Early American Decorating Techniques: Step-by-Step Directions for Painting and Stenciling
264
Early American Decorating Techniques: Step-by-Step Directions for Painting and Stenciling
264eBook
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| ISBN-13: | 9780486148359 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 02/20/2013 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 264 |
| File size: | 26 MB |
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Early American Decorating Techniques
Step-by-Step Directions for Painting and Stenciling
By Mariette Paine Slayton
Dover Publications, Inc.
Copyright © 1979 Mariette Paine SlaytonAll rights reserved.
ISBN: 978-0-486-14835-9
CHAPTER 1
Country Painting
COUNTRY PAINTING is not the earliest form of decorative painting but is essentially an American art form that was used on household tinware shortly before 1800. These gaily painted articles were a refreshing change for the housewife who had been using somber pewter and wood in her kitchen. Now almost any piece of decorated metal—antique or reproduction—is loosely referred to as "toleware," but this is a misnomer since "tole" is actually a French word meaning "sheet iron." Tole peinte, or "painted iron," refers to early French decorated metal articles.
One of the earliest producers of household tinware was Edward Pattison who moved with his brother from Ireland to Berlin, Connecticut, in 1740. When decoration became popular, many of the Berlin women were pressed into service and, according to the records, were paid two dollars a week. It is interesting to note that these records show that although labor was cheap, materials were not. Even then, brushes cost a dollar each and the best varnish sold for ten dollars a quart! Peddlers who sold the articles traveled into many states and sometimes as far as Canada.
Country painting is found on many different types of articles, such as trays, boxes, tea and coffee pots, cannisters, candleholders, etc. The treatment of the basic designs varies according to areas so that the locality, and sometimes the decorator, of many of the articles can be identified. Some of the more famous names of decorators are Zachariah Stevens and Oliver Buckley, both of Maine; Oliver Filley of Connecticut; and Ann Butler of New York.
SUPPLIES AND EQUIPMENT
Brushes (Figure 8) A scroller, or liner, is a long-pointed brush which is useful for painting long, thin lines such as veins, stems, swirls, etc. A long-pointed quill can also be used for similar strokes. A Finepoint brush is a short, red sable watercolor brush which has an exceptionally fine point. Any similar brush of another make would be adequate.
The bright's brush is a square-tipped; short-hair; black-, red-sable, or bristle brush. Since it is used primarily for canvas painting, it has a long handle which can be cut to a length convenient for your purposes.
A brush which is almost "all-purpose" is the Fashion Design Quill made by Winsor & Newton. Someone once called it the "mink coat of brushes," and unfortunately its rising cost seems to justify this definition. The pointed quills are mounted on handles and come in proportioned lengths (No. 2 is ¾ inch). They are a real delight to use and are worth experimenting with. They are available wherever Winsor & Newton supplies are sold.
Cleaning Brushes It is important to keep brushes clean and in good condition, not only because it is impossible to do good work with a brush that is in bad shape, but also because many are expensive to replace. For temporary cleaning (while the brush is in use), clean the bristles with turpentine before using another color. For permanent cleaning (when putting your project aside for a period of time), clean the brushes in turpentine as before. Then when all color has disappeared, dip them into Energine or cleaning fluid (always replace the cap quickly, as the fumes are harmful). Lastly, wipe the brushes and dip them into lard oil or Vaseline hair tonic. Point up the pointed brushes and flatten out the square-tipped ones, leaving enough oil in the brush to keep it soft. Brush cleaners such as Silicol or Kem (KemTone Products) can also be used.
If a brush has not been properly cleaned and the paint has hardened in the heel, soak it in brush cleaner or paint remover until the paint has softened. Then wipe carefully and wash in soap and water, rubbing the heel against a cake of soap (Ivory or Fels Naptha) until all the paint particles are removed. Rinse, shape, and set aside to dry. It is not a good idea to go through this process too often because it tends to take the life out of the brush.
Storing Brushes Keep your brushes in a brush box which has wire coils to hold them in place, tape them to cardboard, or stand them in a can or jar. Never store brushes where the tips will be hitting any surface which will curve the bristles. If this should happen, dip the brush in hot water, shape, and allow to dry.
Artists' Oil Colors For decorative painting, oil paints can be purchased in small 3½-inch tubes. I suggest that you buy artists' oil colors in order to avoid getting the poorer quality type that is used for tinting prepared colors. There are many good brands of paint, such as Winsor & Newton, Grumbacher, Craftint, and Weber. But unfortunately all brands do not produce the same shades in all colors; some are less opaque or less transparent than others. Most brands of yellow ochre are satisfactory. Craftint's cadmium red, light, seems to be the best orange-red in oil color and the most opaque. English vermillion is a good color, but it has become too expensive. Unless you can find a yellow lake (oil paint with a translucent pigment) which is truly transparent, a satisfactory choice is Weber's Indian yellow. Different brands of Prussian blue and alizarin crimson differ slightly, but not enough to make it necessary to stick to one brand.
Japan Colors Japan colors, or colors ground in japan oil, differ from artists' oil colors in that they have better covering qualities and dry faster. Although they come in a number of colors, it is especially helpful to use them in the opaque colors. Ronan's Signcraft red (in cans only) and King Cole medium orange seem to be excellent colors for country-tin reds.
Tubes of japan paint should be shaken well before using; otherwise much of the oil will squeeze out when the tube is opened. Tubes should be stored upside down to allow the oil to rise to the bottom. If the paint seems to be hardening, cut off the tube's bottom, squeeze the paint into a small jar, and add enough turpentine to cover; this will keep it soft. When you wish to use the paint, remove it from the jar with a palette knife.
Varnish Due to formula changes in varnishes, some of those formerly used are now not satisfactory for our work. For stenciling, varnish should be light and fairly slow drying. Spar varnish and heavy-duty Waterlox are recommended. It might be helpful to experiment with brands of all-purpose gloss varnish that are available in your area. The ideal varnish for our needs is clear, free-flowing (for ease of application), holds its tack (for stenciling) and finishes satisfactorily.
Storing Varnish When varnish is not used up within a short period of time, a skin forms over the top and the varnish eventually becomes thick, jellylike, and impossible to work with. Although a little turpentine can be added to the varnish when it is being used as a painting medium, it is much better to try to prevent or at least to delay this action by proper storage. There are several ways of doing this. If the varnish is left in the can, the cover must be replaced tightly after each opening by, for example, hammering it in place or stepping on it. Another way to keep varnish in usable condition is to leave the cover in place and punch two holes in the bottom of the can for pouring. Screws or wooden golf tees can be inserted in the holes after each use. Varnish can also be stored in long-necked bottles, such as those used for Tabasco and Worcestershire sauce, or in wine bottles for larger amounts. After using, breathe into the bottle before replacing the cap and then carefully tip the bottle once or twice. The carbon dioxide in the breath replaces the oxygen in the bottle and tends to delay the formation of a skin.
Palettes A regular artist's wooden palette is all right to use, but a paper palette requires no cleaning. Vegetable parchment can also be used; it is less expensive than paper palettes, but it should be weighted so that it does not slip while you are mixing paints. Some people use heavy, shiny pages from magazines, but the print is sometimes distracting.
Paint Rags Old sheets or any thin cotton material that is not linty make good paint rags. Paper towels are better than facial tissue.
Black Paper and Cardboard Black paper and cardboard are usually available at art stores which carry decorating supplies. The cardboard is glossy black on one side and white on the other. Two brand names are Duragloss and Plasti-Sheen. Another lightweight cardboard, which is black on both sides and less glossy than these, is called Kroydon Cover; it is available at Rourke-Eno Paper Company in Hartford, Connecticut.
Worktables A worktable should be firm with a smooth top. When applying background paints to articles, protect the tabletop with newspapers. For any other operation, a plain paper is better. Ask at your paint store for old rolls of wallpaper which are to be discarded. This can be cut to the proper length and tacked or taped to the table, figure-side down.
PAINTING THE BASIC STROKES
BECAUSE the strokes involved in country painting serve as a foundation for all the other techniques described in this book, a mastery of these strokes is very desirable for the beginner in Early American decoration. Perseverance in practicing country-painting strokes will make all the other techniques except stenciling much easier.
The seven basic brush strokes (Figure 1) will be referred to as (1) BROAD; (2) KNIFE; (3) TEARDROP; (4.) STRAIGHT; (5) OVAL; (6) S; and (7) CRESCENT. They are all painted with a square-tipped, No. 3 quill. This is an extremely versatile brush that can be used in different sizes to produce many of the strokes found in Early American decorating designs.
1. Squeeze a dab of oil paint about the size of a pea onto your palette. Pour some varnish into a small glass or metal container and some turpentine into a larger one. Bottle caps can be used for the varnish; but if they have a plastic lining, remove it before using the caps.
2. Pick up a square-tipped quill which has been mounted on a wooden handle. To prevent the handle from slipping out of the quill, dip it in Elmer's Glue before inserting it, and then allow it to dry. If the brush has been moistened in oil to keep it soft, clean it in turpentine before using. After cleaning, dip the brush first into the varnish and then into the paint. Dress the brush (i.e., wipe it back and forth on the palette) until the mixture of paint and varnish is evenly distributed throughout the bristles and any excess is wiped off. The brush should now be quite flat, with a sharp-edged, or knife, tip.
3. Holding the brush on the practice paper so that the wide edge touches the paper, draw the brush toward you to make the BROAD STROKE (Figure 1).
4. Shift the brush so that the knife edge is pointed toward you and only the corner is touching the paper, and make the KNIFE STROKE (Figure 1).
5. For the TEARDROP STROKE (Figure 2), hold the brush in the second position (as in Step 4), and press or push it to one side; then gradually draw it toward you in an arc, slowly raising it to a perpendicular position. Do not twist the brush but let the bristles fall naturally into the knife shape to paint the fine tail. Grasp the brush in a way that is comfortable for you and that allows the greatest ease of manipulation. The hand should be just off the table, supported by either the little finger or the other hand.
6. The STRAIGHT STROKE (Figure 1) is made with the brush in the same starting position as that used for the teardrop stroke; however, instead of pushing the brush to one side, push it straight down and gradually draw it toward you in a straight line, raising it to a perpendicular position for the fine tail.
7. The OVAL STROKE (Figure 1), unlike the last two, has a point at the beginning and end. At the start hold the brush in the knife-edged position, but instead of pushing down or pressing it to one side to get a rounded tip, pull very slightly and then start pressing down to get the desired width. Gradually let the brush up to finish with a point.
8. The S STROKE (Figure 1) also has a point or fine line at the beginning and end. The first, or squared-off, example is simply to show the directions for the narrow and broad strokes. Notice that the two fine lines which are painted with the knife edge are parallel, and the broad stroke is perpendicular to them. Be sure to bring the brush up to a more perpendicular position when moving from the broad into the knife stroke.
9. The CRESCENT STROKE (Figure 1) has points at the beginning and end. Start with the knife edge and gradually press down as you bring it around in an arc; then gradually raise the brush and finish the stroke on the knife edge.
PAINTING DOTS
1. Load the square-tipped brush with a rather soupy mixture of paint and varnish; dress only enough to mix the two together, but not enough to wipe off any excess.
2. Use the corner of the square tip to paint the dots. The size will depend on the amount of mixture and the pressure used. Dots can also be made by dipping a stylus (or any tool with a small, rounded tip) into a paint-and-varnish mixture and touching the spot. For convenience, hold a palette knife with some of the mixture close to the area being painted.
PAINTING BASE COATS
BASE COATS are the first layers of paint on a design. When they have thoroughly dried, transparent washes of color and/or transparent overstrokes are applied. To get the best results, base coats should be painted with a minimum of strokes. Find out just what your brush can do and you will save yourself time and frustration later on. Let the brush do the work for you. Outlining and filling in is not only a waste of time, but it will never produce the clean, sharp edges and smooth surfaces that are the hallmark of an experienced decorator.
After acquiring some skill in painting the basic strokes, try the exercise in Figure 3; this shows the combinations of basic strokes that can be used to paint the base coats for fruit, flowers, and leaves. Use the same paint-and-varnish mixture and paint on practice paper. Eventually you will be able to look at the design you wish to copy and immediately recognize which brush strokes were used and also which combinations will produce the necessary basecoat shapes.
When you have gained some confidence in handling the brush, start working on a black background, as in Figure 4. This shows both correct (A, B, and C) and incorrect (D, E, F, and G) strokes. In D not enough varnish was used in the mixture, so it is dry, with a feathered edge. Too much varnish was used in E, so the edges crept. In F the stroke was started with the broad instead of the knife edge. The hook in G resulted from pushing the brush to one side and letting up slightly before finishing the stroke.
Since the majority of country-tin designs were painted on black or dark backgrounds, it is necessary to know something about the consistencies of the paint mixtures. The traditional yellow brush strokes on original tin pieces varied from opaque, when no background shows through, to almost transparent—when the background shows through and seems to change the color. Probably the most effective stroke is one somewhere between opaque and transparent that results in a fairly transparent tail which gives the stroke the illusion of form. The base coats were usually orange-red and very smooth and opaque.
(Continues...)
Excerpted from Early American Decorating Techniques by Mariette Paine Slayton. Copyright © 1979 Mariette Paine Slayton. Excerpted by permission of Dover Publications, Inc..
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Table of Contents
Contents
Title Page,Copyright Page,
ACKNOWLEDGMENTS,
Table of Figures,
INTRODUCTION,
PART ONE - LEARNING THE TECHNIQUES,
I - Country Painting,
II - Color and Additional Painting Techniques,
III - Stenciling,
IV - Freehand Bronze,
V - Gold Leaf,
VI - Chippendale Painting,
VII - Lace-Edge Painting,
PART TWO - APPLYING THE TECHNIQUES,
VIII - Preparation of Tin and Wood,
IX - Applying the Decoration,
X - Finishing,
XI - Reverse Painting on Glass,
XII - Problems and Solutions,
PART THREE - PATTERNS,
Full-Size Patterns of Early American Designs,
Epilogue,
APPENDIX - SUPPLIES AND EQUIPMENT,
BIBLIOGRAPHY,
HELPFUL HINTS,
INDEX,