DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0292
S78
CRAYONS.
carmines, lakes,, vermilions and all deep reds: in the middle partition the yellow and orange,
and next the pearly tints which, being very delicate., ought to be kept perfectly clean, that their
shades of colour may be readily distinguished. In the lower row of partitions the first may
contain a piece of fine linen rag, to wipe the crayons when in use; the second ail the
pure lake and vermilion tints ; and the last partition may be filled with all those tints which,
from their nature, as compounded of many others, can not be reduced to any of the former
classes.
.Although the object of the artist be the same, whether he paint in oil, in water-colours, or in
crayons, namely to give a correct imitation of nature, yet each class of painting has its
peculiar rules and modes of working: thus painting with crayons requires, in many respects, a
different treatment from that with oil-colours; because all colours used when dry are naturally
of a warmer complexion than when they are wet with oils, &c. Hence it is that, in order to
produce a rich effect, a much greater proportion of cooling tints are requisite in crayons than
with oils, &c. and to an inattention to this circumstance may be attributed the failure in crayons
of otherwise eminent painters in oil-colours.
In painting with crayons the student is to be provided with strong blue paper, the thicker the
better, if the grain is not too rough or full of hard knots. Such knots however as are found in
even the best paper must be levelled clowm with a penknife or razor, and then the paper is pasted
down very smooth on a linen cloth, previously strained on a wooden frame of the requisite size:
on this frame the picture is to be executed, although it answers very well not to paste on the
paper until the subject be all dead-coloured. The paper when dead-coloured is laid on its face
on a smooth board or table, and then the back part is brushed over with paste, and the strained-
cloth is laid on the pasted side of the paper which adheres to it, and being turned up is gently
and neatly pressed, to unite in all parts. When this paste is perfectly dry the artist may proceed
with the painting, in which the pasting renders considerable service; for the crayons will adhere
better to the paper after than before that operation, and consequently give the picture a firmer
and brighter body of colour.
When painters want to make a very accurate copy of a picture, the}' commonly use tiffany or
black gauze, strained tight on a frame, which is laid flat on the subject to be copied, and on the
tiffany or gauze, with a piece of drawing chalk, they trace all the outlines and other principal
parts. The canvas on which the copy is to be painted is then laid flat on a table or the floor,
placing over it the tiffany with the chalked lines, and brushed over with a handkerchief, by
which means the lines are correcly represented on the canvas. The same method may be used
by the crayon-painter; but, in copying a crayon-painting he must observe the following rules
on account of the glass.—The picture being placed on the easel, the outlines are to be traced on
the glass, with a fine camel-hair pencil dipped in lake ground with thin oil; this tracing must
be done with the greatest care and accuracy. Then take a sheet of paper of the same size, and
apply it to the glass, passing the hand gently over it, by which means the colour will adhere
to the paper. Wherever this colour appears the paper is to be pricked with pin-holes, as close as
possible to each other; and the sketch is then placed over anoLher sheet of paper, on which the
crayons are to be used. Next with some fine powdered charcoal tied up in a piece of lawn rub
over the pricked lines, and you will have an exact outline on the second ; which must be
carefully preserved until the whole be drawn over with chalk for the purpose, composed of whiting
and tobacco-pipe clay, rolled like a crayon and pointed at each end.
CRAYONS.
carmines, lakes,, vermilions and all deep reds: in the middle partition the yellow and orange,
and next the pearly tints which, being very delicate., ought to be kept perfectly clean, that their
shades of colour may be readily distinguished. In the lower row of partitions the first may
contain a piece of fine linen rag, to wipe the crayons when in use; the second ail the
pure lake and vermilion tints ; and the last partition may be filled with all those tints which,
from their nature, as compounded of many others, can not be reduced to any of the former
classes.
.Although the object of the artist be the same, whether he paint in oil, in water-colours, or in
crayons, namely to give a correct imitation of nature, yet each class of painting has its
peculiar rules and modes of working: thus painting with crayons requires, in many respects, a
different treatment from that with oil-colours; because all colours used when dry are naturally
of a warmer complexion than when they are wet with oils, &c. Hence it is that, in order to
produce a rich effect, a much greater proportion of cooling tints are requisite in crayons than
with oils, &c. and to an inattention to this circumstance may be attributed the failure in crayons
of otherwise eminent painters in oil-colours.
In painting with crayons the student is to be provided with strong blue paper, the thicker the
better, if the grain is not too rough or full of hard knots. Such knots however as are found in
even the best paper must be levelled clowm with a penknife or razor, and then the paper is pasted
down very smooth on a linen cloth, previously strained on a wooden frame of the requisite size:
on this frame the picture is to be executed, although it answers very well not to paste on the
paper until the subject be all dead-coloured. The paper when dead-coloured is laid on its face
on a smooth board or table, and then the back part is brushed over with paste, and the strained-
cloth is laid on the pasted side of the paper which adheres to it, and being turned up is gently
and neatly pressed, to unite in all parts. When this paste is perfectly dry the artist may proceed
with the painting, in which the pasting renders considerable service; for the crayons will adhere
better to the paper after than before that operation, and consequently give the picture a firmer
and brighter body of colour.
When painters want to make a very accurate copy of a picture, the}' commonly use tiffany or
black gauze, strained tight on a frame, which is laid flat on the subject to be copied, and on the
tiffany or gauze, with a piece of drawing chalk, they trace all the outlines and other principal
parts. The canvas on which the copy is to be painted is then laid flat on a table or the floor,
placing over it the tiffany with the chalked lines, and brushed over with a handkerchief, by
which means the lines are correcly represented on the canvas. The same method may be used
by the crayon-painter; but, in copying a crayon-painting he must observe the following rules
on account of the glass.—The picture being placed on the easel, the outlines are to be traced on
the glass, with a fine camel-hair pencil dipped in lake ground with thin oil; this tracing must
be done with the greatest care and accuracy. Then take a sheet of paper of the same size, and
apply it to the glass, passing the hand gently over it, by which means the colour will adhere
to the paper. Wherever this colour appears the paper is to be pricked with pin-holes, as close as
possible to each other; and the sketch is then placed over anoLher sheet of paper, on which the
crayons are to be used. Next with some fine powdered charcoal tied up in a piece of lawn rub
over the pricked lines, and you will have an exact outline on the second ; which must be
carefully preserved until the whole be drawn over with chalk for the purpose, composed of whiting
and tobacco-pipe clay, rolled like a crayon and pointed at each end.