736 



PORTRAITS, CRAYON. 



touches, which do with the crayon and nigro- 

 vine erasers, softening the lights and shadows 

 into each other until the entire portrait is sub- 

 dued and there are no decided lines of light and 

 shade, carefully preserving the likeness. 



The Stipple Effect. On a silver or platinum 

 enlargement put in a background after the sec- 

 ond method, and then treat the whole surface of 

 the paper with pumice stone, rubbing it with 

 the fingers. Then put in the shadows with a 

 tortilion stump and crayon sauce. Take out the 

 lights with the nigrovine eraser, and finish with 

 the crayon. Instead of a diamond effect, as 



with the lines, a stipple effect must be produced 

 that is, the effect of black and white spots, the 

 paper producing the white spots and the crayon 

 the black ones. This is done by working over 

 the picture with short curved lines in different 

 directions, like the illustration, and then rubbing 

 them with the end of the fingers (do not use the 

 cotton). Finish by cutting up the light spots 

 with the crayon pencil, and the dark spots with 

 the erasers, producing an even effect of small 

 black and white spots over the picture. 



Bromide Paper. The Steinbach crayon 

 paper, used for making free-hand crayon draw- 

 ings, has received a coat of sizing. This surface 

 is not hard enough to necessitate any treatment 

 before applying the crayon, unless we desire to 

 break up the surface with the pumice stone. Plat- 

 inum and silver enlargements undergo in their 

 photographic manipulations a change whereby 

 the paper is made soft and spongy; therefore 

 they are easier to work on than the crayon or bro- 

 mide paper, as they will take the crayon from 

 the cotton and stump more readily than the 

 former, for the crayon enters into the pulp of 

 the paper on account of this softness. 



In the bromide enlargement, while the paper 

 has to undergo all the manipulations of develop- 

 ment and fixing and washing that the silver or 

 platinum enlargement does, yet the gelatin has 

 not been removed, and when dry remains as a 

 strong sizing to the surface of the paper. The 

 print and paper are different from the silver or 

 platinum print or crayon paper, but there is not 

 as much difference in the print as there is in the 

 surface of the paper. There should be this dif- 

 ference. The silver or platinum enlargement 

 should only be printed strong enough to give 

 the form and the larger details in the negative. 

 The bromide enlargement should be as perfect a 

 photograph in its strength of light and shade 



and detail as it is possible to make from the 

 negative. From the fact that, on account of the 

 hardness of the surface, not as much crayon can 

 be put on the bromide paper as on the other 

 kinds of paper, and therefore they can not be 

 strengthened in the same degree in the shadows 

 as the other without spoiling the- transparent 

 effect in the shadows, the best bromide cray- 

 ons are those whereby the least amount of cray- 

 on is used to produce the desired effect. 



Finishing Bromide Enlargements. Take 

 the mounted enlargement and look at it side- 

 wise, and see if there is any starch on the sur- 

 face of the paper. If there is, remove it with a 

 sponge and clean water, and then dry it. Then 

 lay the enlargement on the table, take a handful 

 of cotton and rub it in the crayon sauce, then on 

 the manilla paper, and then rub over the entire 

 surface of the paper with the cotton in a cir- 

 cular motion. Then sprinkle pumice stone over 

 the enlargement, and rub it with the flat ends 

 of the fingers. This treatment cuts through the 

 gelatin surface, and produces an even-grained 

 surface. Then rest the strainer on the edge and 

 jar off the pumice stone. Lay the strainer down 

 and rub it with a clean piece of cotton. Rub 

 the flat ends of the fingers in the crayon sauce 

 and then on the manilla paper, and then go over 

 the entire surface of the enlargement with the 

 fingers thus charged with the crayon, and it will 

 produce a beautiful stipple effect. If the shad- 

 ows are not dark enough, use a little more cray- 

 on, and put the cast shadow in the background. 

 Before proceeding further it is well to note that 

 in the bromide paper there is one more surface 

 than in the other paper that is, the gelatin sur- 

 face and that the photographic image is on 

 this gelatin surface and not on the paper, and 

 under this image we have the pure white paper. 

 If it should be necessary to make a shadow 

 lighter, it can be done by removing this surface 

 with an ink-eraser knife ; and you will also ob- 

 serve that on account of the hardness of this 

 gelatin surface the crayon will come off very 

 easily, and on this account will need a different 

 method in finishing, and hence you use the fin- 

 gers to apply the crayon sauce. 



Place the enlargement on the easel, and put in 

 the cloud effects with the large eraser. Then lay 

 it on the table, and clean off the edges about 4 

 inches all around with the cotton and pumice 

 stone. Then return it to the easel, and with the 

 large eraser clean off the lights in the face, hair, 

 and dress, and then with a clean piece of cotton 

 blend the lights and shadows together. Then 

 with the stump and crayon sauce and fingers 

 strengthen the shadows and finish with the 

 nigrovine eraser and conte crayon, producing 

 an even stipple effect over the entire picture, 

 and give the proper effect of light and shade. 

 You will have a good guide for the stipple effect 

 in the background, as you will notice that this 

 stipple effect is perfect there in some places, 

 especially in the lighter ones. The finishing with 

 the crayon is the nicest part of this method, 

 and must be done by keeping in mind the fact 

 that you are putting in the stipple effect, and 

 that alone. That is, the crayon is supposed 

 to be right in light and shade, and it should 

 not be necessary at this stage of finishing to 

 strengthen the picture in the shadows with the 



