The sciopticon manual, explaining lantern projection in general, and the sciopticon apparatus in paricular (1877)

Record Details:

Title:
The sciopticon manual, explaining lantern projection in general, and the sciopticon apparatus in paricular
Date:
1877
Publisher:
Philadelphia, J. A. Moore
Volume:
The sciopticon manual, explaining lantern projection in general, and the sciopticon apparatus in paricular
Leaf #:
00088
Language:
English
Collection:
Books
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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SCIOPTICON MANUAL. 79 the number of colors available for painting on glass necessarily limited. The most valuable for this purpose are the moist water colors procurable in metallic collaps- ible tubes: for yellow, Indian yellow, Italian pink, and yellow lake ; for blue, Prussian blue and indigo ; for red, madder lake, crimson lake, and scarlet lake ; for orange, burnt sienna; for brown, madder brown,Vandyke brown, sepia, and burnt umber; for black, India-ink and lamp- black; for purple, purple lake, or red and blue mixed; for green, mix yellow and blue; for scarlet, red and yellow. A white porcelain palette, free from specks and grit, is the best upon which to mix and arrange the colors. Use soft water for mixing the tints. For cake colors, use a weak gum water, taking care to have it quite dilute to prevent the colors cracking or peeling off; place each tint on a separate slab or saucer. A suitable easel for holding the glass to be painted, is shown in the diagram (Fig. 25); this is a sloping frame, holding a sheet of glass, so arranged that it can be placed at any angle, and any convenient height for the artist. Fig. 25. The glass or photograph to be painted, should be placed upon the clear glass in the frame (as shown at S). Upon the base board (A) is spread a sheet of pure white paper to reflect up the light through the painting; the light should fall on it from the left hand, and is best obtained