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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1306, September 14, 1883
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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
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Band
Band 27.1883
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- Titel
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SEPTEMIBER 14, 1883.] THE PHOTOGRAPHIC NEWS. 589 Having worked in monochrome, the student may begin, by slow degrees, to introduce himself to colours by carefully using such as are complementary to each other. By pursuing such a course, he will soon find out which colours will harmonize when used together; and having done so he will be instinctively led in like manner to place side by side in a subject only such as will produce harmonious results. For instance, he will naturally place in a group of flowers, the purple-blue cornflower next to the glowing buttercup, if he wishes to heighten either, or the delicate blue of the forget-me-not with the pale orange of the ear of barley. The result will then be a work of art, instead of a crude copy. Although the complementary colours are generally known, it may be as well to repeat them here for reference : Red, complement Green. Yellow, , Blue, „ Violet, „ Orange, „ Green, „ Indigo Blue, Black, „ Violet. Orange. Pale Yellow. Blue. Red. Ochre. White. This is the natural order of the solar spectrum. All comple mentary colours agree, being of the order of nature. It should be borne in mind that the rule as to the primary colours and their immediate complements holds good to the remotest tints, just as a positive red may stand by a positive green. It should always be remembered that a colour standing by itself, anl the same colour placed by another, have a totally different appearance, and this difference must always be judged of and allowed for. For instance, as already stated, red is always heightened by being placed next to green, and green leaves are always intensified by warm backgrounds of a rosy or reddish hue. Every one will have noticed how a red poppy stands out by contrast with the surrounding green of the cornfield. These are the little things which an ordinary observer does not notice in a seductive little picture, but they are the things which give it the charms which he acknowledges, but may not understand, and frequently gives rise to the expression one hears so often at a picture gallery, “ What a charming little picture! yet there's nothing in it at all I ” With all this, however, the reader must bear in mind that all colours in nature are modified and softened by the all-pervading grey of the atmosphere. Grey, therefore, may be used with everything, but, as in nature, it should give both tone to and take tone from the colours which it modifies. Thus, for the ox-eye daisy, pearly grey should be used ; for the rose, a pink grey ; and for the distant landscape, a blue grey. These broken tints for primitive colours containing grey, are the shadow colours of ceramic art. There are three modes of producing the outline of the sub ject upon the china. The first which will be mentioned is that ordinarily employed by ceramic artists at manufactories, known by the term “ sketching-in.” The sketching material may be the ordinary Indian ink of our water-colour box, or smoke, which is simply carbon collected on any spare tile, plate, or saucer, by holding it over a candle. These are both technically known as “sketch.” The writer prefers smoke, as Indian ink is sometimes anything but pure, and consequently does not entirely burn away in the kiln, which smoke certainly will do. Smoke must be used with turpentine, Indian ink with water; a fine camel’s-hair pencil is necessary. The subject should be sketched carefully and lightly, for, if too much sketch is used, its depth will mislead the artist when painting over it. Another very simple and handy material to use for sketching is litho graphic chalk, which will mark well even on the smooth surface of the glazed ware. As it is greasy, and soils the fingers, it is better used in a crayon-holder. Care must be taken not to press too hard upon the china with it, as, being brittle, it will break easily. If the subject is to be painted upon a ground of some dark colour, previously fixed, of course light-coloured chalk must be used. It is obvious that, with this mode, a previous knowledge of drawing is necessary, and it is decidedly the best when a subject of some freedom is in hand, such as flowers or landscapes ; but when particular work, or complicated ornamental lines, are desired, or when the same design has to be repeated on a plate or other article more than once, such a mode is superseded by that known as tracing. There are several modes of accomplishing this ; one, however Will be suflicient to indicate the general idea, and the student probably will develop it for himself, according to the exigencies of particular cases. Buy or make some transferring paper— common (not ceramic) rose-pink rubbed on paper, carefully dusting off the superfluous pink—or some crayon rubbed all over the paper and made level with the fingers, will answer the pur pose. Rub lightly over the surface of the article to receive the tracing, a soft pad of linen rag on which is a very little turpen tine, with perhaps j ust a drop or two of fat oil in it, unless the turpentine itself is a little fat, which is mostly the case after it has been kept a little while. This leaves an almost imperceptible film, which must dry before the tracing is applied. Now place the transferring paper with its embossed side downward on the ware—it is best to secure it with bits of gum paper, ends of postage stamps answer well—put the drawing, photograph, or tracing of either on the top of it, and with a fine-pointed stile go over the whole of the outline, being careful not to press heavily, nor place the fingers heavily on it, as finger-marks will show ; now remove both papers together, and the outlines will be seen on the ware. Care must be taken not to go over the same place twice, or double lines will be the result. Good tracing, however, is only a matter of a little practice.— Revue des Arts Dccoratifs. o Uorrespondence. TRICYCLES FOR PHOTOGRAPHERS. Dear Sir,—As you have kindly referred to my name in yonr pages as an export in tricycling, I shall be glad if I can assist your correspondent, “Only an Amateur,” with some advice with regard to photography. Your correspon dent will find a tricycle very much better than a bicycle for this work. Nearly any tricycle can be used for the pur pose, but the best method of carrying the apparatus will depend upon the tricycle he decides to adopt. First, I recommend him to get as small a tiicycle as he can—that is, with as small wheels as possible, as he will get a lighter, safer, and stronger machine, and this will prevent him from feeling the small additional weight of the photo graphic apparatus. The outfit I have supplied to Mr. Salmon, the Hon. Secretary of the London Iricycle Club, he prefers to carry on a very small, light “ Coventry Rotary.” The apparatus is packed in a solid leather case, and strung uwlerniath the seat, not behind it. It is just far enough from the ground to clear it well, and thus it lowers the centre of gravity, and steadies the machine. The tripod stand is secured with two small straps to the long bar on the side. If one of the regular typo of front ste< rers on the Salvo priuciple boused, then the apparatus is best carried at the back of the seat or saddle, and the tripod stand on the left hand side, just behind the break, and parallel to the driving chain, if a rear steerer boused, then it should be strapped on to the backbone, as this keeps the hind wheel down, and makes the machine steer better down hill, and thus actually increases its safety and improves its running. Now for the photographic apparatus. This, as I have said, should be packed in a solid leather case, and attached to the tricycle with straps carried round the bottom of the case for the sake of security, as jolting over rough roads is a severe test for straps sewn on. A quarter-plate set for dry plate photography, with three daik backs to carry six plates, and tripod stand complete, should only weigh between five and six pounds ; a 5 by 4 set can be got up to weigh not more than from eight to nine pounds, or even less ; and a half-plate set from ten to twelve pounds. I would not advise anyone who wished to thoroughly enjoy’cycling to handicap themselves with a whole-plate set of apparatus. Your correspondent need have no fear but that when ho is equipped with any of those sets of apparatus he will be able easily to cover twenty or thirty miles in a day, and take half a doz n views.—Yours faithfully, Jous Brownisq. 03, Strand, W.C.
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