Tapestry Painting; A Practical Hand-book Of Instruction In .
TAPESTI VPAIf4TIf4GByJKt's.E. t)ay JVIaePheirson.
Digitized by the Internet intingOOmacp
TAPESTRYPAINTING,A PRACTICAL HAND-BOOK OFINSTRUCTIONINTHE USE OFTHE LIQUID INDELIBLE DYESOR TAPESTRY COLORS.WRITTEN BYMrs. E.day MacPHERSON,1892.PUBLISHED BYF.W.DEVOENew York& CO.,and Chicago.
COPYRIGHT,BYF.W.1892,DEVOE &NEWYORK.All Rights Reserved.CO.,
f l/y M/jt f/ / -CONTENTS— TapestryDesigns — The SourcesCanvasDraperies, andEnlargementsHowofto Paint— TheirThem28,UsefulnessFlesh— Painting17,1811,1530-3215,1726,27Flowers — PaintingFoliage25— Painting21Foreground— Painting23,Glossary of Terms49,Hair— Painting5028Indelible Tapestry DyesIllustrations — Full247,Page2,Instructions for Painting the Studies Illustrated22,83139-44Illuminated Painting38Materials Necessary8 -11Photograph and Print ColoringRemarks — GeneralRocks — PaintingSilk — Painting UponSkies— Painting36-3845-48 24, 2532-3518,SteamingVarious Fabrics— Painting UponWater— PaintingAndstudies191132-3520,21sixty illustrations (reduced from the originals) of the coloredand enlargements, together with a priced list of materials.
INDELIBLE TAPESTRY DYES.Thesuccess ofalldecorative paintinglies toa greatextent in the purity of tone and general adaptation ofthe colors.F.W. Devoe & Go's Indelible Dyespossibilities in point of colorplacenow onthe market.are especially adapted to paintingupon wool,themTheypossessand working qualities thatat thehead ofsilk or linen canvas,madeallothersin imitation of theGobelinBut they will also be found valuable forpainting upon other textiles, such as silk, satin, boltingcloth, and upon chamois, kid and other skins andtapestry.parchment.
TAPESTRY PAINTING.8Although the dyes are transparentthey can be convertedgouachein themselves,—i, e,, opaquemixing with Chinese white. They canthen be used for painting upon all metal surfaces orupon wood or glass.colors\xv\.ocolors— byMATERIALS FOR PAINTING.Indelible tapestry dyes andbrushes;mediums; Chinese white;Faber's No. 2 crayons; charcoal;palette;saucers for color washes; stretcher; easel; mahl stick;workbag of pouncing powder; pouncing neecanvas; and utensils for s teaming.table;steel eraser;dle;The abovebut actuallyrather a formidableisaslistappears,itincludes only those things founditevery studio.F.&W. DevoeThese are seventeenYellow,RawIndelibleGo'snumber, as followsinSienna,Tapestry Dyes.Orange,:in—LemonCrimson, Vermilion,Maroon, Antwerp Blue, French Blue, Indigo BlueNo. I, Indigo Blue No. 2, Emerald Green, Blue Green,Violet, Purple,7 lie MediumBrown No.i.Brown No.2,and Black.a mixture that must be used withupon the wool and silk canvas, thatOnly bythe painting may be properly steamed.isthe tapestry dyessteamingisof the dyesitpossible to bring out the best qualitiesupon thesematerials,andtomake themindelible.Chinese White.paintingtheDyesisin—Thisisnever to be used when theto be steamed, but can begouache paintingmixed withat all other times.all
MATERIALS.9For any but thecamel hair andThe Brushes are of various kinds.tapestry canvas, the ordinary sable,bristlebrushescarlcanvas are chisel-shapedTheyare oftwoThe brushesbe used.and of veryfor tapestrybristles.stiffand fourteendifferent shapesand several of each kind should behandatsizes,for facilityin execution.AThe Palette can be of china.better oneaissheet of thick plate glass, painted white on the bottomwithoilpaint.Some low cupsof china or glass areneeded to hold the color washes.Stretchers.— The best areflatwoodenframes, strongAeruough to hold the heaviest materials.board can be usedforchamois ordrawingputtingleather,blotting-paper underneath the material.Easels that stand firmly should be chosen, as thereismuch scrubbingFor very largeof the color.inpanels the stretcher can bemadetoanswer the pur-pose of an easel by fastening cord from middle of topto wall or ceiling.Incline the stretcher forward fromthe top to prevent the color from drippingdown uponthe canvas while putting in the washes.The Table should be of mediumThetocolors are liable to upset,have holes madeenoughinsizeand thereforeone end of theto catch the bottlesand height.it iswelltable, just largeabout half-way up.Placethe colors in the order of the above enumeration, andnever change their arrangement.Thiswillbe foundand trouble. An upright rimof wood about an inch above the table-top will prea great saving of timevent the brushes fallingoff.
TAPESTRY PAINTING.lOA Mahl Stickisa long, light stick, used for restingAthe hand upon while painting at an easel.walking-canea veryisBag of Pouncinggoodslendersubstitute.—Thebag can be madethe powder siftPouncing powder is made of finely powthrough.dered charcoal and burnt sienna mixed evenly togetherin equal parts.It must be kept very dry.The Steel Eraser must be either a round- pointedpenknife or an ordinary eraser with a round top.Itof anywillmusHnbe found a very useful toolThe Canvassilk,Powder.coarse enough toletin all kinds of painting.for tapestry paintingor of linen.The wool andismadethe dyes so fully that after steaming theyBut thedelible.ofthis.It is best to fastenstretcher before painting.themtakebecomefibres of the linen are sothe colors cannot sink intoof wool,canvassilkin-hard thatsufBciently to allowupon a woodenThis can be done by tack-the canvasdown one side with short, thin,Then strain over the other sideand bottom, tacking as you go. A surface free froming along the top andlarge-headed tacks.wrinkles should be the result.must be taken that theIfstretcher.ribsrun straight across thecrooked or pulled out ofing, after steaming, will lookIf theGreat care, however,allline,the paint-out of drawing.framework of the stretcheristoo large, tacktop and one side, and then with a stout twine and upholstery or large darning needle lace the other sideand bottomto theframe by passing the cord throughthe canvas and around the frame.Thesafestway,
MATERIALS.however, to prevent slippingisIIto fasten very smallscreweyes into the framework on the inside at shortand pass the cord through opposite eachintervals,Anstitch.stretcherisold-fashioned quilting-frame or curtain-a good substitute for the above in verylarge work.The othermaterials will be spoken of later on.STEAMING.All paintings upon heavy wool canvas should betaken to the dyers' and steamed for about two hours'Thetime.firsttapestry dyesaisgreat requisite for*Mry steam."Otherwise adensing from the steammayWetThe onlya thick piece of cotton cloth initon aunder the back of ly dry.dis-wayas follows;:withoutsmoothtableput a thin piece of clothover the face of the tapestry and iron overthe wet clothcalleddrop of water con-amateur to attempt the workwringing out, placewhatruin a paintingsolving one color into another.for thesteaming ofallthat they should receiveSufficientto fix the colors in allitsteamuntilwillbebut the very thickmaterials.DESIGNS.Thesources are countless from which designs canbe copied.Suggestions for workmaybe had fromarchitectural pieces, medallions, seals, thetitleof books, and from their vignettes and borders.pages
—TAPESTRY PAINTING.12The engraved stones of the ancients, by their greatnumber and perfection of execution, afford a richfield forThestudy.antique basreliefs,especially the types exe-cuted by the Greeks, have stood thetest ofages asexamples of pure beauty.The mastersof ancient andmodern painting affordharmonyconstant examples of beauty, grace andthe three great requisites in decorative painting.Agreatphases ofjectnumberlife— lendof Greek friezes represent variouswhich—attractiveandinstructive in sub-themselves to purely decorativeeffects intreatment.In Correggiowefind a treasure-trove of magicaltones of light gliding through fascinating half-tonesinto rich reflectedshadows that tempts oneto an ex-travagant admiration.Raphael has executed many decorations upon thewalls of palaces, that offer the most noteworthy examples of the highest interest.of the palaceChegeThisisespecially true(Little Farnesina).above the windows arefilledThespaceswith fluttering Cupidsbearing the spoils of the Gods submitted to theEm-and nothing can be more exquisiteboth in design and sentiment. Raphael's more famouscartoons are, on the contrary, not well adapted topireof Love;either hangings orTheLouisobjects.who Hved in the splendor of the reign ofgave the decorative as well as the otherA brilliant andan extraordinary impulse.artistsXIVfine artsminor decorative
DESIGNS.13extravagant court developed to the utmost their capac-and therefore weity,maylook toThe mostvaluable designs.themmanymay beforstriking typesfound in the productions of the French school from theXlVth Centuryto that of the present day.Exquisite examples are to be found in Boucher'sIn the works ofand Watteau's gallantries.pastoralsJean Berain, Jean Murot, Ranson, Picard and Pinetweexamples of the purest decorative art. It is agrowing and favorite fashion among amateurs to copythe paintings which have been popular at the exhibi-findtions ofworks byartistsW. Devoe & Co.F.Adesigns from favorite paintings.isForof the day.thisreasonoffer a large selection of coloredscheme of coloralso given, with instructions in detail as to the colorsused in tapestry dyes.Theresizeisoffered, in addition,enlargementsin out-These are in two sizes, oneaveraging 72X48 inches, and the other 36X24line ofeach picture.inches.Theyare exact reproductions of the originaloutlines in point of drawing,andwillbe found of greathelp in producing a satisfactory rendering of the copy.A careful study of nature, combined with a familiaritywith the precious conceptions of the antique and thebestforwork of the moderna lifetime.Itisschools, will afford materialwell,also,to consult thebestauthors upon the principles of ornament—theof color, and the laws of composition.Such a studywilltrainworks oftheart.mindinto a finertheoryappreciation ofall
TAPESTRY PAINTING.14must be remembered that the imagination is thehighest factor in the work of any artist, and no effortis thrown away that tends to arouse and stimulate thisItfaculty of the mind.In the choice of a design for an important work,iswell to consider the placeit isitto occupy.For dining-rooms the most frequent decorations aresubjects taken from hunting and fishing, and of flowersand fruit pieces.For libraries, scenes of classical interest are alwayswelcome, whilein other apartments the lightest andmost purely decorative work can find place.For painted ceilings, choose a design that by itscolor and perspective will push back the planes uponwhich the subjects are painted. This increases thesense of height and distance, and thus produces adelightful impression.Thefixed part of hangings, such as valances,require a certain substantial look whichout by geometrical designs.anypainting, careinjureiswelletc.,workedIn adapting a border tomust be takenthatitshould notthe pictures in point of color, brightness, orcharacter of ornament.Dontput a Japanese border around a Greekfrieze,nor one with a crimson ground against a picture withamass ofscarlet drapery.It isalways best to havethe borders well detached from the picture, asthistends to harmonize the painting with the surroundings.Manytapestry panels are put into carvedbronze frames.Choose a wood thatwillwoodorbe a good
DESIGNS.contrast to theDoISpainting in point of tone and color.not put a carving of flowers around a panel ofpainted flowers, nor choose aflorid,heavy designfora delicate vignette.Aisvery effectiveto stretchitwaytohang a large tapestry pieceout on the wall, tackitquite closelywith small furniture tacks; then glue or tack a broadborder of plush or velvet on the wall aroundthis likeand cover the edges with a narrow gilt orA light tapestry wool canvas rollsa very small space, and packs well into a trunk;a frame,bronze moulding.upintothus travelers can easily give a dreary hotel parlor ora *'camp" cottage an appearance of tasteAluxury.and even ofbroad galloon or gimp can then take theplace of the moulding.Iteffectvery goodis,however, possible tobya border painted right on the canvas, aroundobtainaThe panel can be hemmed around thesides and bottom by turning the canvas back onceand making a ''blind" stitch and hung by fasteningthe picture.at the top only.ENLARGEMENTS.It isabsolutely necessary to have a correctly drawnany design before beginning the painting.For an enlargement from any copy it is best to drawthe outline first upon paper and then transfer it to thecanvas.This is often the most difficult part of thewhole work, and one from which most amateurs shrink.outline ofOutlines can often be purchased of a desired copy.
—TAPESTRY PAINTING.i6Underthe head of ''Designs/' mentionthe enlargements furnishedbyF.madeisW. Devoe &Co.these enlargements are really invaluable to theteurTheyartist.can avail them-allTheyselves of the great advantages they offer.for sale at nearly all the leading art stores,ordered direct from F.W. Devoe & Co.these outlines cannot be had,amateur to do the workbyama-are absolutely correct in drawing andare at such a reasonable price thatspacesofisaIf,however,good wayto divide theareor can betheforcopyintorunning from top to bottom and sideeach line being numbered. Then divide theto side,linesdrawing paper into spaces as many times larger thanthe copy as is wanted.Number each line of copy anddrawingThealike.outlines of thecopy can then bereadily transferred to the paper, although great careismake an exact drawing.Another way is to draw a line through the centerfrom top to bottom and side to side. The copy canAnthen be enlarged by comparative measurements.necessary toenlarging instrument, called the pantograph,used butisnot reliable initsisoftenproportions nor ofmuchuse in producing very large designs.In painting upon tapestry canvasferthe outHnesby meansit isof pouncing.best to transFirst prickthe outlines with a large pin or needle; a No.ning needle fixed into a brush handlebest instrument.isitcannot by any possibilityslipalldam-perhaps theAdjust the paper to the canvasthe exact position required, and fastenthatIitinfirmly soout of place.
ENLARGEMENTS.Beginningat the top, pass the17pounce-bagthe outlines; watch carefully that sufficientevery puncturefillpass twice over thecanvas should beisleftsamelaid flat,atallistoeach stroke, but neverplace.Itisbest that theand the hand and arm mustbe held so that neither can touch the paper.due careoverpowderIf alltaken an exact duplicate copy will beOnup the paper, blow off anysurplus powder, and go carefully over all the outlines with a No. 2 Faber crayon in the finest linesFaber is chosen instead of Conteyou can draw.Neverbecause it rubs off less in the after painting.use a lead pencil, as it rubs up into the painting andTheinjures the color and surface of the material.pouncing powder must then be well shaken out of thecanvas by beating from the back.The design can be transferred to smoother materialsby the use of transfer paper placed between the drawing and surface to be painted upon.Go over thethe result.liftingoutlines lightly with a sharp ivory needle or lead pen-taking great care not to press with the hand orarm upon the paper, as this will smudge the material.The red or blue transfer paper is best, and all superfluous powder must be cleaned off before using.cil,PAINTING UPON TAPESTRY CANVAS.Silk tapestrypaint upon;canvasa very pleasing surface tobut the wool canvasadapted to general work.thanissilk or linen,Itismuchbetter''takes" the dyes betterworks with greatersteaming gives more satisfactoryfacility,results.andin
TAPESTRY PAINTING.i8For large panelings the coarse ribbed canvaswillthe most effective imitation of Gobelin tapestry.finer grades arewell adapted tobeThesmall panels orallthose which contain any minute details.Donot try to sketch the design directly upon thecanvas unless you are sure of drawingworkingto injure themethods ofalllinesErasure of any kindrectly the first time.ispouncingiscertainOfqualities of the surface.transferring,cor-perhaps theallbest.PAINTING SKIES.If a broad,open skyispart of the design, locate thehorizon outlines and paint the sky before pouncing.Butin figure pieces that cutthiscannot be done, as theruin the flesh tints.in separate cups:ond Wash,high into the backgroundleast bit ofFor sunsetFirst Wash.skiessky color mightmake four washes— Medium—Tint of medium andonly.Sec-Third Wash,Fourth Wash,Tint of medium and raw sienna.For a very bright skyTint of medium and vermilion.—indigo.—add a little crimson to the vermilion.Begin by wetting the upper half of the sky with theindigo wash; follow with the wash of clear mediumdownto the horizon,keeping well within theoutlines.Into this paint next to the blue the vermilion wash,lettingthirdsnowitblend well up into the blue and about two-downto the horizon.Into the bottom of thisblend the yellow wash, carryingitover the hori-zon outlines about half way down into the distantThe shght difference in the drying of thelandscape.
TAPESTRY PAINTING.sky washes andatmosphericyellowthiseffect.will19serve toLet the yellow justangiveat thehorizonandfor a winterlandscape add a touch of lemon yellow.Scrub thebe quite free from the roselinetint,washes well into the canvas with the largest brushes.be impossible to produce evenIt willcanvasistints unlesstheevenly and thoroughly soaked with the colorwashes.Ablue sky with clouds can be painted with thefol-— Antwerp blue and medium.Second. — French blue and medium.Third. — RawFourth. — Mediumsienna and medium.lowing washes:First.only.Cover the canvas with the wash of medium only twothirds down; follow with the yellow wash, carrying itwell over the horizon lines.in thisThe least touchof vermilionwash, at the horizon, improves a noonday sky.medium dries, dab into thewash of Antwerp blue, following byof French blue.Let each wash follow the outof the clouds with rounding strokes and the blend-Thenbefore the wash ofupper half thethatlinesing tones will give a veryThe purple huesky.well with the yellowiffairimitation of a cloudyof the French blue will unitethe latterisveryfaint in tint.DISTANT OBJECTS.Before the skytint isdry paint intoobjects with a general violetingmaroonin theinthe distantI,add-shadows.Indicate the shape of objectsbrushithue of indigo No.by drawing with themasses of light and darktintswithoutdetails.
TAPESTRY PAINTING.20Itissometimes,welldistance, toasadd variousapproaches the middleittints oflemon yellow and emer-ald green used in the faintest washes.Usea small, sharp edged brush for these touches,and let them all blend well into the violet hue in theextreme distance. This is often best effected by layingineachtinta sharply definedinand thenshape,blending by scrubbing them well into each other with alarge brush wet with puremedium.PAINTING MIDDLE DISTANCE.In tapestry paintingmuchof the most effectivecan be put into the middle distance.same methodas theors stronger in toneUsedefined.andaPaintitworkwith theextreme distance, but use all the coland make the outlines more sharplylittleyellow to vary the greenalso the faintest touches oftints,brown and pure ver-mihon.PAINTING WATER.Water mustreflect theed with strongertintssky color, and should be paint-of thesameshould be greyer in tone exceptWater can be veryground.the The shadowswaterinin the fore-effectively painted with alltheearth,forfor the glassy look ofsky zontal strokes instead of the rounded ones used indrawing cloud forms.Water in the middle distance can be painted withindigo, with greenish lights, violet brown shadows, and
TAPESTRY PAINTING.sky colorsreflections of the21All thisin faint tints.sounds, perhaps, like a very difficult thing to do, butactuallyitisEffects arenot.worked out with won-derful facility in tapestry painting.PAINTING FOLIAGE.Foliage in sprays of leaves and with distinct outlinesitisbetter adapted to tapestry painting thanisinlarge,indistinctWhen, however,bestyellow,No.first,masses of light and shade.the latterisandSienna,I,huesvioletIndigo No.Brown No.2,2,workistints of blue,Usetogether.fortheseOrange, Violet, Brownand Maroon.Putin the lightslooking well that there shall be a number of bluegreen and yellow green higha pleasing variety oftone.necessary, theaccomplished by blending variousRawwhenThe shadowtintThislights.will insurewithout endangering thecolors can be blended togetherbyusing the pure colors in strong washes that blend onedo not mix them before putting onthe canvas.Sometimes emerald green is added to theabove colors. But the best effects are produced byinto the other; butblending the pure colors into eachother.Lemonyellow can also often be used to advantage.Into this blended mass of color,whenpartly dry,the outlines and accents of the copy can be drawnwith a sharp, dry brush, with strong color.isWhenthoroughly dry, the high lights must be scrapedUse the mediumpure.alloff,
GOLDEN LEAVES.ByJ.E. Grace.Instructions for painting on page
TAPESTRY PAINTING.23Study nature faithfully for effects, and learn to keepshowing only the least of pure color andto her rule ofwrapping everythingin a tint of grey.FOREGROUND PLANTS AND GRASSES.The sprays ofandfoliage,andallplants in the foregroundbe painted with the colors givengrasses, canfoHage, used quite pure and strong, with a veryblack added to strengthen them.Thebrushes,and sharper, andever, should be smallerallforlittlehow-the lines andmore decided touch, without somuch blending of tints. Here and there a touch of pureaccents drawn with acolor will serve to round a leaf or give greater promi-nence to certain leaves or grasses that areLookwell towarm andkeeping themcrisp,sparkHng and cooledge of grassesdeed,isitmuchin full light.the reflected lights in the shadows,allisbright and the high lightsThein tone.lightson thebest taken off with the eraserof the most effectiveworkin the;in-foregrounddone with the knife. In the most prominent objectswhen dry putis well to draw in the shades first;in the local tintsandribs with alowing set ofposes;afterwards draw the outlines, veinsdry brushtints willin strong color.be foundIndigo No. 2 andRaw Sienna.Lemon Yellow.Indigo No. 2 and Orange.Indigo No. 2 and Maroon.Brown No.2fol-sufficient for all pur-:Indigo No. 2 andTheand Indigo.
TAPESTRY PAINTING.24Brown No.Brown No.2iand Crimson.and Violet.Black and Emerald Green.Black andRawSienna.Black and Maroon.Black and Brown No.An2.endless variety of hues and tint can bemadewith the above colors, mixed either on the palette orblended on the canvas.Becareful,however, never to mix more than threecolors together as theredeadtints ifAsa ruleisgreat danger ofmore are used.the shadows shouldharmonytheof(See glossary of terms).colorsOneisflat,follow the contrast ofcolor to the local tint rather thaningmakingof themosteffective things in tapestry paint-the trunk of an oak or birch tree,raggedbits ofof knots orbark and moss.Paint in the local tintows andfullfirstand intothisdraw shad-outlines with very strong colors, using plentyof gray in shadows and pure color in the lights.edges of bark,etc.,can be putThewith a dry brushinwith strong color dragged over the tops of the ribsof the fabric.themediumlights,Ifpure.givingfullon wool thatWhenallisisto be steamed, usedry scrapeoff thehighvalue to the sharp ragged edges.PAINTING ROCKS.In rock work thereing donein theismuch roomfor effective paint-very simplest manner.The shadows
;TAPESTRY PAINTING.25are put in with a gray tint, with a ragged round brushthat drags the color on in uneven sharp strokes.Whenwash over with various tints of yeUow, violet,browns and sienna reds, putting in the accents withquite dry,sharp,Maketouches.crispbroad so that thesolidwork strong andthemaylook of a rockbe givenand not the blended softness of a cloud.TINTS FOR ROCKS.Indigo Blue No. 2 and Maroon.No.INo. 2Brown and Indian Yellow.Brown and Violet.Orange and Maroon.Mix these tints on the canvas only by blending oneinto the other.The gray can be made of black and aModel all the shadows andlittleemerald green.For rocks that have ahalf- tints with this gray.gray cast the abovetintscan be usedifkept verycold with plenty of indigo and black.PAINTING FLOWERS.Onlylargeand loosely petaled flowers should bechosen for tapestry painting.Drawthe outlinesinwith a finely-pointed charcoal or pounce, or transferthe design from an enlargement on paper.shadesfirstwith a tint complementaryof the flower.WhenPutin theto the colorthoroughly dry wash over witha local tint, leaving the bare canvas for high lightswatch carefullyforthe reflectedlights;they helpgreatly in giving the character of flowers which havelustrous petals or in colored leaves.
TAPESTRY PAINTING.26FLESH PAINTING.Flesh painting, which inincolors presents sooilamateur,to thedifficultiesmanyreally very easilyisdonetapestry painting.Transferoutlinesallcarefully,asmuch dependsupon their accuracy. Wash in the shadows withbrown No. i and vermilion, using the colors veryWhen partly dry, draw into this wash thethinly.outlines ofwith orange.featuresThrowand darker accents of shadowsinto prominence the reflectedwhich help so muchlights,Use brown No.features.mediumfortheallfirstto give roundness to theiand vermilion and puremodeling.Whenallthiswash of medium,While wet put in thecarnations at cheeks, lips, end of chin and tip of earPut the color on cheeks in a triwith vermiHon.isthoroughly dry, putfaintly tinted within the fleshorange.angular shape, softly blendingshadowswillnowlook too red.a bright tint of greenmadeitinto the flesh.TheQualify this color byof indigo No. 2 and lemonyellow or raw sienna.Becareful that this green tint does not run overonto theflesh, asitwill ruin the tint.For a veryfaircomplexion, the flesh wash can be made of pure vermilion.Washand thethey modify thein the local tint of the hairadjacent drapery and background, asflesh tints.Whenallthese are thoroughly dry the flesh willprobably look too hot and red.This can be remedied
TAPESTRY PAINTING.by washes of a pearly graythat will at once give round-Use indigo No.ness and a natural tint to the flesh.and vermilion and yellow mixedfor a brunette, and a violet grayis27because the half-tones of theto a greenish2grayThisfor a blonde.flesh are greenish in abrunette and of a violet cast in a blonde.Uselessyellow for the violet tone, andlessred forThe markings of eyes, nostrils,ears, mouth, fingers, etc., can now be strengthenedKeep the reflectedor softened as may be required.The prinHghts quite warm and the half-tints cool.the greenish tone.cipalreflectedlights areunder the nose, lowerlip,over eyes, at the jaw, and shadowed side of the neck.Roundthe eyeball with gray.Paint the eyes with thegreatest care, looking carefully to thelightlittleaccents ofand shade that bring out the expression.out the highest catch-Hghts.warmerinKeeptone than the face.above the upperlip iswellScrapethe ears alittleSee that thefleshsubduedin tone, so asnotand prominent.The eyebrows should not be drawn too heavily norin distinct lines, but be well toned into the flesh with apearly gray tint. This same tint should follow the lineof the hair as it comes against the flesh, and can bemade like the above ' half-tints." The shadows ofthe hair can now be worked up.When all is doneand thoroughly dry, scrape off" the high lights of fleshand hair, carefully preserving the shapes. The steaming will blend all these tints and give roundness andto look too fullsoftness of effect.
;TAPESTRY PAINTING.28Bhte eyes are painted with Antwerp or French blue,in pure mediumshade with brownI.BlackwithaNo.eyeswash of indigo, shaded withused very thinlybrown No.;Brown2.shaded with brown No.wash of orange,eyes with a2 or black.PAINTING HAIR.Attend welland shade, andto the masses of lightfollow the direction of the locks in the strokes of theThebrush.reflectedlightsmust becarefully pre-served, as they are very helpful, especially in glossycurls or braids.Golden hairismade with rawshaded with brown No. 2ion,No.Ihairforisauburnhair;half tints, indigo No.made with brown No.to the hue,sienna and vermil-for flaxen hair, orIor No.and shaded with blackused very thinly.Black hair,shadows, brown No.2,;I.brownBrownaccording2,half-tones blacklocal tint, indigowith a touch ofmaroonNo.iin thereflected lights.PAINTING DRAPERIES.Inpainting draperiesespecialattentionmust begiven to rendering the textures characteristic of thedifferent materials.Thusin silk the lights are flowingand the shadowssharp andfullandand the shadows are broad,crisp,in tint.reflected lights.lightIn satin the lights are sharpsoftandfullofVelvet always has a sharp, narrowon the extreme edge of afold,with a rich shadow
TAPESTRY PAINTING.blending into a broad halfshape of the foldstint.copy, asin theter of the different texturesBegin by washingoverallWatch carefully themuch of the charac-depends uponthe shadesin;it.whendry,washparts with the local tint of the color chosen.Use the medium pure, and as largemanaged, scrubbing the color wellcompletely asing the material asdistant29tints.abrush as can bein,but not soak-inthesky andThe shadows may now look veryby paintingcolor.Blendqueerly, but can be effectively finishedinto them with a strong wash of the localshadows into the high lights by faint washes of thecooler color used in the shades, and accent all theshadows with the warm color.Blue Draperies. Turquoise blue, local tint, ultramarine and emerald green shadows, orange or brownNo. I and vermilion.Local tint, French blue shadows,Gobelin Blue.indigo and maroon.Peacock Blue.Local color, emerald green and Antwerp blue shadows, brown and vermilion.Sapphire Blue.French blue and enough crimsonto give the desired hueshade with orange.Yellow DraperiesLocal tint, raw sienna and a touchof crimson or, lemon yellow and vermilion, or eitheryellow used pureshadows, indigo and vermilion.Orange gives a very lovely local tint if used very thin.Salmon Pink.
tapestry painting, apracticalhand-bookof instructionintheuseof theliquidindelibledyes ortapestrycolors. writtenby mrs.e.daymacpherson, 1892. publishedby f.w.devoe&co .
17 Painting advice and specifications 18 General painting advice 71 for all substrates 21 Repainting all substrates 23 Painting substrates 23 Painting glassfibre 25 Painting ferrocement 26 Painting metal 29 Painting and varnishing wood 34 Painting decks, bilges and lockers 35 Painting keels 36 Painting propellers, outdrives and sterngear
Tapestry event 1 ticket to Tapestry event Dessert — 500 Company logo to be printed in take-home Tapestry program Company logo to be printed on signage at the Tapestry event Sponsorship Opportunities For more information or to become a sponsor, please contact: Heather Uzowulu
To get started, download the Tapestry app via the Google Play store on your Android smartphone or tablet. If you have the new app already, feel free to skip this section. Either search for 'Tapestry Mobile' in Google Play or download it directly via the store link here. If you search 'Tapestry Mobile' you should see two app options shown below.
40 hours. from Monday to Friday from 9.00 to 13.00 from 14.00 to 18.00 THE NEW SOA ACADEMY HEADQUARTER, 2020. . Wacom tablet setup . SOA Digital Painting workflow Painting black & white Painting colors Exercises workshop on digital painting Day #5 POSTPRODUCTION & MATTE-PAINTING 5.1 Matte-painting Composition .
last decade on established consumer markets plus the emergence of new markets populated by the Millennials and immigrants. Reflecting the increasing diversity among American consumers, Tapestry includes 67 distinct market segments and 14 summary groups. Tapestry is a geodemographic segmentation system that integrates consumer traits
4 Textured Dialogues: A Tapestry of Immigrant Perspectives on the Meaning of Education Dedication Dedicated to our parents and first teachers Sarah C. "Nita" Hardin, who taught me the importance of honoring the diversity of all members of our communities and whose teachings guided me in putting together the tapestry.
ART 127 – Painting 1 BERGEN COMMUNITY COLLEGE Art Department COURSE DESCRIPTION: ART127 – PAINTING 1 is an introduction to the techniques and aesthetic considerations of painting. The thread of study is two-fold. a) Traditional oil painting: Formal, academic study of structure, spatial relationships, value, composition, color, temperature .
An expert meeting was held to review the impact of animal nutrition on animal welfare. During the meeting, three major tasks were undertaken for both ruminant and monogastric species: 1) Identify feeding options for different livestock production systems (extensive, mixed crop-livestock, and intensive) that improve animal welfare while increas - ing profitability of the livestock producers and .
