Part 4
Dissolve two teaspoonfuls of white sugar in half cup full of boiling water. Write in the ordinary manner. Holding to the fire will cause the saccharine to turn brown.
INK FOR RUBBER STAMP PADS
Dissolve ten cents’ worth of red analine (or any other color) in two ounces of glycerine and apply to stamp pad with stiff brush; smooth it on as evenly as possible.
FRESHEN RUBBER STAMP PADS
To freshen up old rubber stamp pads, scrape surface of pad with a dull knife or edge of stiff cardboard to remove dust. Then apply clear glycerine. Pad is now almost as good as new.
BLACK TRACING PAPER
Lamp black mixed with cold lard to the consistency of thick paste. Apply to thin paper with a piece of cloth. Then take a flannel cloth and rub until the color ceases to come off. If red is desired use Venetian red. For blue use Prussian blue, and for green use chrome green.
COMMON BLACK WRITING INK
One ounce extract of logwood; pour over it two quarts of boiling soft water. When dissolved add one drachm of yellow chromate of potassa. Put in clean bottles. This formula will cost about 15 cents.
EVERLASTING BLACK WRITING INK
Two gallons of rain water, ¼ pound gum arabic, ½ pound copperas, ¾ pound powdered nut-galls, ¼ pound of brown sugar. Bruise all and mix. This is valuable for copying deeds, etc., as it will last for hundreds of years. Shake the mixture occasionally for the first ten days, then it is ready for use.
PAINTING WATER-COLORS ON PARCHMENT SHADES
To prevent water-color paints and india inks from crawling on the greasy surface of parchment, rub gently with finely powdered pumice, using a soft cloth or cotton. Pulverized emery is equally efficient.
TO COLOR FLOWERS
One method of coloring flowers is to cut them with long stems and let them stand for awhile in water containing dye of the desired color. There are some species of dry, strawlike flowers, which are merely dipped in dye.
TO TURN A HYDRANGEA BLUE
It is claimed that putting a couple of lumps of alum at the roots of the hydrangea will cause it to turn blue.
DRAWING PAPER MADE TRANSPARENT
To render ordinary drawing paper transparent for tracing purposes, sponge paper with a solution of 2 parts absolute alcohol to 1 of castor oil.
The alcohol soon evaporates and tracing paper is ready for use. Drawing or tracing may be made with india ink or lead pencil.
Restore paper to its original state by immersing in absolute alcohol.
DRIER FOR PAINTS ON PARCHMENT LAMP SHADES
Japan drier is used almost exclusively as a paint medium for coloring parchment lamp shades. Pale Japan is almost colorless and will not alter hues.
TO CLEAN SOILED PHOTOGRAPHS
Lightly sponge with cotton dipped in alcohol.
TO OXIDIZE COPPER AND BRASS
A solution for oxidizing copper or brass is composed of 2 ounces of nitrate of iron and 2 ounces of hyposulphite of soda to 1 pint of water. Immerse the article until the desired shade is acquired: then wash, dry and brush.
GREASE AND PAINT REMOVER
Oil of turpentine, fluid oz. 5; water of ammonia, fluid oz. 4; wood alcohol, fluid oz. 5; ether drops 25, acetic acid, fluid dr. 4; water, fluid oz. 5. Apply a little to stained parts with a brush, rubbing briskly for a moment or two. Rinse out with clear water.
TO REMOVE OIL STAINS FROM LEATHER
Dab the spot carefully with spirits of sal ammoniac, and after allowing it to act for awhile, wash with clean water. This treatment may have to be repeated a few times, taking care, however, not to injure the color of the leather.
BLEACHING TALLOW
Dissolve alum, five pounds, in water, ten gallons, by boiling; and when it is all dissolved, add tallow, twenty pounds. Continue the boiling for one hour, constantly stirring and skimming. When sufficiently cool to allow it, strain through thick muslin; then set aside to harden. When taken from the water, lay it by for a short time to drip.
WHEN LEATHER BECOMES STICKY
Either sponge the leather thoroughly with a mild suds of borax soap, and when perfectly dry, apply thin coat of white shellac, or else clean the leather with some solvent such as gasoline.
COMMON BLUE WRITING INK
Sulphate of indigo and soft water. Color to suit.
WATER PROOFING PAPER
Dissolve 2 parts of borax and 2 parts of shellac in 2 parts of water, and strain through a fine cloth. With a brush or sponge apply this to the surface of the paper, and when it is dry, polish it to a high gloss with a soft brush.
TO MAKE ORNAMENTAL GRASSES GLISTEN
Make a brine by boiling one quart of common salt in 1½ quarts of water for fifteen minutes. Tie bunches of ornamental grasses together and pour the solution over them while it is hot. Place in a dark room or cellar, where it will not be disturbed and allow the grasses to stand for 24 hours, then lift them out and hang them up to dry. In a few hours they will be white and glistening.
INDELIBLE MARKING INK
100 grains nitrate of silver, 1 ounce distilled water, 2 drachms gum arabic, 1 scruple of indigo. Thoroughly mix.
EYE STRAIN
Eye strain can be eliminated while printing yellow forms under artificial light by using blue eye glasses. This causes the yellow to appear green.
MARBLIZING
Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box Tops, Paper, Etc.
[Illustration]
Halftone illustrates three different cards marbled and cut to form a diamond shape. Process is fully described in the following pages.
[Illustration]
FRENCH OCHRE
16 parts deep chrome yellow, 4 parts medium purple and 4 parts bright red.
HINTS FOR ARTISTS
MARBLIZING
Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box Tops Paper, Etc.
[Illustration:
Figure 1. ]
Very little practice is required in this most fascinating art.
1. Thin any oil paint or printer’s ink to the consistency of water with turpentine, gasoline or kerosene, any number of colors. Mix each separately.
2. Fill a pan, wash basin, or bath tub two-thirds full with water. Size of vessel to be determined by size of card to be marbled.
3. A teaspoonful or more of each color which will readily float on the water is the next step. (See Fig. 1.) A little black used along with certain colors produce very satisfactory results.
4. With your hand or paddle agitate the mixture of water and color and before the turbulent waves subside, immerse card face down (See Fig. 2) being careful to wet entire surface.
To avoid air pockets (wide open colorless spaces) bend card or paper slightly as shown in figure 2. Mottled marble effects are obtained when waves are nearly settled or quite still.
[Illustration:
Figure 2. ]
The coloring adheres to the sheet instantly and it is needless to hold it under water. Colors will run if used in excessive quantity or failure to thin enough. If air pockets form, wait until thoroughly dry before redipping in solution.
White oil paint or printer’s ink may be mixed with colors to form tints before same is thinned. More thinning of colors also make lighter shades.
Over painting on these backgrounds should be executed with color ground in Japan to better adhere to the slightly greasy surface.
Show card writers may obtain rather unique effects with the following:
On a blank card paint or draw all or part of the lettering and border with show card writer’s white which is soluble in water.
When thoroughly dry dip into marbling solution as has been previously described, when dry, place in running water until all show card writer’s white is washed free. A clean soft brush will help loosen it.
The marbling colors should be a trifle darker with less agitation. The darker background will help show to better advantage the pure white border and lettering.
White material is best for marbling. White, a neutral color will not alter the various colors and tints applied in this process. However, colored board may be used to good advantage for certain purposes.
DRAWINGS RESEMBLE PRINTING
To Make Drawings Resemble Printing—Black and White or a Variety of Colors
[Illustration]
First—Make light pencil sketch of subject on any good paper or cardboard such as is used when water-colors are employed. Outline all high lights and other portions which are to remain white.
Second—With brush or pen fill in all high lights and other portions which are to remain white with show card writer’s white, which is soluble in water, and let dry.
Third—Partly fill any shallow tray or dish with (water proof) ink, black or colored, if desired. Now dip drawing and let dry.
Fourth—When black or colored water proof inks are thoroughly dry place into running water until the white is washed free from drawing, exposing the clean surface of material. Place between blotters which have been weighted and let dry.
With this process your drawings can show no brush marks. The solids will remain smooth and dense as though printed. If plates for printing purposes are to be made from drawings, you will obtain splendid clean cut results by using this dipping process.
Show card writer’s white and (water proof) black or colors may be obtained at any art shop.
[Illustration]
SPATTER
[Illustration]
Most everyone is familiar with spatter work. Shading and background effects for drawings, show cards, art candles, etc., may be treated with spatter in one or more colors.
Color in the form of fine dots is thrown upon the unprotected portions of material by rubbing the inked bristles of a brush on a sieve or with a knife blade.
Necessary materials: India or common writing ink, a tooth brush, pocket knife, rubber cement, cardboard and some thin transparent tracing paper. The latest and most effective method is to spatter through a sieve, with a round medium stiff brush as shown in the accompanying illustration.
With point of knife cut out letters which are traced from painted show card and paste with rubber cement, or weight with small objects to prevent color from running under the edges, directly on the face of each corresponding letter and apply spatter. Remove these masks when the work has dried.
High lights may be added to spatter drawings with touches of Chinese or show card writers white with a pencil brush.
Gold ink spatter shows well on dark materials; white is effective on black material. Pleasing backgrounds are produced by thinly covering material with rice, flax seed, leaves, sawdust, etc. Apply spatter and let thoroughly dry before disturbing to prevent smearing.
INDEX
Art of Color Mixing, 4
Altering Color, 5
Color-Blindness, 5
Color Harmony, 7
Color Mixtures, 28
Color Mixtures by Parts, 21
Complimentary and Harmonious Color Combinations, 18
Colors as Seen by Individuals, 27
Extremes of Warm and Cold, 4
Good Greens, 41
Hints for Artists, 65
Hints for Painters and Decorators, 47
Hints for Pressmen, 57
Meaning of Colors, 3
Matching Special Colors, 9
Miscellaneous Colors by Parts, 44
Miscellaneous, 60
Nature’s Color Chart, 6
Origin and Definition of Colors, 10
Pigment, 6
Tint Mixing, 8
Tint Mixtures by Parts, 24
Two Color Mixtures by Parts, 41
What Is Color, 3
Warm and Cold Colors, 3
------------------------------------------------------------------------
BUSTANOBY’S HOW TO MIX COLORS
By JACQUES H. BUSTANOBY
[Illustration]
A new practical book by a color expert, for students, artists, dyers, decorators, show card writers, painters, printers, pressmen, etc., to assist them in mixing =oil colors= to obtain standard and popular hues in as permanent and practical manner as possible. Great thought has been given to the permanency of the resultant colors. It takes the guess work out of color mixing.
The book gives also the results of tests for the most legible contrasts of color for show cards, posters, billboards and large outdoor advertising display signs—60 of them.
This book is 4¾ x 7 inches in size, contains 112 pages with colored frontispiece and 406 formulas for 268 colors and shades, is built to fit the pocket readily, and is bound in heavy paper covers. Sent postpaid upon receipt of =Price, $1.00=.
THE MIXING OF COLORS AND PAINTS
By F. N. VANDERWALKER
Editor of “The American Painter and Decorator,” Author of “Automobile Painting,” “Estimates and Profits,” “New Stencils and Their Use,” etc.
[Illustration]
This book will be found useful to all who mix colors or paints as it is very complete. Some of the chapter headings follow: Color and Light; Description of Color Pigments; Properties of Color Pigments; How Colors Are Prepared for the Trade; Basic Paint Pigments; Painting Oils; Volatile Thinners and Driers; General Paint Mixing Methods; Color Theory, Principles and Use; Colored Paint Mixing Methods; Mixing Special Purpose Materials; Color Harmony and Management; Selecting Color Schemes; Printing Inks.
The book contains 292 pages, illustrated with line drawings and color chart. Bound in cloth, size 5 x 7½ in. =Price, $2.25 postpaid.=
PRACTICAL COLOR SIMPLIFIED
By WILLIAM J. MISKELLA, M.E.
[Illustration:
The Color Chart ]
This book answers many vexing questions that come up unexpectedly every day—the little technical puzzlers that harass and hinder you most. It contains a wealth of information written in understandable form for the novice as well as the experienced user of colors.
The Color Chart alone is well worth the price of this entire book. It consists of three sections which tell how to select warm and cool colors, mix colors to get any tint or shade, harmonize colors and avoid color discord. Twenty-five individual colors appear in the chart, all applied by hand with lacquer to a cloth backed sheet that cannot be easily damaged. Mounted on it are the pivoted triangle and the arrow, both white celluloid, by the use of which color mixing, matching and harmonizing are simplified.
=Four-page Descriptive Circular Sent on Request=
This book contains 113 pages, illustrated in colors, bound in cloth, and will be sent postpaid upon receipt of =PRICE $3.75=
THE THEORY AND PRACTICE OF COLOR
By Bonnie E. Snow and Hugo B. Froehlich
“_A Key to the World of Color_”
TABLE OF CONTENTS
## Chapter I A World of Color.
## Chapter II The Source of Color.
## Chapter III The Primary Colors and Their Uses in Design.
## Chapter IV The Binary Colors and How to Use Them.
## Chapter V Color Values: Tints and Shades.
## Chapter VI Complementary Colors and How to Use Them.
## Chapter VII Neighboring or Analogous Colors.
## Chapter VIII The Color Triad and the Split Complement.
## Chapter IX Colors in Various Degrees of Intensity—or Grayed Colors.
## Chapter X Psychology of Color.
## Chapter XI Color Harmonies in Costume.
## Chapter XII Color Harmonies in Interior Decorations.
## Chapter XIII Color in Commercial Design.
Learn the Correct Use of Color—Simply, Clearly, Scientifically. _Enjoy Color Most by Using It Best_
THE THEORY AND PRACTICE OF COLOR is a book size 8 x 10 inches and contains 60 pages with nine full-page hand-painted color charts which clearly illustrate the Color Theory.
=Price, Postpaid, $4.50=
HOW TO PAINT SIGNS AND SHO’ CARDS
By E. C. MATTHEWS
[Illustration]
An up-to-date book containing a complete course of instruction. Illustrated with over 100 alphabets and designs, and written in plain English that everyone can understand and thus learn to paint good signs. Also suitable for commercial artists or anyone who has occasion to do hand lettering.
TABLE OF CONTENTS: Introduction. Alphabets. Composition. Color Combinations. How to Mix Paints. Show Cards. Window Signs. Banners. Board and Wall Signs. Ready Made Letters. Gilding. The Silk Screen Process. Commercial Art. Tricks of the Trade.
This book contains 128 pages with 100 illustrations, including 25 full page illustrations, is bound in cloth, with jacket printed in colors. Price, $1.25 Net. Postage 10 cents additional.
Learn How to MAKE MONEY as a COMMERCIAL ARTIST or CARTOONIST
[Illustration]
Have you ever wished that you were the one who made comic drawings for the Daily and Sunday Newspapers, and received the enormous salary that some of those artists make?
Or have you wanted to draw illustrations for books, magazines, cover designs, posters, car cards, advertisements, etc.?
If you have, and still want to do so, don’t fail to get the book.
COMMERCIAL ART and CARTOONING
By E. C. MATTHEWS
Author of the book “How to Paint Signs and Sho’ Cards”
This book contains a practical course designed to lead you from the simplest elementary drawing to the higher branches of illustration and is more complete and up-to-date than many “courses” selling at many times the price of this book.
It contains 122 pages, 12 chapters with over 125 illustrations, size 5½ x 7⅛ inches, printed on coated paper and bound in cloth. =Price $1.25. Postage 10 cents additional.=
J. S. OGILVIE PUBLISHING COMPANY 57 ROSE STREET NEW YORK
[Illustration: COLOR MIXING GUIDE J. S. Ogilvie Publishing Company 57 Rose St., New York]
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and variations in spelling. 2. Retained archaic, non-standard, and uncertain spellings as printed. 3. Enclosed italics font in _underscores_.