Kitabı oku: «Little Folks», sayfa 3

HINTS ON CANVASINE PAINTING

This is the art of colouring a photograph so as to imitate an oil-painting. Although we know that no imitation of this kind can ever reach the perfection of the real article, yet we can obtain very fair copies. The work, when well done, is really pretty, and it makes a good show on the walls. It is not at all difficult, and those who have a slight knowledge of painting can easily accomplish some creditable pieces that they will enjoy seeing in their rooms, and that their friends will consider welcome presents. The colours are unobjectionable as regards smell, for they have none, and the work is clean, and can be rapidly done.

The choice of the photograph is of importance, for it must be a good one, and suitable for the purpose. Those taken from the pictures in the Munich, Dresden, and Italian galleries will be found best to select from. The outlines of the subject should be well defined, and the whole photograph clear and distinct. It is advisable to begin on figure subjects, as they are easiest, and certainly the most effective. The picture should not contain many figures, or they must necessarily in that case be small, and some difficulty will, in consequence, be met with in colouring them. Young amateurs seem to think that small pieces are more within their province: they are afraid to attempt a larger size, but we assure them this is a fallacy. Minute details require great care, and it is more awkward to get small washes level than larger ones.

The first thing to be done is to buy our materials, and these we can get all neatly arranged in a box. The colours are: two flesh tints, light and golden yellow, vermilion and carmine, blue, violet, purple, light and wood brown, green, and black. All the colours are dry, except black; and ordinary Chinese white is used, as there is no white specially made for canvasine.

There are two bottles of medium, one adhesive and one preservative. Camel's-hair brushes of various sizes, canvas and stretchers, a roller, and a squeegee, or presser, are also requisite.

Having all our materials at hand, let us set to work. The stretcher has been bought to suit the size of the photograph, but probably the latter will have to be cut a little round the edges, to make it just about an eighth of an inch smaller than the former. Take some of the prepared canvas, and cut it an inch and a half larger than the photo; wet it thoroughly, and fasten it to a board with drawing-pins, the prepared side uppermost. The back of the photo will require to be rubbed with glass-paper, if it is a thick one; not otherwise, for fear of making holes in it. To manage this carefully is important.

A sheet of clean paper should be laid on a drawing-board, and the photo placed on it face downwards, and firmly secured with drawing-pins. Now rub it gently with the glass-paper, until the picture is rendered semi-transparent. Then take it from the board, and give it a bath in the solution. Lay it in a dish, and cover it entirely with the solution, letting it remain there for a few minutes; lift it out, and again lay it on the board face downwards, and with a small sponge dab off any superfluity of liquid. Pour that which is left in the dish back into the bottle.

The bottle of canvasine adhesive is next needed. With a brush well filled with it, lay a thick coating all over the back of the photo as evenly as possible, then take up the picture, and place it in exact position on the canvas which is stretched on the board, and now the face must be uppermost. Notice particularly that the photo lies straight with the threads of canvas; if it is crookedly placed it cannot be expected to look well; the perpendicular and horizontal threads should run perfectly level with the top and bottom and sides of the picture. Press down the photo with the hand, and then slightly roll it out.

Take another piece of canvas of the same size as the first: this has now to be pressed thoroughly, the roller being passed in every direction over the surface. Continue rolling it for five minutes or more, so that the canvas lines become indented in the paper and are distinctly visible. Watch it constantly during the process, and if it does not adhere quite firmly to the stretched canvas, put a little more adhesive solution round the edges, and pass the presser quickly up and down over the photo, still with the spare canvas between, to rid it of all air-bubbles; then repeat the rolling.

Not until every part of the photo adheres, and all the canvas lines are clearly marked, must the process of rolling be discontinued. After this, the photo must be allowed to dry gradually, still stretched on the board. No painting must be attempted until it is quite dry, which it will be in about three hours. Some prefer to paint it when it is so far prepared, and afterwards to fix it on the stretcher; others consider the better plan is to fix it first on the wooden stretcher and then to paint it; but this is a matter of choice, and workers may follow either plan with equal chances of success.

To stretch it, we must proceed in the following manner. Lay the canvas evenly on the frame and nail it over the back; when all four sides are thus secured, take the wedges, and hammer them into the holes made purposely for them until the canvas is sufficiently stretched. Be careful to place the board in a good light for painting; it takes much longer to do, and cannot be done half as well either, if the worker sits so that the shadow of her hand falls on the picture. A piece of clean writing-paper to place at times under the hand to prevent finger-marks may be found useful.

Now for the painting. We will begin with the face. In colouring photographs, the paints have to be constantly washed off, and it is a well-known fact that nothing does this so well as the tongue, because it acts on the photo so as to remove all grease better than anything else will: but some people will perhaps be somewhat afraid thus to wet the surface, on account of the nature of the paints. The tongue may, however, be used at any rate for the flesh parts, and a small wet sponge can be employed for the rest of the picture. Wet the complexion over with the tongue, then wash in the shadows with some flesh shadow mixture, to which a little canvasine medium and water have been added, and wipe it off again at once. Pay attention to the shadows that they are of the right tints: for fair children they will be of a slightly blue hue; for dark complexions a little wood brown must be added to the shadow colour. Now lay over the complexion a wash of flesh-tint No. 1, and wipe it off again directly; repeat the wash as often as necessary until a good colour is obtained. Sometimes as many as six applications are needed; the great point is to get a good even layer of colour. In rendering dark complexions, a trifle of wood brown may be added to flesh No. 2, and this will give the requisite depth of colour. Put in the warm complexion-tints with flesh No. 2. Place a drop of it, modified with No. 1, over the whole cheek, and wipe it off again immediately. Repeat until the right strength of colour is secured; deepen the tint as it nears the centre of the cheek, so as to preserve the rounded appearance that is one of the greatest charms that youth and beauty possess. Strengthen the shadows under eyes and eyebrows, round the nostrils, and on the chin.

Mixtures of blue and brown, and of green and brown, serve for the demi-tints which soften the deep shadows by gentle gradations into the local colouring. The tints may be effectually blended into one another by an occasional wash of flesh No. 1 being carried over the whole.

Between each operation the colour must be dabbed off as soon as it has had time to sink into the photograph; it must not in any case be allowed to rest long, or the wash will dry spotty, and when that happens it is exceedingly difficult to remedy. The draperies are washed in before the details of the face are begun, as when the latter are painted the colours must not be wiped off afterwards; they are not treated in the same way as the washes, but more as finishing-touches.

Draperies and backgrounds are laid in with a full brush in broad washes, the photograph being first damped slightly with canvasine medium; the colours are laid on freely with decisive strokes, and sponged off, the washes being continued until the tint is dark enough. Skies may be represented with blue tinged with green, and when dry, some light clouds may be dabbled in with Chinese white.

Now we return to the face. With flesh No. 2 touch in the lips carefully, and shade the tint off gently, for they must on no account look hard; also mark in the nostrils with a little of the same, but now the colour must not be washed off. For the eyes, use blue, brown, or grey, as requisite; grey is composed of a mixture of blue and brown. The pupil of the eye is put in with black, and the light with a touch of Chinese white. In the corner of the eye a trifle of flesh No. 2 will be needed. The eyebrows should be rather darker in colour than the hair, but they must not be too heavily painted; the best plan is to wash them in with a lighter tint first, working them up afterwards with a fine brush and almost dry colour of a darker shade. The eyelashes, too, must be washed in along the eyelid, and then a few hairs marked out with the point of the brush. It would never do to put them in entirely in thin fine strokes, for they would be sure to look hard. A little blue added to brown will make a tint dark enough for most purposes, and the use of black should be avoided whenever possible.

The hair will need our next consideration. For fair hair, golden brown must be employed; it is applied in washes, wiped off as before, and repeated until the desired depth of local colouring is obtained; the shadows are worked in with light brown, the lights with a little Chinese white. For dark hair, use wood-brown and sienna; and the darkest hair may be rendered with washes of blue, which must be applied before the sienna, with Chinese white used freely for the lights. Colour which has once been allowed to sink in cannot be removed, therefore we must be careful not to use a wrong one, or even too dark a shade. Then, again, colours dry darker than they appear when first laid on, so we must take the precaution to make our washes lighter than we intend them to be when finished.

Beautiful tints can be produced by the admixture of the colours, and charming effects by the juxtaposition of colours that form an agreeable contrast.

A RACE ON THE SANDS

 
One cool and pleasant afternoon,
Before the sun was set,
A fox and other country folk
Upon the beach had met.
The creeping tide far out had ebb'd,
And by the shelving strand
There stretch'd a wide and level plain
Of glist'ning yellow sand.
 
 
The hare, the hound, the neighing steed,
The lowing ox, the deer,
The sheep, the hog, the braying ass,
The sea-gulls hovering near,
With groups of various birds and beasts,
Of sorts both tall and scrimp,
Were gather'd there upon the sands;
And thither came a shrimp.
 
 
Now Reynard, who was eager bent
Upon some cunning wile,
Did boldly challenge any beast
To race with him a mile.
But when nor horse, nor hare, nor hound
His challenge would receive,
Up started Shrimp, and cried, "Good sir,
To race you give me leave."
 
 
A burst of merriment then brake
From all the beasts around,
The westward-sinking sun did smile,
Though he utter'd not a sound.
Then out spoke Reynard, red with rage,
"Thou mak'st a mocking boast!"
But near him whisper'd Master Hare,
"Forget not how I lost."
 
 
The race anon was quickly plann'd,
Eftsoons a judge was nam'd,
And Fox and Shrimp quite ready stood,
Though Shrimp seem'd half-asham'd.
And now they start, one, two, away!
See, Reynard darts ahead,
Unconscious that sly Shrimp had jump'd
Upon his tail outspread.
 
 
There snug he lay, so close and warm,
While Reynard tore apace,
And laugh'd, as only shrimps can laugh,
In his comfortable place.
At length, as Reynard near'd the goal,
He slowly slacken'd speed,
And stopping, ere he touch'd the post,
He turn'd—he did indeed.
 
 
Then off hopp'd Shrimp, and stood at once
Up at the winning-place;
While Reynard still look'd back and cried,
"How now, who wins the race!
Where are you, villain? where are you?
Not e'en in sight, I trow!"
"Nay, pardon, sir," behind him cried
That sly Shrimp with a bow.
 
 
Then Reynard, all abash'd, did stare
To find himself outdone!
While the jeering crowd, in high delight,
Went wild at all the fun.
But Reynard could not bear their gibes:
He slunk in haste away;
Nor ever guess'd how Shrimp contriv'd
To win the race that day.
 

THE KING AND QUEEN'S QUARREL

(NARRATED BY A DOLL)

I was very pleased indeed, when I first came into the world, to find that I was to become the property of a King and Queen. I had seen a great deal of life through my shop-window, and had come to the conclusion that I was formed for high society. So therefore, when my new mistress said to me, "Dolly, I am the Queen to-day, and Bertie is the King," I was not at all surprised, but held myself as firmly as before.

The King and Queen sat together on one chair, which I suppose is the constant habit of Kings and Queens. They were both very nice and neat, for the nurse had just brushed their hair. The Queen was four years old, and the King was six. And they were both the very prettiest children you could see.

The little Queen had a blue print frock, and a little round face. She had pretty shy eyes that looked out from beneath a shock of curly hair. The little King was very pretty too. And he liked to play with dolls, which I always think is a nice trait of character in a boy.

"Oh, what a lovely doll!" cried the Queen, when she first saw me. I may repeat it without vanity, for I suppose it was true. Anyway it is exactly what everybody said the moment they set eyes on me. People always praise dolls to their faces, and that is what makes us look so conceited. Even when we are old, and battered, and worn-out we still preserve a somewhat conceited air—we still look pleased and proud of ourselves so long as there is one little child who loves us, and who thinks us pretty still.

The King and Queen sat down together on their throne, and were as happy as happy could be. The little Queen's feet dangled a good way off the ground, but she did not mind that in the least. She put one chubby arm round her brother to keep her quite firm, and the other arm was round me.

When a nice little fat, dimpled arm holds me tightly against a loving heart, I feel very pleased and happy. If I were a pussy-cat I should purr, for I feel that I am in my right place.

"Now I am King and you are Queen," said the little boy; "and everybody that comes in must bow to us."

"Dolly shall be the Princess," said the little girl, in a voice like that of a cooing dove.

"Her name must be Sophonisba," said the little boy gravely. "That sounds something like a Princess."

"Topanithba," repeated the little girl, very much pleased; and she pressed me close to her heart.

Suddenly a cloud passed over the face of the little boy. He looked at me hard for a minute, and then he spoke.

"No, that won't do at all," he said; "I am an old French King, and we're under the old Salic law. She mustn't be a Princess, or she'll never come to the throne. We must pretend she is a Prince, and we'll call her Jack."

You should have seen the little girl's face at this. All the dimples went out of it, and she looked quite frightened.

"Oh, don't call her Jack, dear," she cried; "it's so ugly. And I'd rather she was a Princess."

"Then she'll never come to the throne," said the boy solemnly. "I read it lately in my history."

Here the little girl looked much inclined to cry.

"Oh, don't say she won't come to the throne!" she cried piteously. "I like my Princess Sophonisba so much."

"She'll never come to the throne," said the King, laying down the law with his fore-finger; "a Princess is no good at all. She's a stupid."

"Well, she shan't be called Jack," said the Queen, plucking up a little spirit.

"Then I shan't play," said the little King, at once jumping down off the chair.

The little Queen put her finger in her mouth, and looked as if she did not quite know what to do. She did not care to play without Bertie, but she wanted to have her own way. She glanced at Bertie out of the corner of her eye. He turned his back to her directly, and would not look her in the face. Yes, there was no doubt about it—she could tell it from the look of his shoulders—Bertie was in the sulks.

All their play was spoilt. The throne was deserted, the sceptre laid down. They did not care to be King or Queen by themselves.

"I shall go down to mamma, then," said the Queen, and she put me down on the chair, and went off.

For some time Bertie stood in the corner, looking very cross. Then he looked round, and began wondering when May would come back. Next he commenced to cry.

"Naughty girl! naughty girl! I don't want her to come back!" and he took a piece of string out of his pocket, and kept slashing it against his sleeve as he spoke.

Suddenly, in the midst of his temper, he caught sight of me.

"Nasty doll!" he cried; "we should never have quarrelled if it hadn't been for you! You shall be a boy," he added, sternly; "for I'll cut all your hair off!"

A shudder went through me. Unfortunately the nursery scissors were lying on the table—he took them up, and in a minute it was done. Clip, clip, went the scissors, as if they were pleased, and nearly the whole of my flaxen curls lay scattered on the floor. How I looked I don't know, but I think Bertie was a little frightened when he saw what he had done. I don't think he was anxious for his sister to see me, so he jumped up on the fender and put me on top of the mantel-piece.

Here I lay, with my feet dangling down off the side, about as uncomfortable as a doll could be. Nearly all my hair was cut short, my hat had fallen off in the fray, and I found myself in a position of much discomfort, and even danger. I could see nothing that went on in the room, and the heat of the stove was fast melting my beautiful complexion. I tried to look like a Princess, but it was hard.

The nursery-door opened, and the little girl came back. In a minute she ran up to the chair where she had left me, and then looked at her brother.

"Where's dolly?" she cried, and she looked anxiously round.

"I shan't tell you," said Bertie, beginning to look frightened.

"Oh, dolly, dolly; where is my dolly?" cried the little girl, and how I longed for a voice that could answer her. I could hear her going all round the room, pulling open drawers and cupboards, and hunting for me, but I never said a word.

Suddenly I heard a cry. She had come to the hearth-rug, where lay the scissors, and nearly all my beautiful flaxen curls on the floor.

"Oh, my dear dolly! my dear dolly! He's cut off her hair. Oh, you cruel boy!" cried the little Queen, and she sat down and cried as if her heart would break. Then she glanced up, and caught sight of where I lay, placidly reposing on the mantel-piece with my eyes turned up to the ceiling. In a moment she was upon a chair, and ready to fetch me down, when what with the chair being unsteady, and her eyes being full of tears, the chair slipped beneath her, and down she fell on the floor.

Poor little Queen, she was in a very bad way! Her head fell against the fender, and hurt her very much, she sobbed and cried both with the fright and the pain. Nurse came running up, and took her on her knee, and it was a long time before she could console her.

"My dolly, my dolly!" she cried between her tears, and the nurse took me down from the mantel-piece, and gave me to her. How she did cry over me! I felt dreadfully vexed, because tears are fatal to my complexion.

Bertie stood looking on frightened, and came up to look at his sister.

"Go away, you naughty boy," cried nurse; "it's all your doing, and your sister will make herself ill with crying."

When my little Queen heard Bertie being blamed she grew very quiet all at once. She gave her eyes a final wipe with her handkerchief, and she got off nurse's knee, and turned to Bertie. Bertie was crying too, and he had gone quite white with the fright that he got when he saw little May fall down.

"Oh, May, I am so sorry, dear," he said; "will you kiss me, dear, and make it up? Do, please."

No need to ask the little Queen twice; she threw her little arms round Bertie.

"I am so sorry, May," he said; "I didn't know you would have cared so much."

"Never mind, Bertie, dear," said the little Queen gently; and she tried to look cheerful, though I knew she was grieved to the heart. "Perhaps it's almost for the best," she whispered, softly; "for now she can be Prince or Princess, just whichever you like."

So they made it up, and cried and laughed again, as is the way with these inferior mortals. I had remained calm all the time, which is the correct frame of mind in which a doll should take all vicissitudes of fortune, but the poor little Queen had cried till she had washed nearly all the colour off my face.

I lived with the children for a long time after this, but I never saw them quarrel again. I took my part in many a game, and was sometimes a Princess to please the Queen, and sometimes a Prince because the King liked it best. I have even been dressed up as the Lord Chamberlain before now, and sometimes I have taken the part of the scullery-maid. But neither the King nor the Queen nor I have ever lost our temper again, and I flatter myself whatever part I have taken I have borne myself with dignity.

Lucie Cobbe.