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Merrifield, Mary Philadelphia
Practical Directions For Portrait Painting In Water-Colours — London, 1854

DOI Page / Citation link:
https://doi.org/10.11588/diglit.19954#0012
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PAPER.

well over on the back; for instance, it should be at least
two inches larger than the board, every way. It must
then be thoroughly damped with a clean sponge on both
sides, and when quite smooth, the board must be laid on
it, and the edges of the paper, beyond the board, must be
pasted with a paste-brush, and then turned carefully over
the board, taking Great care that the corners are well
done. In order to stretch the paper properly, after having
pasted one side, the superfluous piece in the corner should
be dexterously torn out, and then the opposite side should
be pasted, not that which is nearest in order. By follow-
ing the plan here recommended, the paper will be stretched
straight on the frame, and the corners will not be clumsy.

A\ hen calico is intended to be used, it must be nailed
upon the frame. As a carpenter is not always at hand, it
is a great advantage to be able to nail on the calico one's
self. But there is a right way and a wrong way of doing
this; and as it is an operation of some importance to the
drawing, inasmuch as the paper can never lie straight if
the calico under it be not straight, we must devote a few
words to describing the process. Suppose A and B the
opposite sides of a square wooden frame; C and D the
other two sides. Begin by knocking a nail into the
middle of side A, then stretch the calico tight and drive
another into the middle of side B, opposite to it; a third
into the middle of side C, a fourth into the middle of side
 
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