734 



PORTRAITS, CRAYON. 



and "after putting in each light or cloud effect, 

 walk back and see if it is satisfactory. 



The first method of producing a background 

 is called the stump effect, and is produced by 

 first rubbing the chamois block in the box of 

 crayon sauce. Holding this in the left hand, 

 with the large gray paper stump put in the 

 darkest places and the cast shadow, using the 

 broad end of the stump, and in a parallel direc- 

 tion with the face of the strainer to avoid mak- 

 ing any dark spots with the point of the stump. 

 Produce broad lines, and have them cross at the 

 same angles given for the line effect, and finish 

 with the large eraser cut so as to produce a line 

 about the same size that the stump gives. 



The second method is to lay the strainer on 

 the table and with the cotton and crayon sauce 

 rub in the background, using care not to rub 

 harder in some places than in others, thus caus- 

 ing dark spots, and rub in close to the face and 

 out toward the edge of the strainer six or eight 

 inches from the face, in the form of a circle, the 

 upper line of the arc coming just above the 

 head, and then place the strainer on the easel 

 and put in the cloud effect. 



The third method is to lay the strainer on the 

 table and with the cotton and crayon sauce rub 

 in the background, producing the desired effect, 

 then sprinkle some of the pumice si one over the 

 background, and go over this with the fingers, 

 rubbing in a circular movement, using the fingers 

 flat from the second joint to the end. Then lift 

 up the strainer and put it on the edge and jar 

 off all the pumice stone. Then lay it down and 

 rub it off with a clean piece of cotton. Now rub 

 the fingers in the crayon sauce and then on the 

 manilla paper, then go over the background with 

 the fingers thus charged with the crayon, the same 

 as in rubbing the pumice stone, and it will pro- 

 duce a fine stipple effect. The pumice stone cuts 

 through the sizing of the paper and produces an 

 even-tooth or raised surface, which afterward 

 takes the crayon from the fingers in a very beau- 

 tiful manner, and it also causes the paper to as- 

 sume a different color than when rubbed with 

 the cotton and crayon sauce, as that makes the 

 paper look dirty, whereas this method produces 

 a clear, transparent effect. If the desired result 

 is not obtained the crayon can be removed by 

 going over the surface with the pumice stone 

 and a second application of the crayon can be 

 made. Then remove the strainer to the easel 

 and finish. 



The fourth method is to make the background 

 similar to the second method, only not quite as 

 dark. Then make the three sets of lines. Do 

 not carry them out as far as the background 

 should be when finished. Make them one quar- 

 ter of an inch apart in a life-size portrait and a 

 little closer in smaller ones. As a rule, the lines 

 in the background should be a little farther 

 apart than in the face. These lines need not be 

 horizontal with oblique ones crossing them ; they 

 can be curved ones, but they should be an equal 

 distance apart and produce the diamond effect. 

 After the lines are in rub the background with a 

 clean piece of cotton, sufficient to rub out the 

 lines enough to cause that degree of indistinct- 

 ness required. Then place the strainer on the 

 easel and finish, and if any of the lines are too 

 decided subdue them with the nigrovine eraser. 



Filling in Free-hand Outline. The prin- 

 cipal difference in the appearance of free-hand 

 crayons and those that are made over a photo- 

 graphic enlargement is that the shadows in the 

 free-hand crayons are lighter and more trans- 

 parent, and a truer likeness can be made by the 

 former method in the hands of a competent 

 artist, as the photograph paper that the enlarge- 

 ment is made upon, in the manipulations that it 

 undergoes before the enlargement is completed, 

 causes the paper to stretch to such an extent 

 as to cause a distortion of the image. A piece 

 of photographic paper, 25 inches by 30 inches,will 

 in its manipulations stretch one inch in the 

 length and one and one half inch in the width. 



The directions for working over a platinum 

 enlargement, silver enlargement, and free-hand 

 crayons are the same after the outline of the 

 free-hand crayons has been filled in. Suppose 

 that it is desired to put in a background after 

 the third method. Having made the outline, 

 lay the strainer on the table and put in the 

 background. Then place the strainer on the 

 easel and finish the background, after which 

 take the chamois block in the left hand and a 

 tortilian stump in the other hand, and put in 

 the shadows, beginning on the hair, putting in 



the broad shadows, working the stump in the 

 same direction that the lines of the hair run, 

 and endeavor to give the soft effect that hair 

 should have. The eyebrows should then be 

 made ; then the eyes, beginning with the upper 

 lids, putting in the lines between the eyes and 

 the lids, and also the second line forming the 

 lids, then the under lines of the lower lids. 

 Next form the pupil, placing it in the center of 

 the iris, making it very dark ; then the iris, 

 noticing that the upper lids cast shadows on 

 the iris. Then the shading of the nose and 

 nostrils, and the shadow under the nose. The 

 mouth is the next important feature, and herein 

 lies nearly the whole expression of the lower 

 part of the face. Then the ears, and then model 

 the face, making all the shadows broad and 

 decided, leaving the details for the finishing 

 touches. Then put in the clothes with the large 

 gray paper stump, sweeping it gently across the 

 lights in different directions, forming the lapels 

 and arms, and finish according to directions for 

 finishing silver or platinum enlargements. 



