DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0291
CRAYONS.
277
or burnt carmine, that the tints may have more of a violet hue than in painting a man. Near
the shadows vermilion is to be used, although very faint, if the complexion be very fair; and the
ivory reserved for the great lights. For the reflections under the chin use Mars-yellow ; and
for the shades ultramarine, but still faintly. When the complexion is very dark, the shadows are
done with the same colours employed on a man's face. The lips are begun with vermilion and
finished with the finest carmine. In all these parts of a man's head where indigo is used, ultra-
marine of the finest and second qualities are to be employed for a woman's head. In this last you
must also be very attentive to blend and soften the colours, until you produce that general union
and harmony which totally conceals each particular colour. This rule is to be observed in every
style of painting; but it is indispensable in miniature which, requiring close and narrow
inspection, ought to be so executed that all appearance of the art and labour by which it is
produced may be entirely concealed. The greatest care and neatness are also requisite in
miniature-painting, to prevent any stains or dust from appearing on the work : to prevent this
last blemish the artist should have by him a large camel-hair pencil, to pass frequently over his
work and pallets.
SECTION VIII.
painting with crayons.
By crayons we understand in general all coloured stones, earths or minerals, and substances
used in drawing and painting in pastel; whether these substances are used in their original
consistence, and only cut into long, narrow slips for use ; or beaten and reduced to a paste with
gum-water. The red crayons are made of red-chalk or blood-stone; the black crayons of black-
lead and charcoal : both sawn into the proper shape. Crayons of all other colours are compo-
sitions of earths reduced to a paste.
These several substances or compositions of colours must be cut into the proper size; after
they are prepared, that they may be rolled into pastels for the convenience of using them. The
crayon is formed on the left hand with the ball of the right, first into a long cylinder, and then
tapered to a point at each end. When the composition is too dry it is moistened by dipping the
finger in water; and when it is too wet the composition must be again laid on the chalk, or
other dry materials, that part of the moisture may be absorbed. In rolling crayons no time
should be lost, and when they are finished they are, if necessary, to be again laid in the chalk,
to be brought to a proper degree of diyness. It is to be remembered, that when the crayons
of one colour or tint are finished, the stone on which they are formed ought to be well scraped
and cleaned with water, before any other colour is placed on it.
When a set of crayons is completed they are to be arranged in classes for use. This is most
conveniently done in a set of shallow drawers, divided by partitions, in which the crayons are
disposed according to the several gradations of light; the bottom of the drawers being covered
with bran forthe crayons to lye on, without being broken or dirtied. A box for use at any time may
be about a foot square, and contain nine partitions. In the upper corner, on the left hand, for
example, may be placed the black and grey crayons, which are most seldom used ; in the second
partition the blues, in the third the green and brown. In the first space of the second row the
4 b carmines^
277
or burnt carmine, that the tints may have more of a violet hue than in painting a man. Near
the shadows vermilion is to be used, although very faint, if the complexion be very fair; and the
ivory reserved for the great lights. For the reflections under the chin use Mars-yellow ; and
for the shades ultramarine, but still faintly. When the complexion is very dark, the shadows are
done with the same colours employed on a man's face. The lips are begun with vermilion and
finished with the finest carmine. In all these parts of a man's head where indigo is used, ultra-
marine of the finest and second qualities are to be employed for a woman's head. In this last you
must also be very attentive to blend and soften the colours, until you produce that general union
and harmony which totally conceals each particular colour. This rule is to be observed in every
style of painting; but it is indispensable in miniature which, requiring close and narrow
inspection, ought to be so executed that all appearance of the art and labour by which it is
produced may be entirely concealed. The greatest care and neatness are also requisite in
miniature-painting, to prevent any stains or dust from appearing on the work : to prevent this
last blemish the artist should have by him a large camel-hair pencil, to pass frequently over his
work and pallets.
SECTION VIII.
painting with crayons.
By crayons we understand in general all coloured stones, earths or minerals, and substances
used in drawing and painting in pastel; whether these substances are used in their original
consistence, and only cut into long, narrow slips for use ; or beaten and reduced to a paste with
gum-water. The red crayons are made of red-chalk or blood-stone; the black crayons of black-
lead and charcoal : both sawn into the proper shape. Crayons of all other colours are compo-
sitions of earths reduced to a paste.
These several substances or compositions of colours must be cut into the proper size; after
they are prepared, that they may be rolled into pastels for the convenience of using them. The
crayon is formed on the left hand with the ball of the right, first into a long cylinder, and then
tapered to a point at each end. When the composition is too dry it is moistened by dipping the
finger in water; and when it is too wet the composition must be again laid on the chalk, or
other dry materials, that part of the moisture may be absorbed. In rolling crayons no time
should be lost, and when they are finished they are, if necessary, to be again laid in the chalk,
to be brought to a proper degree of diyness. It is to be remembered, that when the crayons
of one colour or tint are finished, the stone on which they are formed ought to be well scraped
and cleaned with water, before any other colour is placed on it.
When a set of crayons is completed they are to be arranged in classes for use. This is most
conveniently done in a set of shallow drawers, divided by partitions, in which the crayons are
disposed according to the several gradations of light; the bottom of the drawers being covered
with bran forthe crayons to lye on, without being broken or dirtied. A box for use at any time may
be about a foot square, and contain nine partitions. In the upper corner, on the left hand, for
example, may be placed the black and grey crayons, which are most seldom used ; in the second
partition the blues, in the third the green and brown. In the first space of the second row the
4 b carmines^