PORTRAITS, CRAYON. 



735 



Line Effects. The lines are drawn to cross 

 one another so as to leave diamond shaped 

 spaces. One of the important things in this 

 style of finishing is the line of direction, by 

 which is meant the lines or grains that represent 

 the object to be drawn. We say that wood is 

 cross-grained, meaning that the grains or fibers 

 of the wood run crosswise. If we were to repre- 

 sent the grain of a straight board in crayon 

 drawing, we would draw straight lines running 

 lengthwise of the board, unless it should have 

 some cross-grained places in it. If we "should 

 take the same board and bend it in the form 

 of a circle, to represent the grain of the board 

 in that position, we would draw curved lines to 

 correspond with the grain in that position. The 

 idea to be impressed is that when we represent 

 an object ,in crayon and that object is flat, we 

 draw straight lines to represent its surface, 

 and when an object is round or partly so, we 

 draw curved lines to represent its surface, con- 

 forming the lines to the surface of the object. 

 Light and shade in nature have each their 

 different qualities. Light expresses form, while 

 shade obscures it ; consequently, in the lighter 

 places of an object we see its grain or texture, 

 and this grain will gradually become obscure as 

 it enters the shadows, until it is lost in the 

 darkest. Hence, in the making of crayon por- 

 traits with lines, the grain effect will show more 

 decided in the lights and half-shadows. 



The Face. For a line effect on a silver or 

 platinum enlargement begin on the hair, using 

 the Mines Noire's crayons No. 2, and put in the 

 shadows and half-shadows. Do not work over the 

 lights. Then with the Mines Noire's crayon No. 1 

 put in the face, strengthening all the shadows, 

 and define the eyebrows, eyes, nose, and mouth, 

 the shadows under and around the chin, and the 

 ears. Then put in the line effect as shown in 

 illustration No. 2. This shows the lines before 

 they are rubbed. Observe that there are three 

 sets of lines in the background, and two sets in 

 the face and clothes. The line effect in the face 

 is the beauty of this method; for if they are 

 properly drawn it will represent and give the 

 effect of the grain of the flesh. These lines are 

 drawn in the form of elongated diamonds, yet 

 when finished they must have the effect of 

 broken diamonds. *If you examine the back of 

 your hand, you will see more clearly what is 

 meant by the term broken diamonds. Begin on 

 the forehead and put in one set of lines running 

 straight across and curving down as the forehead 

 rounds off toward the hair. Then one more set, 

 which will produce the diamond form, and then 

 continue all over the face, making these two sets 

 of lines. These lines should indicate the grain 

 of flesh by carefully keeping the line of direc- 

 tion. The lines are dark in the shadows, and 

 lighter as they approach the lights, and on the 

 highest lights* of the forehead, nose, and chin, 

 there should not be any lines. After the lines 

 are drawn, with a piece of cotton rub the hair 

 and face, rubbing in the line of direction. The 

 crayon will now be about three shades darker 

 in the lights than when finished, and not dark 

 enough in the shadows. Proceed to finish, us- 

 ing the crayon wherever it needs to be darker, 

 and the nigfovine eraser where it should be 

 made lighter, using the eraser on the same prin- 



ciple as you would a pencil, only making white 

 lines instead of black ones, and break up the regu- 

 larity of the diamonds. The eraser is kept clean 



by rubbing it on the emery paper. Take a piece 

 three inches square and place it in the left hand 

 between the index and second fingers, holding- 

 the fingers half an inch apart, and bend the 

 paper in this opening so as to make a crease to 

 rub the eraser in. It will be necessary to sharpen 

 the eraser occasionally with the knife. 



The Dress. To represent the effect of the 

 lines in the clothes, every fold, sleeve, and lapel 

 should have lines to distinguish them from the 

 adjoining surface, and these lines will disappear 

 in the wrinkles or shadows that define the fold, 

 and in the next fold the lines will have a differ- 

 ent direction. With the large gray paper stump 

 and crayon sauce, put in the shadows, and then 

 with the Mines Noire's crayon No. 2, draw the 

 lines, and with a piece of cotton and crayon 

 sauce rub over the clothes, and finish with the 



nigrovine eraser No. 2, conte crayon in the wood, 

 and the square black conte crayon. Also use the 

 chamois skin for broad lights, and the velour 

 crayon for deepest black. The portrait is now 

 in proper condition to put on the finishing 



