The Mysterious Paintings

Effect: Performer shows a plain sheet of white cardboard, places same on his easel or in a position so he is able to 'paint® a picture, on it. He now takes several small cups of metal or china, each (if desired) marked'Red', 'Green', 'White', 'Blue', etc. and with several brushes, he dips the brushes into the various cups of different color and in a very short period has completed a most beautiful picture of many colors.

Prepare by having several cheap brushes, likewise some small cups for your colors, an Easel or some arrangement to set the painting on, and a larger cup marked 'Varnish'. In addition to this, you should prepare beforehand what is to be your Mysterious Painting. To do this you mix up a quantity of Whiting, adding a little binder such as glue (very little) and having secured a good colored chrome or lithograph, you mount this on a heavy piece of cardboard and let it dry thoroughly. If you contemplate making this act a regular feature it is advisable to do this with several different ones.

You should next coat these lithographs or chromos with a clear varnish that will give them a good waterproof surface. In absence of varnish Shellac will answer, dries quickly, but will not give lasting service like a good clear varnish such as used on linoleum will. With these subjects well dried after varnishing, you proceed to coat them over with your Whiting with the small amount of glue added and of course all thinned down with water. Make it thin enough to spread on smooth, yet thick enough so when dry all evidence of the colored picture is lost.

In this condition you may now show these sheets of cardboard as ordinary blanks, and setting one into position, you rapidly dip your brushes into the various cups of colors (?) and in a marvelous short period you .step aside and show a complete picture of many hues. It is advisable to work exactly as an artist would; that is, work frc:n the side and momentarily step back as tho to view your work from a better position, and then step up to picture and continue until completed, and finish by taking the large brush, dipping it in the "Varnish" and passing it over the picture, but not until you have allowed full view of completed picture.

Using the big brush will clear away any of the Whiting that you may not have gotten rid of with smaller brushes. In making the "Painting" use care to. not get your brushes too wet with the water in the 'color cups' for if you do the water will run down and make your painting a sorry looking affair, and incidentally the streaks will offer a clue as to how you are able to do such a wonderful effect so quickly and with such marvelous skill.

Having completed your picture, you will find that its effect as seen by the audience will really make a very perplexing hit with them and give them something to figure out. We suggest you use bold subjects with plenty of contrast and not too much small detail, for if you resort to pictures of a design composed of too much minute detail, your finished product will not be grasped very readily and its effectiveness lost.

It will be readily seen that this effect may be elaborated on in many ways, even to having several subjects on hand, and_-stating you will paint any one of these the audience suggests- You may-force._ycrar-~ch-oijce-hy-havlng a changing bag or basket, or in any other way you see fit, and having this particular cardboard marked, it naturally follows that at the finish, it will be the selected one. Where you are doing this same stunt and are liable to have many in the audience who may see your act twice, it will be quite evident, our suggestion to have several subjects prepared will work out very nicely.

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