DOI Page / Citation link:
https://doi.org/10.11588/diglit.19575#0019
12 JAP
10. Let your fize be of a due confidence, neither too thick
nor too thin, that it may run fmooth and clear, and that your
ftrokes may be fine and even, fo that you may be able to draw
the moft fine hair ftrokes.
11. If you would imitate Japan work exactly, avoid filling
and thronging your black with draughts. In the true Indian work
the ground is never crouded up with many figures, houfes, or
trees, but a great fpace is allowed to a little work; for the black
adds luftre to the gold, and the gold adds an excellency to the
black.
13. In thefe works you may ufe fome variety of metals, but
in a very {lender proportion to that of gold, which is the gene-
ral ornament and charadteriftic of the genuine or true Japan
work.
13. Be very exact in tracing or drawing out your defign in
vermilion or 2;o!d, to do it with an even hand ; then, your gold
fize being ready prepared, make with a fmall pencil the outward
lines, the boundaries of the rocks, and thofe things that feem
to lie beyond the buildings.
14. Begin thofe parts of the work that are moft diftant from
you, becaufe then you will not be liable to rub or deface any
thing while it is wet.
15. When you have done the fartheft parts, work juft ac-
cording to your pattern, if you have any, and draw the gold
fize on the places anfwering to the black lines of your print or
pattern, and no where elfe, leaving the white for the black Ja-
pan, or ground of the work.
16. And, in all refpects, ufe your fize as if you were to copy
the print or pattern on white paper with ink or black lead ; only
you muff, take care that, while you are working on one part, you
do not fuffer that which is already dene with fize to grow fo
dry that it will not hold the metals; and for that reaibn you
muft often try what cafe thofe parts of your work that are al-
ready fized are in.
17. And therefore you muft femetimes be drawing, fome-
times gilding ; and then go to drawing again, and then to gild-
ing, continuing this alternately till your whole work is quite
fihifhed.
18. If you find it troublefome to draw the white and over-
pafs the black, or, on the contrary, to draw the black and omit
the white, on the tops of houfes, foldage of figures, faces, or the
like ; then for your eafe overlay all thofe parts of buildings, fold-
ages, faces, &C. with gold fize, and lay the metals on them;
and, when they are well dried, wafh over thofe places only which
you defign to fet off with black, with your fecuring varnifh.
19. Though, in fome Japan work, liiver is fome times made
ule
10. Let your fize be of a due confidence, neither too thick
nor too thin, that it may run fmooth and clear, and that your
ftrokes may be fine and even, fo that you may be able to draw
the moft fine hair ftrokes.
11. If you would imitate Japan work exactly, avoid filling
and thronging your black with draughts. In the true Indian work
the ground is never crouded up with many figures, houfes, or
trees, but a great fpace is allowed to a little work; for the black
adds luftre to the gold, and the gold adds an excellency to the
black.
13. In thefe works you may ufe fome variety of metals, but
in a very {lender proportion to that of gold, which is the gene-
ral ornament and charadteriftic of the genuine or true Japan
work.
13. Be very exact in tracing or drawing out your defign in
vermilion or 2;o!d, to do it with an even hand ; then, your gold
fize being ready prepared, make with a fmall pencil the outward
lines, the boundaries of the rocks, and thofe things that feem
to lie beyond the buildings.
14. Begin thofe parts of the work that are moft diftant from
you, becaufe then you will not be liable to rub or deface any
thing while it is wet.
15. When you have done the fartheft parts, work juft ac-
cording to your pattern, if you have any, and draw the gold
fize on the places anfwering to the black lines of your print or
pattern, and no where elfe, leaving the white for the black Ja-
pan, or ground of the work.
16. And, in all refpects, ufe your fize as if you were to copy
the print or pattern on white paper with ink or black lead ; only
you muff, take care that, while you are working on one part, you
do not fuffer that which is already dene with fize to grow fo
dry that it will not hold the metals; and for that reaibn you
muft often try what cafe thofe parts of your work that are al-
ready fized are in.
17. And therefore you muft femetimes be drawing, fome-
times gilding ; and then go to drawing again, and then to gild-
ing, continuing this alternately till your whole work is quite
fihifhed.
18. If you find it troublefome to draw the white and over-
pafs the black, or, on the contrary, to draw the black and omit
the white, on the tops of houfes, foldage of figures, faces, or the
like ; then for your eafe overlay all thofe parts of buildings, fold-
ages, faces, &C. with gold fize, and lay the metals on them;
and, when they are well dried, wafh over thofe places only which
you defign to fet off with black, with your fecuring varnifh.
19. Though, in fome Japan work, liiver is fome times made
ule