The amateur is not to consider the selection of his studio or work-room

of minor importance; the perspective, coloring, and the effect of the

portrait will all depend, in a great measure, upon the situation and

dimensions of the studio. It may be said in a general way that the

larger the apartment the better. To secure the effect which it is

essential to produce, there should be space enough left behind the

artist to permit him to step back from six to ten or twelve feet to

accurately view and see the effect of the portrait. I cannot urge too

strongly upon the amateur the usefulness of frequently viewing his work

from a distance. I would gladly save him the disappointment and chagrin

which I have myself experienced, when having neglected this precaution,

I have quite finished a portrait only to find it thoroughly

unsatisfactory when looked at from a greater distance than that at

which I had worked.

You should choose a room with a north light if possible; if that is not

available then one with a south light, and the room should be as near

the top of the house as possible. Let the light be arranged so as to

strike the easel at an angle of 90 degrees, and if it is a side light

darken the lower half of the window. Do not have the side walls white,

they should be a neutral shade; reddish is the best. For work with

water colors or India ink you need a stand, and be sure and set it so

that the light will be at your left when you work. Keep the studio as

free from dust as possible, and when you have finished working for the

day wash your brushes and place the corks in the water color bottles,

so as to exclude the dust from them. For crayon work also set the easel

so that the light is at the left hand.

A word in regard to selecting materials. I have already spoken in

regard to the selection of photographs for coloring. As to

brushes--camel's hair will cost only about a third as much as sable,

and will answer every purpose for beginners; the fine sable should be

procured after the pupil has advanced sufficiently. In choosing a brush

for water colors, dip it in a cup of water and draw it over the edge of

the cup; if it has a little spring to it, and comes to a point readily

without any of the hair straggling, it is all right; if not, reject it.

Winsor and Newton's Chinese White is the best white paint. For mixing

the colors you can get a slant with eight divisions, or a nest of

saucers. In selecting glass for mounting pictures choose that which is

free from blisters.

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