PrefaceI Uses and Limitations of the TemperaTempera painting a strict disciplineTendencies in modern paintingThe media of the futureThe limitations of tempera paintingNormal scaleFactors in naturalistic painting A critical approachII Carriers and GroundsProperties of woodEffects of humiditySelection and conditioning of woodsCasein glue for joiningPrecautions against warpingPlywoodsWood pulp boardsPaperMetalsCanvasWallsPreparation of panelsMaterialsThe standard size solutionSizing the panelApplying moldings and ornamentsThe second sizingThe intelaggioPuttyingThe simplest gessoThe secret of successApplication of the gessoAn alternative methodScraping the gessoHow to test the scrapingStoning down a flatQualities of good gessoPastigliaGessoing framesCennino's gessoParchment sizeGesso grossoGesso sottileMixing the thin gessoThe perfection of the methodIII Methods of DrawingDesigning for temperaPreliminary studiesForm drawingTinted papersDrawing instrumentsBrush drawingModeling up the lightsTransferring the cartoonDrawing on the panelImportance of the monochrome renderingIncising the outlinesIV Applications of MetalsMetals in the designBole for gildingMixing and applying the boleHow much to put on Polishing the boleGliding with glairTools for gildingThe gilder's cushionThe knifeThe gilder's tipSubstitutesQualities of gold leafHandling the leafThe use of the knife and cushionCutting the leafThe use of the tipLaying the goldThe order of gildingFaultingBurnishingVarieties of burnisherStamping and grainingPunch cuttingGraining pastigliaPatterns in color and gold"Combination Gold and Silver Leafing"V Pigments and BrushesFunction of pigmentsNatural and artificial colorsThe colored earthsIndividual pigment charactersExperimentationPalettes for temperaWhitesBlacksYellowsRedsBrownsBluesGreensTransparent pigmentsShell goldThe choice of a paletteGrinding the colorsStoring the ground colors for useDishes for mixingThe choice of brushesSablesBristlesCare of brushesVI Painting Mixing the temperaPreservativesTempering the colorsReserves of colorLiquidity of the mixtureHandling the colorBasic principles of tempera paintingControl of formThe function of the monochrome drawingThe order of painting A hypothetical caseMixing valuesApplying the tonesGlazing over the scumbleTempera vs. gouache and water colorPainting drapery and other objectsDevelopment of the formsSystematic value mixing essentialVariations of color systemsTreatment of surface effectsPainting fleshPainting hairVariations of methodFinal embellishmentsWater mordantsOil mordantsApplying the mordantGildingVII Varnishing and FramingPermanence of tempera paintingImportance of varnishingCleaning the surfacePrecautions against dust and dampChoice and care of the varnish brushApplying the varnishFlatting the surfaceFunction of a frameMatte gildingWater matteOil matteSkewing down Frame edgesAntiquing Other frame materialsVIII Artificial Emulsion PaintingUnlimited possibilitiesA basic formulaCasein emulsionsUnderpainting for oilPreparation of wall surfacesAppendix"Tempera Practice in the Yale Art School," by Professor Lewis E. York"
