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THE OPTICAL LANTERN AND CINEMATOGRAPH JOURNAL
107
his intentions of art, at the same time moving towards the easel, and without loss of time, snatches the top picture from its place, exposing the apparently blank (except the title) sheet that lies beneath. With rapidity out-pacing the dexterity of a Phil May, he dashes off the sketches, and as each arrives at completion tears it from its place. A previously made drawing is revealed as soon as the last sketch is removed from the easel, the subject being an appropriate humorous sketch, bearing the word "Finis," easily readable by the audience, as the artists bows and retires.
r/a 4
A few hints for the preparation of the blue outlines may be of service to those not good at original work.
Take as many ordinary lantern plates as may be required, and clear in the ordinary hypo, bath without exposure to light, or development; when perfectly fixed, thoroughly wash and dry. Now select from the current illustrated papers such outlined portraits of celebrities as you think will prove most popular. Lay the glass plate film side up over the illustration, and trace upon the gelatine in Antoine's Indian ink.
Having obtained as many as required, by means of a lantern, project such outlines on the sheets of paper to be used in the perform
ance before the camera, tracing the projected outlines over with the blue crayon before mentioned. The actual work to be done whilst the cinematograph camera is operated, is merely the lining over, with black charcoal, these preparatory tracings. This operation is however best performed in the following way : — Select the softest piece of charcoal obtainable, and rub down on a spare piece of paper, till it has been reduced to a semicircular stick as shown in the three diagrams, Figs. 4, 5 and 6. Put in the thickest lines with one sweep by laying the stick on its side (Fig. 4). Produce any lines of regular width by drawing the charcoal lengthwise (Fig. 5), and finally make the fine lines by twisting the
stick and using it as in Fig. 6. Should it be necessary, or thought desirable, to tone down more elaborate work, a softener (Fig. 7) may be used, this is composed of a soft piece of rag, stuffed with cotton wool at either end, and tied in the middle.
An artist with some ability -will find the above dodges a great assistance in making his work even more effectual, and by the reproduction of his operations through the cinematograph, he is likely to win a not altogether merited reputation of being dexterous and accurate in his art.