HINTS OX PAINTING MUSEUM SPECIMEN'S. 253 



GLOSS. The colors on terrestrial rnainmals and birds (except 

 the mouth parts and noses of the former) are very seldom/ if 

 ever, what may be called glossy. The mouth parts of mam 

 mals, or at least such as are wet by the animal's saliva, arc 

 always glossy, as also are the edges of the eyelids, and the bare 

 end of the nose in ruminants. 



To give paint a perpetual gloss, like varnish, use colors ground 

 in oil, and mixed with boiled linseed oil only when applied. 



To give paint a faint gloss, use colors ground in oil, and mix 

 with a mixture of boiled linseed oil and turpentine, equal 

 parts. 



To have paint dry without gloss, mix with turpentine only 

 when it is applied. 



To have paint dry flat and dead, use dry colors, and mix with 

 turpentine. 



To make paint dry qu'u.-klii and be very hard, mix with it a little 

 sugar of lead (ground in oil) fresh from the tube. 



To paint the skin 'of an animal, and yet make it look as if the 

 skin contained the color instead of bearing it upon its surface, 

 use oil colors, mix with boiled linseed oil and turpentine, equal 

 parts, and apply. When the paint is beginning to dry, so that it- 

 is sticky, take some dry color of a corresponding tint, dip into 

 it a clean, dry, square-ended bristle brush of good size, and 

 twirl it about until it becomes filled with the dry powder, then, 

 with light awl delicate strokes, apply it directly upon the 

 painted surface so that the dry color will fall upon the wet 

 paint like a shower of colored dust. This is to be done with 

 the motion that painters use in '' stippling," and may very well 

 be done with a stippling brush, if you have one. Do not get 

 on too much of the dry color, or the effect will be spoiled. 

 Your eye must teach you when to stop. In this process of 

 stippling diy color into wet paint, plaster Paris may very fre- 

 quently be used to good advantage to deaden gloss, and soften 

 effects. In coloring tli- v hairless portions of the faces, hands, 

 etc., of apes, baboons, and monkeys, and on many other sub- 

 jects, this process is of very great value. 



BLENDING COLORS. If two colors are laid down, one against 

 the other, each in a solid mass, up to the imaginary line that lies 

 between them, the effect is hard and unpleasing, because unnat- 



