aper to
make it smooth and even.

TO MAKE BLUE POWDER.

Take equal parts of gum damar and white rosin and just enough Persian
blue to color it. Mix well together.

Other colors are made the same, using for coloring chrome yellow (for
light-colored powder), burnt sienna, lampblack, etc. Black powder is
improved by adding a little blue to it.

TO MAKE WHITE POWDER.

Take one ounce white lead; half ounce gum arabic, in the impalpable
powder; half ounce white rosin, in the fine powder. All well mixed.

SUPERIOR DARK BLUE POWDER.

One ounce white rosin; one half ounce gum sandarac; one half ounce
Prussian blue, in fine powder. Mix all thoroughly.

FRENCH INDELIBLE STAMPING.

This is the best process for all dark materials; in fact, this and the
blue powder are all that will ever be needed. By this process a kind
of paint is used instead of powder, and a brush instead of a pouncet.
Place the pattern on the cloth, smooth side up if you can (though
either side will work well), weight the pattern down as in stamping.
Rub the paint evenly over the perforations, and it will leave the
lines clean, sharp and distinct. After the stamping is done, the
pattern must be cleaned immediately. This is done by placing the
pattern on the table and turning benzine or naphtha over it to cut the
paint and then wiping the pattern dry on both sides with an old cloth,
or, better still, with common waste--such as machinists use to clean
machinery; this is cheap and absorbs the paint and naphtha quickly.
Hold the pattern up to the light to see if the holes are all clear; if
they are not, wash it the second time. Do not use the pattern for
powder immediately after it has been washed; let it dry a short time,
otherwise the moistened gum will clog the perforations.

TO MAKE THE PAINT.

Take zinc white, mix it with boiled oil to about the thickness of
cream, add a little drying, such as painters use. Keep in a tin pail
(one holding about a pint is a good size); have a piece of board cut
round, with a screw in the center for a handle, to fit _loosely_ into
the pail; drop this on the paint and it will keep it from drying up.
Add a little oil occasionally to keep the paint from growing too
thick, and it will always be ready for use.

THE BRUSH.

Take a fine stencil brush (or any bru