American Hand Book of the Daguerreotype [12]
upon to hide an excellent specimen under paint. I can conceive of nothing more perfect in a Daguerreotype than a finely-developed image, with clearness of lights and shadows, possessing the lively tone resulting from good gilding. Such pictures, however, are not always had, and then color may perform the part of hiding the imperfections. We present the following method as given in Willat's Manual:
"Daguerreotype portraits are now commonly met with beautifully colored; but the coloring is a process requiring great care and judgment, and many good pictures are spoiled in fruitless experiments. Several different methods of coloring have been proposed. The simplest mode appears to be that of using dry colors prepared in the following manner: A little of the color required, very finely ground, is thrown into a glass containing water, in which a few grains of gum arabic have been dissolved. After standing a few moments, the mixture may be passed through bibulous paper, and the residue perfectly dried for use. The principal colors used are Carmine, Chrome Yellow, Burnt Sienna, Ultramarine and White; boxes fitted with sets of colors properly prepared, may be obtained of the dealers, and include Carmine, White, Lilac, Sky Blue, Pink, Yellow, Flesh color, Orange, Brown, Purple, Light Green, Dark Green and Blue. With a few colors, however, all the rest may be made thus: Orange, by Yellow and Red; Purple, with Blue and Red; Green, Blue and Yellow; Brown, with Umber, Carmine and Lamp Black; Scarlet, Carmine and Light Red. While it is true that a little color may relieve the dark metallic look of some Daguerreotypes, it must not be concealed that the covering of the fine delicate outline and exquisite gradations of tone of a good picture with such a coating, is barbarous and unartistic.
"The prevaling taste is, however, decidedly for colored proofs, and the following directions will assist the amateur in ministering to this perverted taste, should he be so inclined. The coloring should commence with the face, and the flesh tint must be stippled on (not rubbed) with a small camel's-hair brush, beginning from the centre of the cheek, taking great care not to go over the outline of the face, and also not to have too much color in the brush; the eyes and eyebrows must not be touched with color. After the flesh color is applied, take a piece of very soft cotton and pass it very gently backwards and forwards over the face, so as to soften down the color, and then apply the carmine to give the required tint. For men, the darker tints should predominate, and for women the warmer. Very light hair may be improved by a slight tint of brown, or yellow and brown, according to the color. In coloring the drapery, the same care must be used. No rules can be laid down for all the different colors required, and the amateur had better obtain the assistance or advice of some one accustomed to the use of colors. A little white with a dash of blue or a little silver, will improve white linen, lace, etc. The jewelry may be touched with gold or silver from the shells, moistened with distilled water, and laid on with a fine-pointed sable-hair brush.
"Brilliants may be represented by picking the plate with the point of a pin or knife."
MISCELLANEOUS.
CHAPTER II.
Coloring Back Grounds--Transparent ditto--Gilding Dissolvent Solution for removing Specks--Solarized Impression--To Purify Water-- Cleaning Mercury--Adhesive Paper--Black Stain for Apparatus-- Sealing Wax for Bottles--Rouge--Rotten Stone--Potassa Solution-- Hyposulphite Solution--Substitute for do.--Gilding Solution-- Solution for increasing the Brilliancy of the Daguerreotype-- Bleaching Solution;--Cold Gilding--Neutralizing Agents-- Buff Dryer--Keeping Buffs in order--Cleaning Buckskins-- Reflector for taking Views.
To Color Back-grounds--To obtain a properly colored back ground is a matter of no little importance to the Daguerreotype operator. I had nearly exhausted all patience, and tried the skill of painters to obtain a back-ground that would be suitable to my purpose;
"Daguerreotype portraits are now commonly met with beautifully colored; but the coloring is a process requiring great care and judgment, and many good pictures are spoiled in fruitless experiments. Several different methods of coloring have been proposed. The simplest mode appears to be that of using dry colors prepared in the following manner: A little of the color required, very finely ground, is thrown into a glass containing water, in which a few grains of gum arabic have been dissolved. After standing a few moments, the mixture may be passed through bibulous paper, and the residue perfectly dried for use. The principal colors used are Carmine, Chrome Yellow, Burnt Sienna, Ultramarine and White; boxes fitted with sets of colors properly prepared, may be obtained of the dealers, and include Carmine, White, Lilac, Sky Blue, Pink, Yellow, Flesh color, Orange, Brown, Purple, Light Green, Dark Green and Blue. With a few colors, however, all the rest may be made thus: Orange, by Yellow and Red; Purple, with Blue and Red; Green, Blue and Yellow; Brown, with Umber, Carmine and Lamp Black; Scarlet, Carmine and Light Red. While it is true that a little color may relieve the dark metallic look of some Daguerreotypes, it must not be concealed that the covering of the fine delicate outline and exquisite gradations of tone of a good picture with such a coating, is barbarous and unartistic.
"The prevaling taste is, however, decidedly for colored proofs, and the following directions will assist the amateur in ministering to this perverted taste, should he be so inclined. The coloring should commence with the face, and the flesh tint must be stippled on (not rubbed) with a small camel's-hair brush, beginning from the centre of the cheek, taking great care not to go over the outline of the face, and also not to have too much color in the brush; the eyes and eyebrows must not be touched with color. After the flesh color is applied, take a piece of very soft cotton and pass it very gently backwards and forwards over the face, so as to soften down the color, and then apply the carmine to give the required tint. For men, the darker tints should predominate, and for women the warmer. Very light hair may be improved by a slight tint of brown, or yellow and brown, according to the color. In coloring the drapery, the same care must be used. No rules can be laid down for all the different colors required, and the amateur had better obtain the assistance or advice of some one accustomed to the use of colors. A little white with a dash of blue or a little silver, will improve white linen, lace, etc. The jewelry may be touched with gold or silver from the shells, moistened with distilled water, and laid on with a fine-pointed sable-hair brush.
"Brilliants may be represented by picking the plate with the point of a pin or knife."
MISCELLANEOUS.
CHAPTER II.
Coloring Back Grounds--Transparent ditto--Gilding Dissolvent Solution for removing Specks--Solarized Impression--To Purify Water-- Cleaning Mercury--Adhesive Paper--Black Stain for Apparatus-- Sealing Wax for Bottles--Rouge--Rotten Stone--Potassa Solution-- Hyposulphite Solution--Substitute for do.--Gilding Solution-- Solution for increasing the Brilliancy of the Daguerreotype-- Bleaching Solution;--Cold Gilding--Neutralizing Agents-- Buff Dryer--Keeping Buffs in order--Cleaning Buckskins-- Reflector for taking Views.
To Color Back-grounds--To obtain a properly colored back ground is a matter of no little importance to the Daguerreotype operator. I had nearly exhausted all patience, and tried the skill of painters to obtain a back-ground that would be suitable to my purpose;