Studio: international art (3.1894)

On Gesso

doubtful whether anything can be found safer than
oil or wax ; wax being perhaps preferable for large
work. White beeswax will dissolve in turpentine,
and with the palette knife can easily be mixed
with powder colours in small quantities at conveni-
ence ; addition of turpentine will render the paint
fluent at the end of the brush. It is often advis-
able to give a coat of
wax to the whole
surface of the relief
at the start. In
order to drive the
wax into the relief
and incorporate it
more fully, a hot iron
may be passed over
the surface • this
should be held a
little way off, or at
greater or less dis-
tance, at discretion.
Were the iron red-
hot and held too
near, the heat might
" flake up " a brush-
modelled piece of

DESIGNED BY G. H. WOOD,
FORD. " BOOBY '

gesso-work; held too

r rr , , DESIGNED BY MABEL SYRETT. WESTMINSTER. "AQUA"

far off, or not hot

enough, the iron a dessert-spoon. Over wax colouring, where a
would not melt the touch of extra fineness is needed, ordinary oil
wax sufficiently for paint may be used; but wax, when thinned by
it to sink in. A turpentine, will admit of very fine work. It is
useful implement for best not to mix more than is required for a single
this purpose is indi-
cated in the accom-
panying sketch.
This iron tool,
fitted in a wooden

handle, can be made painting; although wax paint keeps well com-
by any blacksmith, pared with oil paint. The best method of gesso
A generally useful painting is practically one of incessant glazing,
size is about that of Whenever possible the natural whiteness of the

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