Below will be found full
directions for colouring the most beautiful draperies.
PURPLE DRAPERY.-For local colour, use lake and
Prussian blue, or cobalt; shade with lake and black,
CRIMSON DRAPERY.-For local colour use crimson
COLOURING PHOTOGRAPHS.
33
lake or carmine; shade with Vandyke brown and ivory
black, and sometimes black alone.
MAROON DRAPERY.-For local colour, use burnt
sienna and lake; shade with the same, modified with
Vandyke-brown.
DARK BLUE DRAPERY.-For local colour, use indigo ;
shade with Vandyke brown and lake. For a bright
blue, use Prussian blue; shade with black.
DARK GREEN DRAPERY.-For local colour, use Prus-
sian blue and Indian yellow. For a subdued green,
use indigo and Indian yellow; shade with black or
neutral tint.
YELLOW DRAPERY.-For local colour, use Indian
yellow or Roman ochre; shade with burnt sienna and
Vandyke brown.
I have given no ocular demonstrations of tints for
colouring drapery, as it is not important that it should be
matched to a nicety; and therefore, it would be useless,
as well as difficult, to give any specific rules for paint-
ing it. The student should study the lights and shades
upon the photograph, and the effect of colours as they
appear in nature, and he will soon be able to imitate
anything he may see. I have said nothing about the
reflected lights in drapery, &c., for the reason that the
colour of reflections depend altogether upon the colour
of surrounding objects. For instance, if your sitter
has on a red vest, the reflections in the shadows of
his coat, neck cloth, under the chin, &c., would par-
take of that colour; and the student must use his
६
34
INSTRUCTIONS FOR
judgment in determining what tints will be required
to reproduce these reflections, as they add in an emi-
nent degree to the beauty and truth of the picture.
STIPPLING.
STIPPLING means finely dotting upon the first wash-
ings with the point of a brush containing but little
colour, neither too thick nor too wet. This mode of
finish requires quite a nicety of touch; yet with a little
practice it can be executed with great facility. The
object of stippling is to touch up all the little inequali-
ties with the proper tints, producing a finer texture,
and a closer imitation of flesh than can be obtained by
any other means.
WASHING.
WASHING means laying in the broad masses of light
and shade flowingly, with a comparatively large brush.
Black sable brushes are recommended for this purpose.
COLOURING PHOTOGRAPHS.
35
HATCHING.
HATCHING is different in its effects from either stip-
pling or washing; not so minute as stippling, nor so
broad as washing. It is accomplished by short, fine
strokes, and produces the most agreeable effect, espe-
cially in the shadows-giving them a greater transpa-
rency and crispness than can be obtained by stippling
alone.
TO MOUNT PHOTOGRAPHS FOR FINISHING
IN INDIA INK.
A PHOTOGRAPH intended to be finished in India ink,
should be mounted on stout Bristol board, showing a
white margin of two or three inches. A good surface
can be procured by burnishing, although rolling is the
most effectual for any style of photograph, and should
be resorted to whenever convenient.
2
36
INSTRUCTIONS FOR
THE MARGIN-KEEPING IT CLEAN.
A FEW words upon this subject will be useful to the
beginner. The plan I have adopted for keeping the
margins of photographs clean, while being worked up
in India ink, is to cut an opening the size of the pic-
ture, in a sheet of letter paper; gum the edges of this
paper on the under side of the photograph, and keep
it on until the picture is finished. The margin of a
photograph finished in India ink, if kept clean, adds
considerably to the appearance of the picture; but if
it should by any accident become soiled, all your time
and labour would be thrown away, unless you frame it
close, like a painting, which never looks so well for an
India ink picture as when the pure white margin is
seen. Nothing will restore a soiled margin to its ori
ginal purity, and hence the importance and necessity
of keeping it clean.
COLOURING PHOTOGRAPHS.
37
INDIA INK.
THERE are many different qualities of India ink.
The finest washes smoothly, without grit, and should
always be procured. A cake of India ink, used with
care, will last a long time.
The same kind of brushes used for colouring will
answer for finishing in India ink. I have found the
flat brush very good for that purpose.
FINISHING PHOTOGRAPHS IN INDIA INK.'
THIS is another very beautiful style in which photo-
graphs are frequently finished. A photograph elabo-
rately worked up in India ink, is quite equal in finish
to the finest engraved portraits; and as a likeness, is
far superior. Photographs best suited to this style of
work, are those that are clearly and well defined, suffi-
ciently light to allow for touching up the half shades
and shadows. The tone should be neutral or black.
Sepia tones, although very beautiful, and, in fact,
the most desirable for plain or untouched photographs,
should never be chosen for finishing in India ink, as
the effect would be disagreeable for want of harmony.
4
38
INSTRUCTIONS FOR
The background of this style of picture should be
washed in with a light wash of India ink, and then
stippled with the same colour, only a little stronger,
until the desired tone is obtained. The drapery may
be finished by hatching and washing. When your pho-
tograph is too light, and you are unable to procure one
of the proper shade, it may be remedied to some extent
by washing all over the figure and background, if re-
quired, a gray colour of India ink. It will be well to
observe here, that this washing would prove an injury
to a photograph properly shaded, by lowering the high
lights, which should never be touched, except with the
greatest care. The lights should be worked up to with
a gray tint to preserve softness and brilliancy. A still
higher finish can be given to these pictures, as well as
those in water colour, by glazing the deep shadows of
the head with gum water.
Recapitulation. The background should be washed,
and sometimes stippled and hatched; wash and hatch
the hair; stipple and hatch the flesh; wash and hatch
the drapery. These directions will apply also to co-
loured pictures.
COLOURING PHOTOGRAPHS.
39
TINTING PHOTOGRAPHS.
THIS is a charming manner of colouring photographs,
and seems particularly adapted to the Crayon or Vig-
nette style. The mode of doing it is quite simple.
Commence by washing the flesh, as evenly as possible,
with tint No. 1 of flesh palette; stipple very finely
upon this when dry with Indian ink. The lips, cheeks,
and chin are afterwards stippled with tint No. 5 of flesh
palette. In selecting photographs for tinting, be par-
ticular to get those which are well defined, light, and
as delicate as possible. The tone should either be
black or neutral. White backgrounds are very beau-
tiful for this style of picture; but they must be of the
purest white, and free from all imperfections. With a
little care, very fine effects can be produced by tinting.
This style of picture, however, cannot be considered
legitimate art; but being simple, easily comprehended,
and possessing all the beauty and brilliancy of light
and shade to be found in the most elaborate works of
art, I have thought proper to describe a mode by which
they may be executed with very little trouble.
40
INSTRUCTIONS FOR
CONCLUSION.
UNDER this head it will be proper to make a few
general remarks, and give such further explanation of
the palette of colours as will be thought necessary to
make it fully understood by the student. It will be
observed that the flesh and carnation tints are set upon
the palette somewhat brighter than nature. This is
done to allow for a slight change which these delicate
tints undergo when worked in with other colours.
Great care should be exercised in matching the tints.
When your compound seems to approach in colour the
tint upon the palette, it should be tested before apply-
ing it to the face, by brushing some on a piece of white
paper, and comparing it when dry with the one to be
imitated. As it is difficult to match tints, it would be
as well, when convenient, to prepare a sufficient quan-
tity for finishing a picture. Be particular to keep your
tints clean, and free from dust. It would be as well to
keep the palette for the head separate, and used for
that purpose alone. Allow ample room for each colour,
reserving a clear space in the middle to make any other
modification of them desired. Care should also be
taken with your brushes. In short, be neat and tidy
with everything connected with the art; remembering
that if you would make clean and bright pictures, you
COLOURING PHOTOGRAPHS.
41
The
must keep your colours clean and bright. By having
a fac simile photograph to examine as you proceed with
your work, a very fair likeness may be painted without
ever seeing the subject; although in order to produce
the most perfect and natural likeness, you should have
at least two sittings of about one hour each. Com-
plexions differ so much that it would be difficult to
paint correctly without; besides, this careless habit of
colouring tends to an unpleasant sameness of style,
which will always be found difficult to correct; as musi-
cians, who have acquired the habit of playing by ear,
find it difficult afterwards to perform by note.
advantage, however, of having a duplicate photograph
by your side while colouring, cannot be too highly
appreciated. It should be sharp, clear, well defined,
and sufficiently shaded to show the features distinctly.
One of this description will afford you the greatest
assistance; being in every necessary particular similar
to the one you are colouring, it can be examined from
time to time, by which the likeness can be preserved
with much greater accuracy. It not unfrequently hap-
pens that by blotting out a single line, the likeness is
irrecoverably lost, and the student continues to work
on ignorant of the mischief he has done. Whereas a
duplicate photograph would have reminded him in
time of the error he is about committing.
The student should keep in mind the fact that all
round objects have a concentrated light-or what is
usually called a high light-in a greater or less degree,
1 *
42 INSTRUCTIONS FOR COLOURING PHOTOGRAPHS.
according to the smoothness or polish of their surfaces.
These concentrated lights, therefore, appear on the ball
of the eye, called the white speck in the eye, on the
nose, and other prominent points. The tints for wash-
ing in the shadows of the face should be faint and deli-
cate; be careful not to change the form of shadows.
Shadows are the darkest as they approach the light;
and as they recede from the cause producing them, they
become weakened by the reflections of surrounding
objects. The lights and shades of a picture are united
by an intermediate shade of gray or neutral tint. A
picture should not be considered entirely finished, until
it has been laid aside for a few days, when it can be
examined with a fresh eye. Painting, in this respect,
is not unlike poetry: the eye must be fresh to correct
faults, and add new beauties to either.
THE END.
ANTHONY'S WORLD'S DEPOT
OF
PHOTOGRAPHIC MATERIALS,
AT
308 Broadway, New York,
IS THE
GREAT DISTRIBUTING RESERVOIR
For every style of Goods required for
Every Branch of the Art;
Whether of his own Manufacture, or the Production of
ENGLAND, FRANCE, OR GERMANY.
Everything an Artist needs can be obtained at reasonable rates.
The finest water colours and brushes always on hand.
Catalogues furnished on application.
E. ANTHONY,
308 Broadway.
SIMONS & MORSE,
PHOTOGRAPHIC ESTABLISHMENT,
CHESTNUT below TENTH,
WHERE EVERY STYLE OF PICTURES CAN BE OBTAINED.
Family Groups and Likenesses of Children, Warranted to gibe
the fullest satisfaction.
Photographs Coloured in Oil, Water Colours,
and India Ink.
Daguerreotypes, &c., Copied any Size, and Coloured
in the most beautiful manner.
SIMONS & MORSE,
Over Murphey & Yarnell's House-Furnishing Store,
Chestnut below Tenth, Philadelphia.
MYRON SHEW,
DEALER IN
DAGUERREOTYPE, AMBROTYPE,
AND
Photographic Apparatus,
No. 118 CHESTNUT STREET,
Philadelphia, Pa.
Also the following books:-
Hardwick's Photographic Chemistry
Daguerreotype Operator
L. L. Hill's Photographic Researches
Ellis's Ambrotype Instructor
Burgess's Ambrotype Manual
. $0.50
0.50
0.75
0.50
1.00
LOUIS BECKERS,
MANUFACTURER OF
Daguerreotype and Photographic Chemicals,
No. 56 North Fifth Street,
Above Arch, West Side,
PHILADELPHIA.
GOUPIL & CO.,
Printsellers and Artists' Colourmen,
366 Broadway, New York,
Have always on hand all the requisites for Artists
and Photographers.
Artists' Emporium.
THEODORE KELLEY, ARTISTS' COLOURMAN,
No. 18 S. Eighth St., Philadelphia.
ARTISTS' MATERIALS OF EVERY DESCRIPTION,
For Oil, Water, and Pastel Painting.
A Complete Assortment of Architectural Designs, Prints, Head's,
Landscapes, &c.
DEALERS AND SCHOOLS SUPPLIED.
JULIUS SCHOLZ'S
Emporium of Painting and Design,
No. 47 South Eighth Street,
East Side, below Chestnut Street,
PHILADELPHIA,
IMPORTER AND DEALER IN
ARTISTS' MATERIALS OF EVERY DESCRIPTION.
Teachers, Pupils, and Photographers supplied on
the most reasonable terms.
JAMES CREMER,
MANUFACTURER AND DEALER IN
DAGUERREOTYPE & PHOTOGRAPHIC MATERIALS,
Keeps constantly on hand a large assortment of the celebrated
Holmes, Booth, and Hayden's Cameras. Also C. C.
Harrison's, Voightlander & John's, and
Palmer & Longking's.
Gilt Frames, Cases, Chemicals, etc., etc.,
in great variety.
Authorized Agent for sale of Melainotype Patent-Rights and
Plates. Individual rights, $3.00. Specimens sent by mail, on
receipt of 50 cts. in postage stamps.
JAMES CREMER,
S. W. Corner Sixth & Chestnut, Philadelphia.
LIST OF ARTICLES
MANUFACTURED BY
ROSENGARTEN & SONS,
PHILADELPHIA,
FOR
Photographic Purposes,
Which can be procured from the Wholesale Dealers.
Acid, Acetic
Gold, Chloride,
"Hyposulphite
Glacial
((
8° Baumé (French)
Iodine
66
(6
Gallic
Bromide
((
Hydrochloric, Chem. Pure
(4
Chloride
Nitric
Pyrogallic
(" Succinic
(6
Iron, Bromide
(C
Iodide
(6
Sulphuric, Chem. Pure
Alcohol, Absolute
Ammonia, Aqua
Hydrosulphate
Ammonium, Bromide
((
Iodide
Protosulphate, Cryst.
Potassium, Bromide
Cyanide, Gran.
(6
Fused
Iodide
Silver, Chloride
Cyanide
Barium, Chloride
66
Nitrate
Iodide
((
Nitrate, Cryst.
Bromine
Cadmium
Bromide
Iodide
66
Oxide
Soda, Hyposulphite
Sodium, Bromide
Iodide
Ether, Sulphuric, Conc.
Zinc, Iodide
Our Friends and the Public in general are informed that we
have removed our manufactory to the rear of
No. 13 South Eighth Street,
(Entrance on Shoemaker Street.)
And will manufacture
LOOKING GLASS AND PICTURE FRAMES,
And make to order any pattern or size.
Obal, Pier, and Mantel Frames,
Ornamented to match style of Rooms or Furniture.
French Mirrors supplied at Importers' Prices.
All descriptions of Ornamental and
Plain Frame Work. Room, Car,
and Gilt Mouldings.
A Splendid Assortment of Miniature Frames for Coloured
Photographs on hand and made to order.
All Orders executed punctually and with despatch, at the very
lowest Cash Prices. Looking Glasses removed
or packed for transportation.
Orders left at our manufactory, or sent through Blood's
Despatch to
No. 13 South Eighth Street,
Will be punctually attended to.
FISHER & Co.
M. C. Fisher,
John Maxwell,
5
J. P. Johnson.
THE
AMERICAN STEREOSCOPIC COMPANY,
CONDUCTED BY
LANGENHEIM, LOYD & CO.,
Office, 188 Chestnut Street, Philadelphia,
Have just published a New and extensive Collection of AMERICAN STEREOSCOPIC
VIEWS, upon Glass, and coloured to Nature, to which they call the attention of the
American Public and Dealers. They may also be obtained at Manufacturers' Prices
at the following places:-
BOSTON :-Jos. M. WIGHTMAN, 33 Cornbill; WIDDIFIELD & Co., Washington Street.
NEW YORK:-BENJ. PIKE & SONS, 518 Broadway; BENJ. PIKE, Jr., 294 Broadway;
THE SCOVILL MANUFACTURING COMPANY, Maiden Lane; ALEX-
ANDER BECKERS, No. 264 Broadway.
PHILADELPHIA:-MCALLISTER & BROTHERS, 194 Chestnut Street; WM. T. FRY,
128 Arch Street; JAMES W. QUEEN, No. 264 Chestnut Street.
WASHINGTON CITY:-TAYLOR & MAURY, Pennsylvania Avenue.
NIAGARA FALLS:-PLATT D. BABBITT.
Loyd's Patent Improved Stereoscope Case, and Becker's New
Stereoscopic Cosmorama, constantly on hand.
CARD.
The Subscribers have just published the First Series of PHOTOGRAPHIC SLIDES
for the
Magic Lantern and Dissolving Views,
Embracing a Collection of American and Foreign Views, handsomely Coloured,
which, for superiority of effect and proportionate cheapness, will be worthy
the attention of all persons interested in the progress of Art as
applied to useful purposes. Price, from $12 to $18 per dozen.
The Trade supplied, and orders directed to the Office of the American Stereo-
scopic Company will be promptly attended to.
LANGENHEIM, LOYD & Co.
ALSO
PHOTOGRAPHIC MICROSCOPIC PICTURES,
Embracing a Number of Portraits of Distinguished Persons and Views
of the most interesting American Scenes.
J Dealers supplied throughout the Country.
All orders should be addressed to
THE AMERICAN STEREOSCOPIC COMPANY,
188 Chestnut Street, Philadelphia.
DABBS & BIRMINGHAM,
DEALERS IN
DAGUERREOTYPE, AMBROTYPE,
AND
Photographic Materials,
No. 1 RANSTEAD PLACE,
Fourth above Chestnut Street,
Philadelphia.
All orders supplied promptly and upon the most reasonable
terms. Every new publication upon the Art can be had on appli-
cation personally or by letter.
DABBS & BIRMINGHAM.
SIMONS & MORSE,
PHOTOGRAPHERS.
Photographs Finished in Oil, Water Colours, India
Ink, and Pastel.
N. B. Daguerreotypes Copied and Coloured in any of the
above styles, upon the most reasonable terms.
MCREA'S CELEBRATED LIQUID GLUE is
stronger than any other Glue, Gum, Paste,
or Cement.
MCREA'S CELEBRATED LIQUID GLUE is always
ready for use.
MCREA'S CELEBRATED LIQUID GLUE does not
spoil by exposure to the air.
MCREA'S CELEBRATED LIQUID GLUE repairs
Furniture, Porcelain, China, Marble, or
Glass.
MCREA'S CELEBRATED LIQUID GLUE is just
the Article for the Manufacture of any
Fancy Work.
MCREA'S CELEBRATED LIQUID GLUE delights
all the Little Folks by making and repair-
ing Toys.
MCREA'S CELEBRATED LIQUID GLUE is the
only Genuine Liquid Glue manufactured.
MCREA'S CELEBRATED LIQUID GLUE sells
for 20 Cents a Bottle.
MCREA'S CELEBRATED LIQUID GLUE is to be
had, wholesale and retail, at the
FASHIONABLE STATIONERY STORE,
No. 834 Chestnut Street,
3 doors below 9th, South Side.
G. W. OSBORNE & Co.'s
Superfine American Water Colours,
WARRANTED EQUAL TO ANY IMPORTED,
No. 60 N. Sixth Street,
Three doors above Arch.
•
$10 00
5 00
•
10 00
•
12 00
•
12.00
12 00
5 00
5 00
5 00
Brown Madder Lake
Madder Lake
•
Carminated Pink
Indian Yellow
Scarlet Lake
6.00
600
6 00
4 50
3 00
Crimson Lake
3 00
Purple Lake
Permanent White
•
Purple
Sepia
Yellow Lake
•
Antwerp Blue
Bistre
Black
Blue Black
Blue Verditer
Bronze
Brown Pink
Burnt Ochre
•
Burnt Roman Ochre
Burnt Sienna
•
Burnt Umber
Cologne Earth
Chromic Yellow
Chromic Green
Crems White
3.00
3 00
3 00
3.00
3 00
1 50
SUPERFINE WATER COLOURS IN CAKES,
Finest Carmine
Half size do.
Burnt Carmine
Gall Stone
Scarlet
Ultramarine
Smalts
•
Cobalt Blue
•
Cobalt Green
•
At the following prices per dozen.
Dragon's Blood
Gamboge
Green Verditer
Indian Red
·
•
$1 50
1 50
•
•
150
•
1 50
.
1 50
1 50
150
1 50
1 50
•
1 50
•
1 50
•
1 50
•
•
1 50
•
1 50
•
1 50
•
1 50
1 50
1 50
1 50
•
1 50
•
1 50
Emerald Green
•
•
Green Bice
Grey
Indigo
Intense Blue
Ivory Black
King's Yellow
•
Light Blue
•
Light Red
Lamp Black .
Naples Yellow
Neutral Tint
Olive Green
Orange
Prussian Blue
Prussian Green
Purple Brown
•
·
•
•
•
1 50
Raw Sienna
. 1 50
1 50
•
Raw Umber
1 50
•
1 50
Red Lead
1 50
•
•
•
1 50
Red Chalk
1 50
•
150
Red Orpiment
1 50
•
•
•
1 50
Roman Ochre
1 50
•
1 50
Sap Green
1 50
·
•
1 50
Terre Verte
1 50
•
•
•
1 50
Vandyke Brown
1 50
1 50
Venetian Red
1 50
•
1 50
Verdigris
1 50
•
•
1 50
Vermillion
1 50
•
•
•
150
•
Yellow Ochre
150
•
•
•
1 50
Yellow Orpiment
1 50
Dealers in Photographic Materials, Booksellers, Druggists
and Country Storekeepers supplied on liberal terms.
5*
BENJ. FRENCH,
No. 109 WASHINGTON STREET,
Boston,
Importer of Pure French Chemicals, Saxe's and
Cansons Frères' Positive Paper, White Passepartouts,
and Frames.
Also a superior style of Camera of four-inch lens,
which will work sharp on a plate 13×16. These
Cameras are made on an entirely new plan, and are
pronounced by those who are now using them to be far
superior to anything in use.
Also dealer in Plates, Cases, Frames, Preservers,
Matts, Glass, and every description of goods used in
the Daguerreotype, Ambrotype, and Photographic
business.
PARTICULAR ATTENTION is called to the foregoing
Advertisements. These are among the most reliable Establish-
ments in the Country. The Chemicals manufactured by Rosen-
garten & Sons and Louis Beckers, I am fully convinced from long
experience to be equal in quality to any manufactured here or
abroad. The Frames manufactured by Fisher & Co. will be found
very appropriate and beautiful for Coloured Photographs, and are
afforded quite reasonable for the quality.
M. P. S.
JOSEPH A. SPEEL'S
MODEL BOOK BINDERY,
COWPERTHWAITE'S BUILDING,
CHESTNUT ABOVE SIXTH,
Entrance No. 10 Carpenter Street.
Publishers and Booksellers who are getting up large
editions of sheep and muslin work would do well to
give him a call before making their contracts for Bind-
ing. The extraordinary facilities he has for the speedy
and perfect completion and finish of all work under-
taken by him, place this Establishment second to none
in the United States. Forty thousand copies of that
interesting and beautiful book, "Kane's Arctic Ex-
plorations," were bound by the Proprietor, to the
entire satisfaction of the publishers, subscribers, and
purchasers; and he has now on hand a contract for the
binding of forty thousand additional copies of the
same book.
Booksellers and others visiting Philadelphia are re-
spectfully invited to call and examine this "MODEL
BINDERY," which, in all its arrangements and appoint-
ments, is believed to be so perfect as to stand without
a rival.

!

་
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UNIVERSITY OF MINNESOTA
771.45 Si57
Simons, Montgomery P.
Plain instructions for colouring photogr
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