DEIN ¢ Darsttne! eel hal ff | lovaniane Bos. tsi Yorx,.DIRECTIONS FOR YOUNG PAINTERS. Ax outfit of watercolor paints and brushes is of course, an indispensable requisite. Gow Ioxet made of orodain lined in, the cover serving asa tablet on which to mix the colors may now bo obalued atx low price from almost any slatoner or dealer in artist’ supplies ‘The following colors are the most dasrable, and will all be found useful, though some may be dispensed vith: Ivory Black, Sepia, Barut Sienna, Vandyke Brows, Ultramarine, Prusdan Blue, Ortson Lake, Vermil- ion, Light Red, Gamboge, Yellow Ochre, Emerald Green. ‘There are three eolors—Red, Blue, wd Yellow—which ar called primary, or simple colors, becanse they connot be made by any mixturo ‘of otlicr colors. ‘Thos three are indispensable for any complete scheme of coloring, Other colors, called compound, may be made hy mixing, as follows Red and Blue make Purple. | Prussian Blue and Gamboge make Bright Green. Yellow and Blue “ Green, | Prussian Blo and Sepia Dark Groen. Yellow and Red “ Orange, | Prassian Blue, Lake and Sepia “Gray. ‘Mix with clesn, clear water. Keep the oolor of your paints pare by cleansing your brush thoroughly of ‘one color before applying it to snother. (Clean your brushes thoroughly aftor using. Nover leave them standing in the water, ‘A rather large brush should be used for the greater part of the painting, te smaller brushes being reacrved {for the finer finishing touches. ‘Take plenty of color on your brash, and try it rst on a piceo of paper to soe that itis the right shade. ‘Begin at the top and color downward, always using plenty of water ia your brash, so that the color may riot settle in patches, Let ouo color dry before applying another over it. A ead color which is to servo as.a shadow to a warmer one shold be laid on frst, and then the warmer ‘olor put over it, Blue is the eoldest color. Lake is a colder Red than Vermilion or Light Red, and Gamboge ‘colder Yellow than Ochre. Orange is the wurmest ovlor, and Red and Yellow are warm in proportion as they ‘approach the Orange tint ‘A tery litte soap will aid in spreading on the colors A FEW PRACTICAL HINTS ABOUT DRAWING. ‘Tam pictures in this book make excellent drewing copies, having been designed exprossly for that parpose. Beginners, who wish to attempt to reproduce therm, will nd the following ints useful ‘Stetohing out the Subjet.—Firt, the loamner should indato lightly with the peneil the general shapo or ‘outline of the subjoct to be copied, without noticing at all the textare of the coat or the undulating chameter of the outlina ‘This may be more roadily doue by marking off with light strokes or dots the length and heigl, and any prominent point or angio of the subjeet upon the paper. Ttis of much importanco to form the Lusbit of thus marking the principal points before drawing the lines; for, if once the pupil gets into the habit of drawing a nnmber of lines hap hazard, ho will find it, like all bad habits, very diffoult to shake oft ‘Then he should lightly sketch out tho goneral form, without paying attention to details, leeving them until later, when the size and relative proportions of the parts have hoen settled. He should uso as few linos ax possible, and never draw two or three where one will see. ‘Won this has boon dono, lot him compare his work with the copy, and oorrect any inaoourncies; then ‘mark in the principal dotals, and, when the sketching in of the general form is satisfactory, clean tho paper well, rubbing tho lines almost out,” The pupil may now proceed to the Finishing. Much of the beauty and excellence of the drawing depends upon this portion of the work, 1nd too much pains eonnot be taken to mako it es perfect as possible, A lovee sheet of paper should always be kept under the hand, Lt the Iearner bogin at the top and draw the upper portion of the left-hand side frst. Ho will veo the practical reason of this when actually drawing, as, by beginning either at the bottom or wt he right-band side, his lund would cover up his work as he proceeded, smearing it, and also giving additional difficulty in matebing the quality of lining already dono, He must imitato faithfully the lites of the copy iu strength and carne, line for line where practicable ; in the apparently more oonfused portions it is ufieient to keep the character withont literally copying every touch of the penell in the original. He should not putin ‘uore lines than are neoessary. Let him éomparo tho drawing with the eopy occasionally that he may judge uf the effect, and nee that the eulor and general strength of line is maintained, Let it bo clearly kept in mind ‘that corrcues of form is the frst aud most important point to be attended to, The second, und lat, is beawy can larnes of line in the finishing, OO Illustrated by Harrison Weir (1824-1906) 203 #22? YS EF oots cise emer ree eeeen case ot213 & edit by L- PfostIsayhells2u@hotmail com Illustrated by Harrison Weir (1824-1906) 2013 On4 Tm :THE OLD HACK. 23 hotmail.com Illustrated by Harrison Weir (1824-1906) 2013, OviBULLDOG. iMASTIFF.